HISTORY OF PHOTOGRAPHY

UNIT -1

(4BC TO 1827 AD)

1. CAMERA OBSCURA

2. JOHANN HEINRICH SCHULZE

3. THOMAS WEDGWOOD

4. JOSEPH NICEPHORE NIEPCE

UNIT -2

(1828 TO 1860)

1. LOUIS JACQUES MANDE DAGUERRE

2. DAGUERREOTYPE PROCESS

3. CALOTYPE PROCESS

4. WET COLLODION PROCESS

5. CHARLES NEGRE

6. GUSTAVE LE GRAY

7. ROGER FENTON

8. WILLIAM HENRY FOX TALBOT

UNIT-3

1. THE GELATIN EMULSION

2. MASTERS OF PHOTOGRAPHY
3. MATHEW B. BRADY
4. NADAR
5. JULIA MARGARET CAMERON
6. EDWARD STEICHEN
7. MAN RAY
8. ANSEL ADAMS
9. HENRI CARTIER BRESSON
10. EARLY TRAVEL PHOTOGRAPHY
11. EARLY PICTORIAL PHOTOGRAPHY
12. EARLY PORTRAIT PHOTOGRAPHY
13. MOTION PHOTOGRAPHY
14. EADWEARD MUYBRIDGE
15. EUGENE ATGET
16. YOUSUF KARSH
17. IRVING PENN
18. HELMUT NEWTON
 UNIT-4

1. IMPORTANCE OF PHOTOGRAPHY BEFORE INDEPENDENCE

2. INDIAN PHOTOGRAPHERS

3. RAJA SAWAI MAN SINGH

4. LALA DEEN DAYAL

5. HONORS OF DEEN DAYAL

6. ESTABLISHMENTS AT HYDERABAD

7. PERUMAL

8. RAJA THRIAMBAK RAJ KUMAR

9. O.C EDWARDS

10. BENU SEN

11. DR. G. THOMAS

12. HOMAI VYARAWALLA

13. GAUTAM RAJADHYAKSHA

14. PRABUDDHA DAS GUPTA

UNIT-5

1. EARLY PHOTOGRAPHY SOCIETIES AND ITS IMPACT ON INDIAN PHOTOGRAPHY

2. FEDERATION OF INDIAN PHOTOGRAPHY

3. INDIA INTERNATIONAL PHOTOGRAPHIC COUNCIL

4.CONTEMPORARY INDIAN PHOTOGRAPHERS

5. PABLO BARTHOLOMEW

6. DAYANITA SINGH

7. SOONI TARAPOREVALA
 CAMERA OBSCURA
Camera obscura a chamber or room, also referred to as pinhole image, is
the natural optical phenomenon that occurs when an image of a scene at
the other side of a screen (or for instance a wall) is projected through a
small hole in that screen as a reversed and inverted image (left to right
and upside down) on a surface opposite to the opening. The surroundings
of the projected image have to be relatively dark for the image to be clear;
so many historical camera obscura experiments were performed in dark
rooms. If a tiny hole is made in the screen or window blind of a darkened
room, an inverted image of the scene outside the window is shown on the
wall opposite.
The camera obscura or dark room, which is thought to have been
invented by Battista della Porta (1538-1615) and is described in 1558 in
his Magia Naturalis, had, in theory, been known to man for hundreds of
years. Indeed, the Chinese wrote about it as early as the fourth century
BCE. Apart from the Chinese, however, the camera obscura was
described by, among others, Alhazan (956-1038), an Arabian scholar, by
the scientist and philosopher Roger Bacon in 1267, and - as might be
expected - by Leonardo da Vinci, who gave an accurate account of it in
the 15th century.
The term "camera obscura" also refers to constructions
or devices that make use of the principle within a box, tent or room.
Camera obscura with a lens in the opening have been used since the
second half of the 16th century and became popular as an aid for drawing
and painting. The camera obscura box was developed further into the
photographic camera in the first half of the 19th century when camera
obscura boxes were used to expose light-sensitive materials to the
projected image.
 Rays of light travel in straight lines and change when they are reflected
and partly absorbed by an object, retaining information about the colour
and brightness of the surface of that object. Light objects reflect rays of
light in all directions. A small enough opening in a screen only lets
through rays that travel directly from different points in the scene on the
other side and together form an image of that scene when they are
reflected on a surface into the eye of an observer. The human eye itself
works much like a camera obscura with an opening a biconvex lens and a
surface where the image is formed.
A camera obscura device consists of a box, tent or room with a small hole
in one side. Light from an external scene passes through the hole and
strikes a surface inside, where the scene is reproduced, inverted (thus
upside-down) and reversed (left to right), but with colour and perspective
preserved. The image can be projected onto paper, and can then be
traced to produce a highly accurate representation. In order to produce a
reasonably clear projected image, the aperture has to be about 1/100th
the distance to the screen, or less. Many camera obscura use a lens
rather than a pinhole (as in a pinhole camera) because it allows a larger
aperture, giving a usable brightness while maintaining focus. As the
pinhole is made smaller, the image gets sharper, but the projected image
becomes dimmer. With too small a pinhole, however, the sharpness
worsens, due to diffraction. Using mirrors, as in an 18th-century overhead
version, it is possible to project a right-side-up image. Up to the mid-17th
century the camera obscura was usually a room in a house, but by about
1650 smaller, portable versions had appeared.
By the beginning of the 19th century, there were three sorts of cameras
obscura: the first was the above mentioned darkened room which often
had, as an added refinement, a lens and a mirror arranged to produce an
image of the scene outside onto a table in the room, another version was
a sort of portable tent with the lens and mirror at the top, which produced
the image onto a horizontal surface, usually - once again - a table inside
the tent, and the last was a portable, although rather cumbersome
box camera obscura, which reflected the image onto translucent paper,
that is paper made translucent by soaking it in white oil.

These portable cameras obscura were used by Old Masters in the 17th,
18th and 19th centuries to help them draw in perspective, and were, of
course, later an essential aid to the inventors of photography who
modified the camera obscura by reducing its size, and by incorporating
bellows, lenses, and diaphragms turned it into the camera.
Some ancient sightings of gods and spirits, especially in temple worship,
are thought to possibly have been conjured up by means of camera
obscura projections.
The earliest extant written record of the camera obscura is to be found in
the writings of Mozi (circa 470 BCE-circa 391 BCE), a Han Chinese
philosopher and the founder of Mohist School of Logic. Mizi correctly
asserted that the camera obscura image is flipped upside down because
light travels in straight lines from its source. His disciples developed this
into a physics theory of optics.
 JOHANN HEINRICH SCHULZE

Johann Heinrich Schulze (12 May 1687 –10 October 1744) was
a German professor and polymath from Colbitz in the Duchy of
Magdeburg.
Schulze is best known for his discovery that the darkening in sunlight of
various substances mixed with silver nitrate is due to the light, not the
heat as other experimenters believed, and for using the phenomenon to
temporarily capture shadows.

Schulze's experiments with silver nitrate were undertaken in about

1717. He found that slurry of chalk and nitric acid into which
some silver had been dissolved was darkened by sunlight, but not by
exposure to the heat from a fire. To provide an interesting demonstration
of its darkening by light, he applied stencils of words to a bottle filled with
the mixture and put it in direct sunlight, which produced copies of the text
in dark characters on the surface of the contents. The impressions
persisted until they were erased by shaking the bottle or until overall
exposure to light obliterated them. Because they were produced by the
action of light, an extremely broad and literal definition of what
a photograph is may allow even these fluid, ephemeral sun printings to
qualify, and on that basis many German sources credit Schulze as the
inventor of photography.
Though Schulze's work did not provide a means of permanently
preserving an image, it did provide a foundation for later efforts toward
that end. Thomas Wedgwood and Humphry Davy produced more
substantial but still impermanent shadow images on coated paper and
leather around the year 1800. Nicéphore Niépce succeeded in
photographing camera images on paper coated with silver chloride in
1816 but he, too, could not make his results light-fast. The first permanent
camera photograph of this type was made in 1835 by Henry Fox Talbot.
 Thomas Wedgwood

Thomas Wedgwood (14 May 1771 – 10 July 1805), son of Josiah

Wedgwood, a famous potter, is most widely known as an early
experimenter in the field of photography.

Thomas Wedgwood was born in Etruria, Staffordshire, now part of the city
of Stoke-on-Trent in England. Wedgwood never married and had no
children. In imperfect health as a child and a chronic invalid as an adult,
he died in the county of Dorset at the age of 34.
He is the first person known to have thought of creating permanent
pictures by capturing camera images on material coated with a light-
sensitive chemical. His practical experiments yielded only shadow image
photogram that were not light-fast, but his conceptual breakthrough and
partial success has led some historians to call him "the first
photographer".
Thomas Wedgwood reported his experiments in recording images on
paper or leather sensitized with silver nitrate. He could record silhouettes
of objects placed on the paper, but he was not able to make them
permanent. Sir Humphry Davy published a paper in the Journal of the
Royal Institution, London, in June 1802, on the experiments of his friend
Wedgwood; this was the first account of an attempt to produce
photographs. Wedgewood’s main object was to fix the images of the
camera obscura on silver nitrate, but he failed to do so ‘in any moderate
time’ – without stating what he considered moderate. Wedgewood and
Davy both succeeded in making copies of leaves, insects’ wings and the
then fashionable paintings on glass, by simply laying them on oaoer or
white leather sensitized with silver nitrate, or silver chloride which Davy
found more light-sensitive. Davy also made photomicrographs. However
the pictures were unfixed and could only be viewed by candlelight,
otherwise they darkened all over. It is astonishing that such a
distinguished scientist as Humphry Davy, who referred to Scheele’s
experiments, failed to notice his statement that ammonia dissolves the
silver chloride unaffected by light, and could therefore have been used to
fix the image.
It was left to later experimenters to complete the invention of photography
of Thomas Wedgewood laid the foundation, but he has the honour of
being the first to demonstrate the possibility of photography – a great step
forward from Schulze.
In 1813, eight years after Wedgewood’s death, Nicphore niepce, now
living in retirement at his country estate Gras near Chalon-sur-Saône,
revived his earlier ambition through his interest in lithography which
began to become popular in France that year.
Wedgwood was born into a long line of pottery manufacturers, grew up
and was educated at Etruria and was instilled from his youth with a love
for art. He also spent much of his short life associating with painters,
sculptors, and poets, to whom he was able to be a patron after he
inherited his father's wealth in 1795.
As a young adult, Wedgwood became interested in the best method of
educating children, and spent time studying infants. From his
observations, he concluded that most of the information that young brains
absorbed came through the eyes, and were thus related to light and
images.
Wedgwood is the first person reliably documented to have used light-
sensitive chemicals to capture silhouette images on durable media such
as paper, and the first known to have attempted to photograph the image
formed in a camera obscura.
The date of his first experiments in photography is unknown, but he is
believed to have indirectly advised James Watt (1736–1819) on the
practical details prior to 1800. In a letter that has been variously dated to
1790, 1791 and 1799, Watt wrote to Josiah Wedgwood.
Nevertheless, the paper of 1802 and Wedgwood's work directly
influenced other chemists and scientists delving into the craft of
photography, since subsequent research has shown it was actually quite
widely known about and was mentioned in chemistry textbooks as early
as 1803. David Brewster, later a close friend of photography pioneer
Henry Fox Talbot, published an account of the paper in the Edinburgh
Magazine (Dec 1802). The paper was translated into French, and also
printed in Germany in 1811. J. B. Reade's work in 1839 was directly
influenced by reading of Wedgwood's more rapid results when using
leather. Reade tried treating paper with a tanning agent used in making
leather and found that after sensitization the paper darkened more rapidly
when exposed. Reade's discovery was communicated to Talbot by a
friend, as was later proven in a court case over patents.
Wedgwood was unable to "fix" his pictures to make them immune to the
further effects of light. Unless kept in complete darkness, they would
slowly but surely darken all over, eventually destroying the image.
 Joseph Nicephore Niepce
Nicéphore Niépce (born Joseph Niépce; 7 March 1765 – 5 July 1833)
was a French inventor, now usually credited as the inventor of
photography and a pioneer in that field. Niépce developed heliography, a
technique he used to create the world's oldest surviving product of a
photographic process: a print made from a photoengraved printing plate
in 1825.In 1826 or 1827, he used a primitive camera to produce the
oldest surviving photograph of a real-world scene. Among Niépce's other
inventions was the Pyréolophore, the world's first internal combustion
engine, which he conceived, created, and developed with his older
brother Claude.

The son of a wealthy family suspected of royalist sympathies, Niépce fled

the French Revolution but returned to serve in the French army
under Napoleon Bonaparte. Dismissed because of ill health, he settled
near his native town of Chalon-sur-Saône, where he remained engaged
in research for the rest of his life.
Niépce was born in Chalon-sur-Saône, Saône-et-Loire, where his father
was a wealthy lawyer; this caused the whole family to flee the French
Revolution. His older brother Claude (1763–1828) was also his
collaborator in research and invention, but died half-mad and destitute in
England, having squandered the family wealth in pursuit of non-
opportunities for the Pyréolophore. Niepce also had a sister and a
younger brother, Bernard.
Nicéphore was baptized Joseph but adopted the name Nicéphore, in
honour of Saint Nicephores the ninth-century Patriarch of Constantinople,
while studying at the Oratorian college in Angers. At the college, he
learned science and the experimental method, rapidly achieving success
and graduating to work as a professor of the college.
Niépce served as a staff officer in the French army under Napoleon,
spending a number of years in Italy and on the island of Sardinia, but ill
health forced him to resign, whereupon he married Agnes Romero and
became the Administrator of the district of Nice in post-revolutionary
France. In 1795, Niepce resigned as administrator of Nice to pursue
scientific research with his brother Claude. One source reports his
resignation to have been forced due to his unpopularity.
In 1801 the brothers returned to the family's estates in Chalon to continue
their scientific research, and where they were united with their mother,
their sister and their younger brother Bernard. Here they managed the
family estate as independently wealthy gentlemen-farmers, raising beets
and producing sugar.

The date of Niépce's first photographic experiments is uncertain. He was

led to them by his interest in the new art of lithography, for which he
realized he lacked the necessary skill and artistic ability, and by his
acquaintance with the camera obscura, a drawing aid which was popular
among affluent dilettantes in the late 18th and early 19th centuries. The
camera obscura's beautiful but fleeting little "light paintings" inspired a
number of people, including Thomas Wedgwood and Henry Fox Talbot,
to seek some way of capturing them more easily and effectively than
could be done by tracing over them with a pencil.

The earliest camera was the camera obscura, which was adapted to
making a permanent image by Joseph Nicéphore Niepce and Louis-
Jacques-Mandé Daguerre of France in the 1820s and 1830s. Many
improvements followed in the 19th century, notably flexible film,
developed and printed outside the camera. In the 20th century a variety of
cameras was developed for many different purposes, including aerial
photography, document copying, and scientific research.
Letters to his sister-in-law around 1816 indicate that Niépce had managed
to capture small camera images on paper coated with silver chloride,
making him apparently the first to have any success at all in such an
attempt, but the results were negatives, dark where they should be light
and vice versa, and he could find no way to stop them from darkening all
over when brought into the light for viewing.
Niépce turned his attention to other substances that were affected by
light, eventually concentrating on Bitumen of Judea, a naturally occurring
asphalt that had been used for various purposes since ancient times. In
Niépce's time, it was used by artists as an acid-resistant coating on
copper plates for making etchings. The artist scratched a drawing through
the coating, then bathed the plate in acid to etch the exposed areas, then
removed the coating with a solvent and used the plate to print ink copies
of the drawing onto paper. What interested Niépce was the fact that the
bitumen coating became less soluble after it had been left exposed to
light.
Niépce dissolved bitumen in lavender oil, a solvent often used in
varnishes, and thinly coated it onto a lithographic stone or a sheet of
metal or glass. After the coating had dried, a test subject, typically an
engraving printed on paper, was laid over the surface in close contact and
the two were put out in direct sunlight. After sufficient exposure, the
solvent could be used to rinse away only the unhardened bitumen that
had been shielded from light by lines or dark areas in the test subject.
The parts of the surface thus laid bare could then be etched with acid, or
the remaining bitumen could serve as the water-repellent material in
lithographic printing.
Niépce called his process heliography, which literally means "sun
drawing". In 1822, he used it to create what is believed to have been the
world's first permanent photographic image, a contact-exposed copy of
an engraving of Pope Pius VII, but it was later destroyed when Niépce
attempted to make prints from it. The earliest surviving photographic
artifacts by Niépce, made in 1825, are copies of a 17th-century engraving
of a man with a horse and of what may be an etching or engraving of a
woman with a spinning wheel. They are simply sheets of plain paper
printed with ink in a printing press, like ordinary etchings, engravings, or
lithographs, but the plates used to print them were created
photographically by Niépce's process rather than by laborious and inexact
hand-engraving or drawing on lithographic stones. They are, in essence,
the oldest photocopies. One example of the print of the man with a horse
and two examples of the print of the woman with the spinning wheel are
known to have survived. The former is in the collection of the
Bibliothèquenationale de France in Paris and the latter two are in a
private collection in the United States.

View from the Window at Le Gras

Niépce's correspondence with his brother Claude has preserved the fact
that his first real success in using bitumen to create a permanent
photograph of the image in a camera obscura came in 1824. That
photograph, made on the surface of a lithographic stone, was later
effaced. In 1826 or 1827 he again photographed the same scene, the
view from a window in his house, on a sheet of bitumen-coated pewter.
The result has survived and is now the oldest known camera photograph
still in existence. The historic image had seemingly been lost early in the
20th century, but photography historian Helmut Gernsheim succeeded in
tracking it down in 1952. The exposure time required to make it is usually
said to have been eight or nine hours, but that is a mid-20th century
assumption based largely on the fact that the sun lights the buildings on
opposite sides, as if from an arc across the sky, indicating an essentially
day-long exposure. A later researcher who used Niépce's notes and
historically correct materials to recreate his processes found that in fact
several days of exposure in the camera were needed to adequately
capture such an image on a bitumen-coated plate.
Nicéphore Niépce died of a stroke on 5 July 1833, financially ruined such
that his grave in the cemetery of Saint-Loup de Varennes was financed
by the municipality. The cemetery is near the family house where he had
experimented and had made the world's first photographic image.

One of the three earliest known photographic artifacts, created by Nicéphore

Niépce in 1825. It is an ink-on-paper print, but the printing plate used to make
it was photographically created by Niépce's heliography process. It reproduces
a 17th-century Flemish engraving.
 UNIT-2
LOUIS – JACQUES – MANDE
DAGUERRE
Louis Daguerre, in full Louis-Jacques-Mandé Daguerre, (born
November 18, 1787, Cormeilles, near Paris, France—died July 10, 1851,
Bry-sur-Marne), French painter and physicist who invented the first
practical process of photography, known as the daguerreotype. Though
the first permanent photograph from nature was made in 1826/27
by Nicéphore Niépce of France, it was of poor quality and required about
eight hours’ exposure time. The process that Daguerre developed
required only 20 to 30 minutes.

He was a painter and stage decorator. He was a student of Degotis, who

was a creator of stage settings at the Paris Opera, with whom he started
at the age of sixteen. He continued with Pierre Prevost (1766-1823), a
specialist of panoramas, which are those huge circular decors painted
upon the walls of a rotunda and exposed to the view of spectators placed
in its centre.

Daguerre was at first an Inland Revenue officer and then a scene painter
for the opera. In 1822 at Paris he opened the Diorama, an exhibition of
pictorial views, with various effects induced by changes in the lighting. A
similar establishment that he opened in Regent’s Park, London, was
destroyed by fire in 1839. Niépce, who since 1814 had been attempting to
obtain permanent pictures by the action of sunlight, learned in 1826 of
Daguerre’s efforts in the same field. The two became partners in the
development of Niépce’s heliographic process from 1829 until the death
of Niépce in 1833. Daguerre continued his experiments, and it was he
who discovered that exposing an iodized silver plate in a camera would
result in a lasting image if the latent image on the plate was developed by
exposure to fumes of mercury and then fixed (made permanent) by a
solution of common salt. On January 9, 1839, a full description of his
daguerreotype process was announced at a meeting of the Academy of
Sciences by the eminent astronomer and physicist François Arago.
Daguerre was appointed an officer of the Legion of Honour. In 1839
Daguerre and the heir of Niépce were assigned annuities of 6,000 francs
and 4,000 francs, respectively, in return for their photographic process.

While Daguerre’s works exhibited in the art shows never had any big
success, the sets he realized from 1817 to 1822 for shows at the the
Ambigu Comique or the Opera brought him unanimous praise from critics
and public. He displayed original creativity with his light effects, creating
moon rises or moving suns that remained in people’s memories. He then
carried the art of stage setting to a fully-fledged show, associating himself
with another Prevost student, Charles Marie Bouton (1781-1853) to
create a show by the name of Diorama.
In 1824, Daguerre was elected Knight of the Legion of Honour. He had
learnt how to use a camera obscura with Prevost, who used it to prepare
his huge trompe-l’œil canvases. the optician that supplied Daguerre was
Vincent Chevalier, who was also Nicéphore Niépce’s supplier. As a
matter of fact, Daguerre got Niépce’s address from Chevalier.

Daguerre’s Dioram

The Diorama of Daguerre:

In 1822, Bouton and Daguerre went in a partnership with the purpose of

creating a show that would be called Diorama. The two created vast sized
sets trying to show very realistic scenes. With this idea in mind, they did
not hesitate to display all sorts of animated elements except for live actors
(water works, animals).

Besides, Daguerre was developing his lighting talents, acquired during his
years as a set designer at the Opera and the Ambigu, to change the
mood of a same scene. This created such an illusion of reality that the
Diorama became a huge success. Later on, the two partners adapted to
these huge sets the principle of showing the optical views either with front
or back lighting. In this case the scene watched with a dim lighting,
whence a night effect that could be accentuated by painting to the back of
the view a decor with the purpose of masking some parts of the image
creating new shadows corresponding to night. Going from one to the
other lighting, the same scene would progressively change from day to
night.

Diagram of the London diorama building

Daguerre’s Diorama: Day and night light effects.

The Diorama was very impressive to its viewers. The room was 12
meters in diameter, and could be occupied by three hundred and fifty
people. Rotating, the room was placed in front of an opening that was 7.5
meters wide and 6.5 meters high — a sort of a proscenium, the sides of
which flared out up to the famous painting, painted on both faces, and
which measured 14 meters in height and 22 meters in width. Then the
show would start. After the painting big frames with glass panels
permitted back lighting or transparence lighting, other frames from the
flies gave overhead and front lighting. Displaying in front of these frames
translucid panels of different color and motioned by ropes, the general or
local tone of the tableau could be changed, producing on the whole
tableau or parts of it some effects ranging from thick fog to bright sunlight.
The show lasted about fifteen minutes, after which the room rotated again
and progressively was turned in front of a position similar to the first one
set into the room circumference. A new tableau was offered to the
spectators and fifteen minutes of animation by light works could start.

"Boulevard du Temple", taken by Daguerre in 1838 in Paris, includes

the earliest known candid photograph of a person. The image shows a
busy street, but because the exposure had to continue for several
minutes the moving traffic is not visible. At the lower right, however, a
man apparently having his boots polished, and the bootblack polishing
them, were motionless enough for their images to be captured.
In December 1827, Daguerre met J.N. Niépce in Paris on his way to
England. The two men got along together. Niépce was fascinated by the
Diorama. Daguerre too had had the idea to capture the images of the
camera obscura. For this purpose, he put phosphorescent powders at the
back of his camera obscura. The image projected on this powder
remained visible for a few hours, then slowly faded away. The two men
met again on Niépce‘s return from England in February 1828.

The first photograph was taken in 1826 or 1827 by the French

physicist Niepce, using a pewter plate coated with a form of bitumen that
hardened on exposure. Daguerre and the Englishman W.H. Fox
Talbot adopted silver compounds to give light sensitivity, and the
technique developed rapidly in the middle decades of the century.

They started to exchange ideas by mail and in 1829, Niépce suggested to

Daguerre to create a partnership to contribute to the development of the
invention of heliography. The contract was signed in December 1829.
Daguerre put a lot of work into the process and thus, in 1832, the two
men invented a new process together: the physautotype. After Niépce’s
death, Daguerre alone kept on researching how to take images and
invented the daguerreotype, a photographic process which was easier to
put into practice, since exposure times were only of a few minutes. The
daguerreotype knew a huge success and made Daguerre world famous.

By the 1890s George Eastman in the United States was manufacturing

cameras and celluloid photographic film for a popular market, and the first
experiments with the cinema were beginning to attract attention.
Daguerreotypes
 DAGUERREOTYPE PROCESS
In 1833 Niepce died, leaving his heliograph process unpublished and his
son Isadore to assume partnership with Daguerre. Two years after
Niepce death Daguerre discovered that the silver iodide plate required
only a fraction of the exposure time and that invisible, or latent, image that
could be revealed by exposure the plate to mercury fumes. Instead of
requiring an exposure of hours, the new process required only minutes,
and the image be established by treating it in a bath of sodium chloride.
The resulting image, called a Daguerreotype, was both positive and
negative depending on the lighting and angle in which it was viewed. The
image was established by delicate, frosty white colour in the highlights
and black in the polished silver shadows, provided the plate was titled
towards a darkened room. By the time he demonstrated the
Daguerreotype process to Francois Arago, the director of the Paris
observatory, Daguerre had completely practical photographic system that
included fixing the image permanently with sodium thiosulfate, a process
that was discovered by sir John Herschel in 1819. Sodium thiosulfate was
known at this time as hyposulphite of soda or ashype. In 1839 the French
Government awarded Daguerre and Isidore Niepce a pension for the
technology of the Daguerreotype and offered the discovery to the
process.
Daguerre’s process rapidly spread throughout the world. Before the end
of 1839, travellers were buying daguerreotypes of famous monuments
in Egypt, Israel, Greece, and Spain; engravings of these works were
made and then published in two volumes as Excursions
Daguerreians between 1841 and 1843. Although Daguerre’s process was
published “free to the world” by the French government, he took out a
patent for it in England; the first licensee was Antoine-François-Jean
Claudet. The first daguerreotypes in the United States were made on
September 16, 1839, just four weeks after the announcement of the
process. Exposures were at first of excessive length, sometimes up to an
hour. At such lengthy exposures, moving objects could not be recorded,
and portraiture was impractical.

Self-portrait by Robert Cornelius.

One of the earliest ever daguerreotype
photos of a person. Taken in 1839.
Experiments were begun in Europe and the United States to improve the
optical, chemical, and practical aspects of the daguerreotype process to
make it more feasible for portraiture, the most desired application. The
earliest known photography studio anywhere opened in New York City in
March 1840, when Alexander Wolcott opened a “Daguerreian Parlor” for
tiny portraits, using a camera with a mirror substituted for the lens. During
this same period, József Petzval and Friedrich Voigtländer, both of
Vienna, worked on better lens and camera design. Petzval produced
an achromatic portrait lens that was about 20 times faster than the simple
meniscus lens the Parisian opticians Charles Chevalier and N.M.P.
Lerebours had made for Daguerre’s cameras. Meanwhile, Voigtländer
reduced Daguerre’s clumsy wooden box to easily transportable
proportions for the traveller. These valuable improvements were
introduced by Voigtländer in January 1841. That same month another
Viennese, Franz Kratochwila, freely published a chemical acceleration
process in which the combined vapours of chlorine and bromine
increased the sensitivity of the plate by five times.
 CALOTYPE PROCESS
Calotype, also called talbotype, early photographic technique invented
by William Henry Fox Talbot of Great Britain in the 1830s. a Cambridge-
educated gentleman scientist proficient in mathematics and Assyrian. In
this technique, a sheet of paper coated with silver chloride was exposed
to light in a camera obscura; those areas hit by light became dark in tone,
yielding a negative image. The revolutionary aspect of the process lay in
Talbot’s discovery of a chemical (gallic acid) that could be used to
“develop” the image on the paper—i.e., accelerate the silver
chloride’s chemical reaction to the light it had been exposed to. The
developing process permitted much shorter exposure times in
the camera, down from one hour to one minute.
The developed image on the paper was fixed with sodium hyposulfite.
The “negative,” as Talbot called it, could yield any number of positive
images by simple contact printing upon another piece of sensitized paper.
Talbot’s process was superior in this respect to the daguerreotype, which
yielded a single positive image on metal that could not be duplicated.
Talbot patented his process in 1841.
Talbot made his first successful camera photographs in 1835 using paper
sensitised with silver chloride, which darkened in proportion to its
exposure to light. This early "photogenic drawing" process was a printing-
out process, i.e., the paper had to be exposed in the camera until the
image was fully visible. A very long exposure—typically an hour or
more—was required to produce an acceptable negative.
In late 1840, Talbot worked out a very different developing-out process (a
concept pioneered by the daguerreotype process introduced in 1839), in
which only an extremely faint or completely invisible latent image had to
be produced in the camera, which could be done in a minute or two if the
subject was in bright sunlight. The paper, shielded from further exposure
to daylight, was then removed from the camera and the latent image was
chemically developed into a fully visible image. This major improvement
was introduced to the public as the calotype or talbotype process in 1841.

The light-sensitive silver halide in calotype paper was silver iodide,

created by the reaction of silver nitrate with potassium iodide. First,
"iodised paper" was made by brushing one side of a sheet of high-quality
writing paper with a solution of silver nitrate, drying it, dipping it in a
solution of potassium iodide, then drying it again. At this stage, the
balance of the chemicals was such that the paper was practically
insensitive to light and could be stored indefinitely. When wanted for use,
the side initially brushed with silver nitrate was now brushed with a "gallo-
nitrate of silver" solution consisting of silver nitrate, acetic acid and gallic
acid, then lightly blotted and exposed in the camera. Development was
effected by brushing on more of the "gallo-nitrate of silver" solution while
gently warming the paper. When development was complete, the
calotype was rinsed, blotted, then either stabilized by washing it in a
solution of potassium bromide, which converted the remaining silver
iodide into silver bromide in a condition such that it would only slightly
discolour when exposed to light, or "fixed" in a hot solution of sodium
thiosulphate, then known as hyposulphite of soda and commonly called
"hypo", which dissolved the silver iodide and allowed it to be entirely
washed out, leaving only the silver particles of the developed image and
making the calotype completely insensitive to light.
The calotype process produced a translucent original negative image
from which multiple positives could be made by simple contact printing.
This gave it an important advantage over the daguerreotype process,
which produced an opaque original positive that could only be duplicated
by copying it with a camera.
Although calotype paper could be used to make positive prints from
calotype negatives, Talbot's earlier silver chloride paper, commonly
called salted paper, was normally used for that purpose. It was simpler
and less expensive, and Talbot himself considered the appearance of
salted paper prints to be more attractive. The longer exposure required to
make a salted print was at worst a minor inconvenience when making a
contact print by sunlight. Calotype negatives were often impregnated with
wax to improve their transparency and make the grain of the paper less
conspicuous in the prints.

London Street, Reading, c. 1845, a modern positive from Talbot's original

calotype negative
 A salted paper print, contact-printed from a negative of a leaf.

Talbot is sometimes erroneously credited with introducing the principle of

latent image development. The bitumen process used in private
experiments by Nicéphore Niépce during the 1820s involved the chemical
development of a latent image, as did the widely used daguerreotype
process introduced to the public by Niépce's partner and successor Louis
Daguerre in 1839. Talbot was, however, the first to apply it to a paper-
based process and to a negative-positive process, thereby pioneering the
various developed-out negative-positive processes which have dominated
non-electronic photography up to the present.

A salted paper calotype photograph of Scottish amateur golfer, golf

administrator, and aristocrat James Ogilvie Fairlie, c. 1846-49.
 The calotype was a fine medium for lending a sense of atmosphere to a
seascape like this view of massive ships outlined against the sky on the
coast of Wales. The paper negative’s fibres diffused the light rays
sufficiently to soften the image. This effect created a picture with both
ample detail – particularly noticeable in the rigging and reflections – and a
pleasant charm.
 WET COLLODION PROCESS

Frederick Scott Archer

The wet collodion process was a photographic process used to produce a
negative. It was invented by F. Scott Archer (1813–1857) in 1848 and
published in 1851. Prevalent from 1855 to about 1881, it gradually
displaced both the daguerreotype and calotype processes (a process
involving both a negative and a positive, introduced by William Henry Fox
Talbot in 1841).
On its introduction in 1851, the wet collodion process was received with
delight, for Archer – who died in poverty six years later aged forty-four –
did not try to make money out of his invention like Daguerre and Talbot.
The latter even put forward the extraordinary claim that collodion was
covered by his calotype patent, and issued injunctions against a number
of English photographers. Eventually a test case against Silvester
Laroche settled the matter, and on 20th December 1854, after an exciting
three-day trial the collodion process was thrown open to the world ‘amidst
loud and cheering’ in court. Talbot dropped his application for renewal of
the calotype patent, knowing that it would not bring him any financial
advantage now that the faster collodion process had been judged free.
The daguerreotype patent had already run its term in 1853, so from the
beginning of 1855 photography in England was at last on an equal footing
with the rest of the world.
Wet-collodion-on-glass negatives were valued because the transparency
of the glass produced a high resolution of detail in both the highlights and
shadows of the resultant prints (see image below). In addition, exposure
times were shorter than those for the daguerreotype or calotype, ranging
from a few seconds to a few minutes, depending on the amount of light
available. Finished negatives were usually used to produce albumen
prints, although salt prints were sometimes made during the 1850s and
early 1860s.

Finette of Mabille, 1855, Nadar. Salt print from a glass collodion

negative; 8 3/4 inches high x 6 1/8 inches wide (The J. Paul Getty
Museum, 84.XM.436.496)

In the 19th century, the collodion used to coat glass plates was made
from gun cotton, a commercially available product, which was ordinary
cotton that had been soaked in nitric and sulfuric acid, and then dried.
The photographer next dissolved the gun cotton in a mixture of alcohol
and ether to which potassium iodide had been added. The resultant
collodion was a syrupy mixture that could be easily poured onto clean
glass plates as the first step in the production of negatives.
In the wet collodion process, collodion was poured from a beaker with
one hand onto a perfectly cleaned glass plate, which was continuously
and steadily tilted with the other hand to quickly distribute an even
coating. The plate was of whatever size the finished print was to be, from
a quarter plate measuring 4 by 5 inches to a mammoth plate measuring
18 by 21 inches. When the collodion had set but not dried (in a matter of
seconds), the plate was sensitized by bathing it in a solution of silver
nitrate, which combined with the potassium iodide in the collodion to
produce light-sensitive silver iodide. After being placed in a holder, the
plate was then placed in a camera for exposure while still wet—hence,
the identification of the process as “wet.” After exposure, the plate was
immediately developed in a solution of pyrogallic and acetic acids; a later
refinement oFthe process used ferrous sulfate as a developer.

As some of these steps required darkness, photographers had to bring

dark tents or wagons as well as chemicals and glass plates into the field
with them. When enough detail became visible in the negative in the
weak light of a darkroom, the negative was removed from the developer.
It was then washed in water, fixed with a solution of sodium thiosulfate to
remove excess undeveloped silver iodide, thoroughly washed to remove
the sodium thiosulfate, and dried. With the addition of a protective coat of
varnish, the negative was ready to be used to make prints.
That this complicated process was often used in remote places (see
image above) by 19th-century photographers is a testimony to their
diligence and dedication to their craft. This process enabled
photographers to produce negatives in the field that could be brought
back to a studio to be printed more than once.
Strange as it may seem – in view of the manipulation being more difficult
than previous methods – Archer’s process started the first great wave of
popularisation of photography. Not only were there thousands of new
comers to the art, but there soon arose an insatiable demand from the
public for photographs of all kinds of subjects, now that one could collect
prints that promised greter permanence than talbotypes.
 CHARLES NEGRE

Charles Nègre, (born May 9, 1820, Grasse, France—died January 16,

1880, Grasse), French painter and photographer best known for his
photographs of Paris street scenes and architectural monuments, notably
the Notre-Dame and Chartres cathedrals.

Nègre first went to Paris in 1839 to study painting in the studio of Paul
Delaroche. His fellow students there included Roger Fenton, Gustave Le
Gray, and Henri Le Secq. After studying with Delaroche, Nègre
apprenticed briefly with Michel-Martin Drolling and then with Jean-
Auguste-Dominique Ingres, with whom he stayed for a few years
beginning about 1843. Nègre was a talented and respected painter and
regularly participated in the Paris Salon des Beaux-Arts exhibitions in the
1840s and ’50s. Having been encouraged by Delaroche to experiment
with photography, Nègre began working with daguerreotypes (the first
successful form of photography, made on a copper plate), photographing
landscapes as early as 1844. By the late 1840s he had begun to
make calotypes, which, in contrast to daguerreotypes, were made from
lightweight paper negatives, had a shorter exposure time, and could be
endlessly reproduced, whereas the daguerreotype could produce only
one image. His early photographs were made to be used as aids to his
painting, and he often retouched them with pencil or ink to achieve a
desired effect.
 Chimney-Sweeps Walking

Delaroche encouraged the use of photography as research for painting;

Nègre started with the daguerreotype process before moving on to
calotypes. His "Chimney-Sweeps Walking", an albumen print taken on the
Quai Bourbon in 1851, may have been a staged study for a painting, but
is nevertheless considered important to photographic history for its being
an early instance of an interest in capturing movement and freezing it
forever in one moment.

Market Scene at the Port de L’Hotel de Ville, Paris (1851)

In 1851 Nègre became one of the founding members of the Société
Héliographique, the first photographic society, whose members included
photographers, scientists, and intellectuals. His early photographs taken
outside the studio were street scenes that attempted to capture
movement among street vendors, musicians, chimney sweeps, and the
like. He invented a system of multiple lenses that would allow him to
capture motion, which he succeeded in doing in photographs such
as Market Scene at the Port de L’Hotel de Ville, Paris (1851)
and Chimney Sweeps Walking (1851). When Nègre was not chosen by
the government in 1851 to go on a Mission Héliographique—a survey of
the country’s architecture to help determine preservation and restoration
needs—he embarked on his own photographic expedition to the south
of France, where in 1852 he documented the Midi region. He compiled
his many calotypes from that trip into a book, Le Midi de la France: sites
et monuments historiques photographié (1854–55). In 1853 Nègre took a
photograph commonly known as Le Stryge(“The Vampire”). The image,
which has since become an icon of 19th-century photography, captured
his friend Le Secq posing next to a massive gargoyle high above Paris,
atop Notre-Dame Cathedral.

Henri Le Secq and "Le Stryge" on Notre Dame de Paris, photographed by

Nègre in 1853.
Nègre was deeply engaged in the technical aspects of the craft of
photography and became known as a premier maker of heliogravures,
reproductions of drawings or other graphic material with a
photomechanical process invented by Nicéphore Niépce in 1822. He
used the process to create plates for a monograph of his series of
photographs of Chartres Cathedral under renovation. The book won the
highest honours at the Exposition Universelle in Paris in 1855. In 1856
Nègre patented his own heliogravure process that improved upon the one
by Niépce by making the images less prone to fade and less expensive to
produce. Nègre entered his invention in a competition for best
photomechanical reproduction method sponsored by Honoré T.P. Joseph
d’Albert, duc de Luynes, in 1856. Though Nègre did not win the
competition (awarded in 1859), the duke was impressed with Nègre’s
work and commissioned him to use his improved heliogravure technique
to create the plates for a book documenting the duke’s 1864 travels—
Voyage d’exploration à la mer Morte, à Petra, et sur la rive gauche du
Jourdain, 3 vol. (1868–74; “Expedition to the Dead Sea, Petra, and the
Left Bank of the Jordan River”). The high quality of Nègre’s work was also
recognized by Emperor Napoleon III, who in 1858–59 commissioned the
photographer to document the Imperial Asylum in Vincennes, a newly
opened charitable institution for disabled workers. Nègre’s photographs,
striking in their dramatic light-and-dark effects, documented the
institution’s edifice as well as the daily routines of its residents.
Throughout the 1850s and ’60s, Nègre exhibited his photographs widely,
not only in Paris but also in Amsterdam, Brussels, and London. He spent
the last 15 years or so of his life in the south of France, in Midi, teaching
high-school drawing and running a commercial studio in Nice. His artistic
work resurfaced in exhibitions in the 1960s and ’70s, and he has since
been recognized as an early master of photography.

The kitchen at vinecennes,

1860
 GUSTAVE LE GRAY

Jean-Baptiste Gustave Le Gray was born August 30, 1820 and died July
30, 1884.Gustave Le Gray was the central figure in French photography
of the 1850s—an artist of the first order, a teacher, and the author of
several widely distributed instructional manuals. Born the only child of a
haberdasher in 1820 in the outskirts of Paris, Le Gray studied painting in
the studio of Paul Delaroche, and made his first daguerreotypes by at
least 1847. His real contributions—artistically and technically—however,
came in the realm of paper photography, in which he first experimented in
1848. The first of his four treatises, published in 1850, boldly—and
correctly—asserted that “the entire future of photography is on paper.” In
that volume, Le Gray outlined a variation of William Henry Fox Talbot’s
process calling for the paper negatives to be waxed prior to sensitization,
thereby yielding a crisper image.

By the time Le Gray was assigned a Mission Héliographique by the

French government in 1851, he had already established his reputation
with portraits, views of Fontainebleau Forest (2000.13), and Paris scenes
(L.1995.2.264), as well as through his writing. Le Gray’s mission took him
to the southwest of France, beginning with the châteaux of the Loire
Valley, continuing with churches on the pilgrimage route to Santiago de
Compostela (1991.1058), and eventually to the medieval city of
Carcassonne (2005.100.34) just prior to “restoration” of its thirteenth-
century fortifications by Viollet-le-Duc. He traveled with Auguste Mestral,
sometimes photographing sites on Mestral’s Mission list, and at other
times working in collaboration with him.

In the 1852 edition of his treatise, Le Gray wrote: “It is my deepest wish
that photography, instead of falling within the domain of industry, of
commerce, will be included among the arts. That is its sole, true place,
and it is in that direction that I shall always endeavour to guide it. It is up
to the men devoted to its advancement to set this idea firmly in their
minds.” To that end, he established a studio, gave instruction in
photography (fifty of Le Gray’s students are known, including major
figures such as Charles Nègre, Henri Le Secq, Émile Pécarrère, Olympe
Aguado, Nadar, Adrien Tournachon, and Maxime Du Camp), and
provided printing services for negatives by other photographers.

Flush with success and armed with 100,000 francs capital from the
marquis de Briges, he established “Gustave Le Gray et Cie” in the fall of
1855 and opened a lavishly furnished portrait studio at 35 boulevard des
Capucines (a site that would later become the studio of Nadar and the
location of the first Impressionist exhibition). L’Illustration, in April 1856,
described the opulence intended to match the tastes and aspirations of
Le Gray’s clientele: “From the center of the foyer, whose walls are lined
with Cordoba leather … rises a double staircase with spiral balusters,
draped with red velvet and fringe, leading to the glassed-in studio and a
chemistry laboratory. In the salon, lighted by a large bay window
overlooking the boulevard, is a carved oak armoire in the Louis XIII style
… Opposite over the mantelpiece, is a Louis-XIV-style mirror … [and]
various ptgs arranged on the rich crimson velvet hanging that serves as
backdrop … Lastly on a Venetian table of richly carved and gilded wood,
in mingled confusion with Flemish plates of embossed copper and
Chinese vases, are highly successful test proofs of the eminent
personages who have passed before M. Le Gray’s lens … However, the
principal merit of the establishment is the incomparable skill of the artist
….”

Despite a steady stream of wealthy clients, the construction and lavish

furnishing of his studio ran up huge debts. Perhaps in an attempt to
alleviate these financial problems, or perhaps because he enjoyed the
artistic challenges of landscape more than the routine of studio
portraiture, Le Gray produced some of his most popular and memorable
works in 1856, 1857, and 1858—further views of Fontainebleau Forest
(1987.1011; now with glass negatives and albumen silver prints), and a
series of dramatic and poetic seascapes that brought international
acclaim. Despite critical praise and apparent commercial success (one
1857 review cited 50,000 francs in orders for seascapes), Le Gray was, in
truth, a better artist than businessman. Nadar wrote that by 1859, Le
Gray’s financial backers were “manifesting a degree of agitation and the
early signs of fatigue at always paying out and never receiving”; they
accused him of drawing more personal income than allowed under
contract, paying no interest on his loans, and refusing to open his books
for inspection. The portrait business was threatened, too, by the
popularity of the new carte-de-visite, small, mass-produced portraits that
were far cheaper to buy than Le Gray’s grand productions. Again, Nadar
writes that “Le Gray could not resign himself to turn his studio into a
factory; he gave up.” On February 1, 1860, Gustave Le Gray et Cie was
dissolved.
At the age of forty, Le Gray closed his studio, abandoned his wife and
children, and fled the country to escape his creditors. He joined Alexandre
Dumas, setting sail from Marseille on May 9, 1860, “to see,” in Dumas’
words, “places famous in history and myth … the Greece of Homer, of
Hesiod, of Aeschylus, and of Augustus; the Byzantium of the Latin Empire
and the Constantinople of Mahomed; the Syria of Pompey, of Caesar, of
Crassus; the Judea of Herod and of Christ; the Palestine of the Crusades;
the Egypt of the Pharaohs, of Ptolemy, of Cleopatra, of Mahomed, of
Bonaparte … to raise the dust of a few ancient civilizations.” For Le Gray,
the voyage provided both an escape and new subjects to photograph. En
route to the East, Dumas detoured to aid Garibaldi in his Italian nationalist
struggle by returning to Marseille to collect a boatload of arms. Le Gray
photographed Garibaldi and the barricaded streets of Palermo. After
being abandoned in Malta following a conflict with Dumas two months into
the voyage, Le Gray eventually made his way to Lebanon and finally
Egypt. There he spent the last twenty years of his life as a photographer
and as a drawing tutor to the sons of the pasha. He never returned to
France.

Gallery:
Architecture and landscapes

Palermo (1860) Tour Saint-Jacques (1859)

Central portal of the Church of Saint- Train station with train and coal depot,
Jacques, Aubeterre, France (1851). digitally restored
Cloudy Sky - Mediterranean Sea Bateaux quittant le port du Havre
(1855/1856)

The Great Wave, Sète Seascape with Sailing Ship

and Tugboat

Forest of Fontainbleau Waterfront village

(circa 1856) (Uzerche)
 Portraits

Henri Le Secq (1848) General István Türr

(1860)

Empress Eugenie (1856) Camel transporting artillery, Egypt

(1866)
Alexandre Dumas (1860) Napoléon Louis de Méneval

Louis-Napoléon (1852) Victor Cousin

 ROGER FENTON

Roger Fenton (28 March 1819 – 8 August 1869) was a pioneering

British photographer, one of the first war photographers. Fenton was
born in Crimble Hall, Rochdale, Lancashire, on 28 March 1819. His
grandfather was a wealthy cotton manufacturer and banker, his father a
banker and Member of Parliament.[ Fenton was the fourth of seven
children by his father's first marriage. His father had 10 more children by
his second wife.
In 1838 Fenton went to the University of Oxford where he graduated in
1840 with a "first class" Bachelor of Arts degree, having read English,
mathematics, Greek and Latin. In 1841, he began to read law
at University College, evidently sporadically as he did not qualify as a
solicitor until 1847, partly because he had become interested in learning
to be a painter. In Yorkshire in 1843 Fenton married Grace Elizabeth
Maynard, presumably after his first sojourn in Paris (his passport was
issued in 1842) where he may briefly have studied painting in the studio
of Paul Delaroche. When he registered as a copyist in the Louvre in 1844
he named his teacher as the history and portrait painter Michel Martin
Drolling, who taught at the École nationale supérieure des Beaux-Arts,
but Fenton's name does not appear in the school records. By 1847
Fenton had returned to London where he continued to study painting
under the tutelage of the history painter Charles Lucy, who became his
friend and with whom, starting in 1850, he served on the board of the
North London School of Drawing and Modelling. In 1849, 1850 and 1851
he exhibited paintings in the annual exhibitions of the Royal Academy.
Fenton visited the Great Exhibition in Hyde Park in London in 1851 and
was impressed by the photography on display there. He then visited Paris
to learn the waxed paper calotype process, most likely from Gustave Le
Gray who had modified the methods employed by William Henry Fox
Talbot, its inventor. By 1852 he had photographs exhibited in Britain, and
travelled to Kiev, Moscow and St. Petersburg, and also photographed
views and architecture around Britain. His published call for the setting up
of a photographic society was answered in 1853 with the establishment of
the Photographic Society, with Fenton as founder and first Secretary. It
later became the Royal Photographic Society under the patronage of Prince
Albert.
It is likely that in autumn 1854, as the Crimean War grabbed the attention
of the British public, that some powerful friends and patrons - among
them Prince Albert and Duke of Newcastle, Secretary of State for War -
urged Fenton to go to the Crimea to record the happenings. He set off
aboard HMS Hecla in February, landed at Balaklava on 8 March and
remained there until 22 June. The resulting photographs may have been
intended to offset the general unpopularity of the war among the British
people, and to counteract the occasionally critical reporting of
correspondent William Howard Russell of The Times. The photographs
were to be converted into woodblocks and published in the less
critical Illustrated London News. Fenton took Marcus Sparling as his
photographic assistant, a servant known as William and a large horse-
drawn van of equipment.

Marcus Sparling seated on Fenton's photographic van, Crimea, 1855.

Due to the size and cumbersome nature of his photographic equipment,
Fenton was limited in his choice of motifs. Because the photographic
material of his time needed long exposures, he was only able to produce
pictures of stationary objects, mostly posed pictures; he avoided making
pictures of dead, injured or mutilated soldiers. But he also photographed
the landscape, including an area near to where the Charge of the Light
Brigade - made famous in Tennyson's poem - took place. In letters home
soldiers had called the original valley "The Valley of Death", and
Tennyson's poem used the same phrase, so when in September 1855
Thomas Agnew put the picture on show, as one of a series of eleven
collectively titled Panorama of the Plateau of Sebastopol in Eleven
Parts in a London exhibition, he took the troops'—and Tennyson's—
epithet, expanded it as The Valley of the Shadow of Death with its
deliberate evocation of Psalm 23, and assigned it to the piece; it is not the
location of the famous charge, which took place in a long, broad valley
several miles to the south-east.

Versions of Valley of the Shadow of Death, with and without

cannonballs on the road.

In 2007 filmmaker Errol Morris went to Sevastopol to identify the site of

this "first iconic photograph of war". He identified the small valley, shown
on a later map as "The Valley of the Shadow of Death", as the place
where Fenton had taken his photograph (see right). Two pictures were
taken of this area, one with several cannonballs on the road, the other
with an empty road. Hitherto opinions differed concerning which one was
taken first but Morris spotted evidence that the photo without the
cannonballs was taken first. He remains uncertain about why balls were
moved onto the road in the second picture—perhaps, he notes, Fenton
probably deliberately placed them there to enhance the image. The
alternative is that soldiers were gathering up cannonballs for reuse and
they threw down balls higher up the hill onto the road and ditch for
collection later. Other art historians, such as Nigel Spivey of Cambridge
University, identify the images as from the nearby Woronzof Road. This is
the location accepted by the local tour guides.
Despite summer high temperatures, breaking several ribs in a fall,
suffering from cholera and also becoming depressed at the carnage he
witnessed at Sevastopol, in all Fenton managed to make over 350 usable
large format negatives. An exhibition of 312 prints was soon on show in
London and at various places across the nation in the months that
followed. Fenton also showed them to Queen Victoria and Prince
Albert and also to Emperor Napoleon III in Paris. Nevertheless, sales
were not as good as expected.

Gallery:

Hunter and his Entourage Cossack Bay, Balaklava, 1855

in Balmoral, 1856
 Officers of the 71st Highlanders, Orientalist Study of a Woman,
1856 1858

Sturdy Cannon and Fortifications, Gentleman in Eastern Costume with

Crimea Nubian Model, 1858
Interior- Tintern Abbey, c. 1862 Head of Harbour, Balaklava, 1856

Roger Fenton in Volunteer's The Billiard Room, Mentmore,

Uniform, 1860 1858
 WILLIAM HENRY FOX TALBOT

William Henry Fox Talbot (11 February 1800 – 17 September 1877) was
a British scientist, inventor and photography pioneer who invented
the salted paper and calotype processes, precursors to photographic
processes of the later 19th and 20th centuries. His work in the 1840s on
photomechanical reproduction led to the creation of the photoglyphic
engraving process, the precursor to photogravure. He was the holder of a
controversial patent which affected the early development of commercial
photography in Britain. He was also a noted photographer who
contributed to the development of photography as an artistic medium. He
published The Pencil of Nature(1844–46), which was illustrated with
original salted paper prints from his calotype negatives, and made some
important early photographs of Oxford, Paris, Reading, and York. He was
elected to the Royal Society in 1831 for his work on the integral calculus,
and researched in optics, electricity and other subjects such
as etymology and ancient history.
Constance Talbot (née Mundy, 30 January 1811 – 9 September 1880)
was from 1832 the wife of William Henry Fox Talbot, one of the key
players in the development of photography in the 1830s and 1840s. She
herself briefly experimented with the process as early as 1839 and has
been credited as the first woman ever to take a photograph – a hazy
image of a short verse by the Irish poet Thomas Moore.
 Constance Fox Talbot, circa 1840,
photograph by William Henry Fox Talbot
Talbot was the only child of William Davenport Talbot, of Lacock Abbey,
near Chippenham, Wiltshire, and of Lady Elizabeth Fox Strangways,
daughter of the 2nd Earl of Ilchester. His governess was Agnes
Porter who had also educated his mother. Talbot was educated
at Rottingdean, Harrow School and at Trinity College, Cambridge, where
he was awarded the Porson Prize in Classics in 1820, and graduated as
twelfth wrangler in 1821. From 1822 to 1872, he communicated papers to
the Royal Society, many of them on mathematical subjects. At an early
period, he began optical researches, which later bore fruit in connection
with photography. To the Edinburgh Philosophical Journal in 1826 he
contributed a paper on "Some Experiments on Coloured Flame"; to
the Quarterly Journal of Science in 1827 a paper on "Monochromatic
Light"; and to the Philosophical Magazine papers on chemical subjects,
including one on "Chemical Changes of Colour.”
At the same time as Frenchmen Niepce and Daguerre were
experimenting with early techniques of image capture, William Henry Fox
Talbot, was researching the same field, but via a different route. And
although Daguerre was the first to announce his process to the world, it
was Talbot’s invention that was to form the basis of all photography up
until the introduction of electronic imaging.
 Latticed window at Lacock Abbey, August 1835. A positive from what
may be the oldest existing camera negative.

Talbot invented a process for creating reasonably light-fast and

permanent photographs that was the first made available to the public;
however, his was neither the first such process invented nor the first one
publicly announced. However, it was the most important because it
allowed multiple copies of a given image to be made from negative prints.
In 1839, the success of the daguerreotype process in France gave Talbot
a fresh impetus. At this stage, the daguerreotypes appeared to have a
brighter future, as the images were much more refined and detailed than
salt prints. However, Talbot discovered that, by using iodised paper and
brushing it with gallic acid after exposure, the “latent” image was
“developed” and a negative produced. A positive could then be made by
contact-printing onto salted paper. He called his new process the
“calotype” and patented it in 1841.
 Horatia Feilding, half-sister of Talbot, playing the harp, c. 1842

Talbot asserted priority of invention based on experiments he had begun

in early 1834. At a meeting of the Royal Institution on 25 January 1839,
Talbot exhibited several paper photographs he had made in 1835. Within
a fortnight, he communicated the general nature of his process to the
Royal Society, followed by more complete details a few weeks later.
Daguerre did not publicly reveal any useful details until mid-August,
although by the spring it had become clear that his process and Talbot's
were very different.

The "calotype", or "talbotype", was a "developing out" process, Talbot's

improvement of his earlier photogenic drawing process by the use of a
different silver salt (silver iodide instead of silver chloride) and a
developing agent (gallic acid and silver nitrate) to bring out an invisibly
slight "latent" image on the exposed paper. This reduced the required
exposure time in the camera to only a minute or two for subjects in bright
sunlight. The translucent calotype negative made it possible to produce
as many positive prints as desired by simple contact printing, whereas
the daguerreotype was an opaque direct positive that could only be
reproduced by copying it with a camera. On the other hand, the calotype,
despite waxing of the negative to make the image clearer, still was not
pin-sharp like the metallic daguerreotype, because the paper fibres
blurred the printed image. The simpler salted paper process was normally
used when making prints from calotype negatives.

Transport of the colossal statue of ‘Bavaria’ from the

foundry to its present state in Munich. Calotype, 1850
 Photoglyptic gravure image of plants (c.1860)
Talbot announced his calotype process in 1841, and in August he
licensed Henry Collen, the miniature painter, as the first professional
calotypist. The most celebrated practitioners of the process were Hill &
Adamson. Another notable calotypist was Levett Landon Boscawen
Ibbetson.
Talbot’s work was greatly assisted by the astronomer and chemist. Sir
John Herschel, who advised Talbot that, by waxing the paper negative, its
improved transparency would aid production of a superior positive print.
Most importantly, Herschel had discovered that sodium thiosulphate
(hypo) would dissolve silver salts and could be used to remove the
undeveloped silver halide from the printing, rendering it permanent.
Thus were established the principles from which all photography would
follow: a scene is focused and exposed onto light-sensitive material in a
camera and a latent image formed, which is then chemically developed.
The resulting “negative” can then be used to make countless identical
“positive” prints. It is for that reason, in particular, that Talbot is widely
considered to be the father of photography.
In 1842, Talbot received the Rumford Medal of the Royal Society for his
photographic discoveries.
In 1852, Talbot discovered that gelatine treated with potassium
dichromate, a sensitiser introduced by Mungo Ponton in 1839, is made
less soluble by exposure to light. This later provided the basis for the
important carbon printing process and related technologies. Dichromated
gelatine is still used for some laser holography.
Talbot's later photographic work was concentrated on photomechanical
reproduction methods. In addition to making the mass reproduction of
photographic images more practical and much less expensive, rendering
a photograph into ink on paper, known to be permanent on a scale of
hundreds if not thousands of years, was clearly one sure way to avoid the
problems with fading that had soon become apparent in early types of
silver image paper prints. Talbot created the photoglyphic (or
"photoglyptic") engraving process, later perfected by others as
the photogravure process.

Photoglyptic image of plants by Talbot

Daguerre's work on his process had commenced at about the same time
as Talbot's earliest work on his salted paper process. In 1839, Daguerre's
agent applied for English and Scottish patents only a matter of days
before France, having granted Daguerre a pension for it, declared his
invention "free to the world". The United Kingdom and the British
"Colonies and Plantations abroad" therefore became the only places
where a licence was legally required to make and sell daguerreotypes.
This exception is now usually regarded as both an expression of old
national animosities, still smouldering just 24 years after Waterloo, and a
reaction to Talbot's patent. Talbot never attempted to patent any part of
his printed-out silver chloride "photogenic drawing" process and his
calotype patent was not registered in Scotland.

In February 1841, Talbot obtained an English patent for his developed-out

calotype process. At first, he sold individual patent licences for £20 each;
later, he lowered the fee for amateur use to £4. Professional
photographers, however, had to pay up to £300 annually. In a business
climate where many patent holders were attacked for enforcing their
rights, and an academic world that viewed the patenting of new
discoveries as a hindrance to scientific freedom and further progress,
Talbot's behaviour was widely criticised. On the other hand, many
scientists supported his patent and they gave expert evidence in later
trials. In addition, the calotype method was free for scientific uses, an
area which Talbot himself pioneered, such as photomicrography. One
reason Talbot later gave for vigorously enforcing his rights was that he
had spent, according to his own reckoning, about £5,000 on his various
photographic endeavours over the years and wanted to at least recoup
his expenses.
He died on 17th september 1877 at Laycock Abbey, England.

The keeper of Lacock Abbey, c. 1845 Carpenters at work

 UNIT-3
THE GELATIN EMULSION
Photographic emulsion is a light-sensitive colloid used in film-based
photography. Most commonly, in silver-gelatin photography, it consists of
silver halide crystals dispersed in gelatin. The emulsion is usually coated
onto a substrate of glass, films (of cellulose nitrate, cellulose acetate or
polyester), paper, or fabric.
The gelatin silver process was introduced by Richard Leach Maddox in
1871 with subsequent considerable improvements in sensitivity obtained
by Charles Harper Bennett in 1878.Gelatin silver print paper was made as
early as 1874 on a commercial basis, but it was poor quality because the
dry-plate emulsion was coated onto the paper only as an afterthought.
Coating machines for the production of continuous rolls of sensitized
paper were in use by the mid-1880s, though widespread adoption of
gelatin silver print materials did not occur until the 1890s. The earliest
papers had no baryta layer, and it was not until the 1890s that baryta
coating became a commercial operation, first in Germany, in 1894, and
then taken up by Kodak by 1900.Although the baryta layer plays an
important part in the manufacture of smooth and glossy prints, the baryta
paper of the 1890s did not produce the lustrous or glossy print surface
that became the standard for fine art photography in the twentieth
century. Matting agents, textured papers, and thin baryta layers that were
not heavily calendaring produced a low-gloss and textured appearance.
The higher gloss papers first became popular in the 1920s and 30s as
photography transitioned from pictorialism into modernism,
photojournalism, and “straight” photography. Research over the last 125
years has led to current materials that exhibit low grain and high
sensitivity to light.
Photographic emulsion is not a true emulsion, but a suspension of
solid particles (silver halide) in a fluid (gelatin in solution). However, the
word emulsion is customarily used in a photographic context. Gelatin or
gum arabic layers sensitized with dichromate used in the dichromated
colloid processes carbon and gum bichromate are sometimes called
emulsions. Some processes do not have emulsions, such as platinum,
cyanotype, salted paper, or kallitype.
Photographic emulsion is a fine suspension of insoluble light-sensitive
crystals in a colloid sol, usually consisting of gelatin. The light-sensitive
component is one or a mixture of silver halides: silver bromide, chloride
and iodide. The gelatin is used as a permeable binder, allowing
processing agents (e.g., developer, fixer, toners, etc.) in aqueous solution
to enter the colloid without dislodging the crystals. Other polymer
macromolecules are often blended, but gelatin has not been entirely
replaced. The light-exposed crystals are reduced by the developer to
black metallic silver particles that form the image. Colour films and papers
have multiple layers of emulsion, made sensitive to different parts of the
visible spectrum by different colour sensitizers, and incorporating different
dye couplers which produce superimposed yellow, magenta and cyan dye
images during development. Panchromatic black-and-white film also
includes colour sensitizers, but as part of a single emulsion layer.
A solution of silver nitrate is mixed into a warm gelatin solution containing
potassium bromide, sodium chloride or other alkali metal halides. A
reaction precipitates fine crystals of insoluble silver halides that are light-
sensitive. The silver halide is actually being 'peptized' by the gelatin. The
type and quantity of gelatin used influences the final emulsion properties.
A pH buffer, crystal habit modifier, metal dopants, ripener, ripening
restrainer, surfactants, defoamer, emulsion stabilizer and biocide are also
used in emulsion making.
Most modern emulsions are "washed" to remove some of the reaction by-
products (potassium nitrate and excess salts). The "washing" or desalting
step can be performed by ultrafiltration, dialysis, coagulation (using
acylated gelatin), or a classic noodle washing method.
Emulsion making also incorporates steps to increase sensitivity by using
chemical sensitizing agents and sensitizing dyes.
 MASTERS OF PHOTOGRAPHY
MATHEW B. BRADY

Mathew Brady, also called Mathew B. Brady, born c. 1823, near Lake
George, New York, U.S.—died January 15, 1896, New York, well-known
19th-century American photographer who was celebrated for his portraits
of politicians and his photographs of the American Civil War.
Brady was born to Irish immigrant parents and moved to New York at the
age of 17. By the time he was 23, he owned his own portrait studio and
was exhibiting his daguerreotypes of famous Americans. In 1849, he
opened a studio in Washington; it was a profitable time for portrait studios
and the small portrait prints, known as cartes de visites, were extremely
popular.
Mathew Brady is often referred to as the father of photojournalism and is
most well-known for his documentation of the Civil War. His photographs,
and those he commissioned, had a tremendous impact on society at the
time of the war, and continue to do so today. He and his employees
photographed thousands of images including battlefields, camp life, and
portraits of some of the most famous citizens of his time including
Abraham Lincoln and Robert E. Lee.
Brady was born in Warren County, New York in the early 1820’s to Irish
immigrants, Andrew and Julia Brady. Little is known about his early life,
but historians believe that during a trip to the Albany area, in search of a
cure for an eye inflammation, he met portrait painter William Page. It is
also believed that through William Page, Brady met Samuel F.B. Morse.
Morse, a professor of art, painting, and design at New York University
and the inventor of the telegraph likely tutored Brady in the newly
developed technology of daguerreotype, the process of creating a mirror
image on a silver-surfaced copper plate.
After moving to New York City, Brady began manufacturing cases for
daguerreotypes, jewelry, and painted miniature portraits. He worked to
build his skill and his reputation, opening, "The Daguerreian Miniature
Gallery" on Broadway in 1844. Well known and accomplished in his
profession, Brady won the highest award at the American Institute’s
annual fair in 1844, 1845, 1846, 1849, and 1857, during which time he
also began photographing well known Americans such as Edgar Allan
Poe and James Fenimore Cooper.
 Scan of a photo-plate
titled Agnew by Brady.

Brady opened a studio in Washington DC and began making

daguerreotypes of prominent politicians such as Henry Clay, Daniel
Webster, John C. Calhoun, Zachary Taylor, and Millard Fillmore. In 1850
he published "The Gallery of Illustrious Americans," which sold for $15,
equivalent to about $400 today. In 1851 Brady won medals at the Fair of
All Nations in London and at New York’s Industrial Exhibition at Crystal
Palace for his daguerreotypes.

Soldier guarding arsenal

Washington, D.C., 1862
At the outbreak of the Civil War, Brady sought to create a comprehensive
photo-documentation of the war. At his own expense, he organized a
group of photographers and staff to follow the troops as the first field-
photographers. Brady supervised the activities of the photographers,
including Timothy H. Sullivan, Alexander Gardner, and James F. Gibson,
preserved plate-glass negatives, and bought from private photographers
in order to make the collection as complete as possible. Brady and his
staff photographed many images of the Civil War including the Fist Battle
of Bull Run, Antietam, and Gettysburg.
In 1862 Brady shocked the nation when he displayed the first
photographs of the carnage of the war in his New York Studio in an
exhibit entitled "The Dead of Antietam." These images, photographed by
Alexander Gardner and James F. Gibson, were the first to picture a
battlefield before the dead had been removed and the first to be
distributed to a mass public. These images received more media attention
at the time of the war than any other series of images during the rest of
the war A New York Times article in October, 1862, illustrates the
impression these images left upon American culture stating, "Mr. Brady
has done something to bring home to us the terrible reality and
earnestness of war. If he has not brought bodies and laid them in our
door-yards and along the streets, he has done something very like it…"
By the end of the war Brady had accumulated serious debt in hopes of
selling his collection to the New York Historical Society; however, the deal
fell through. Fortunately for the American public Brady sold his collection
to the United States government in 1875 for $25,000, just enough to pay
off the debt he had accrued.
Following the war Brady continued to work in Washington DC with his
nephew Levin Handy, who was also a photographer. In 1895 Brady
suffered two broken legs as a result of a traffic accident. Having never
fully recovered, Brady died on January 16, 1896 in New York. His funeral
was financed by the New York 7th Regiment Veterans Association. Brady
is buried beside his wife in Congressional Cemetery in Washington DC.
After training with the artist William Page and the artist and inventor
Samuel F.B. Morse, Brady began to make daguerreotype cases and
frames and then opened his first daguerreotype studio in New York City in
1844, a second in Washington, D.C., four years later, and a third, larger
gallery, also in New York, in 1852.
His first New York portrait studio was highly publicized, and in 1845 Brady
began to carry out his plan to photograph as many famous people of his
time as he could—including Daniel Webster, Edgar Allan Poe, and James
Fenimore Cooper. Brady compiled many of his portraits in A Gallery of
Illustrious Americans (1850), an album of lithographs based on his
daguerreotypes that gained him and his studios fame at home and
abroad. Brady had an extensive personal collection of presidential
portraits: except for William Henry Harrison, who died only a month after
his inauguration, Brady created, copied, or collected the photographs of
every U.S. president from John Quincy Adams to William McKinley.
At the outbreak of the American Civil War in 1861, Brady decided to make
a complete record of that conflict. He hired a staff of about 20
photographers, the best known of whom were Alexander Gardner and
Timothy H. O’Sullivan, and dispatched them throughout the war zones.
Since Brady refused to give individual credit to photographers, a number
of them, including Gardner and O’Sullivan, left his employ. Brady’s main
activities in the endeavour involved organizing and supervising the
operation of his employees and studios; he himself probably
photographed only occasionally on such battlefields as Bull Run,
Antietam, and Gettysburg.
 The Civil War project ruined Brady financially. He had invested
$100,000 in it and had bought supplies on credit, confident that the
government would buy his photographs after the war ended. He
expected the US government to buy the photographs when the war
ended. When the government refused to do so he was forced to sell his
New York City studio in 1873 and go into bankruptcy. He was unable to
pay the storage bill for his negatives, which the War Department finally
bought at public auction for $2,840. Through the efforts of his friends in
government, Brady was finally granted $25,000 by Congress in 1875, but
he never regained financial solvency. The public was unwilling to dwell on
the gruesomeness of the war after it had ended, and so private collectors
were scarce. Depressed by his financial situation and loss of eyesight,
and devastated by the death of his wife in 1887, he died penniless in the
charity ward of Presbyterian Hospital in New York City on January 15,
1896, from complications following a streetcar accident.
Brady's funeral was financed by veterans of the 7th New York Infantry.
He was buried in the Congressional Cemetery in Washington, D.C.
Levin Corbin Handy, Brady's nephew by marriage, took over Brady's
photography business after his death.
 NADAR

Gaspard-Félix Tournachon (6 April 1820 – 20 March 1910), known by the

pseudonym Nadar, was a French photographer, caricaturist, journalist,
novelist, and balloonist (or, more accurately, proponent of manned flight).
Ringmaster, publicist, and performer in a highly theatrical life, the
legendary Nadar wore many hats—those of journalist, bohemian, left-
wing agitator, playwright, caricaturist, and aeronaut. He had success in all
these roles, but what he did best was collect a pantheon of friends whom
he honored with his generous and perceptive photographic portraits.
Born Gaspard-Félix Tournachon in 1820, the son of a liberal publisher,
Nadar grew up in Paris in the heady ferment of Romanticism. Alexandre
Dumas, Victor Hugo, and Eugène Delacroix were his early heroes;
Gérard de Nerval, Théophile Gautier, and Charles Baudelaire his
maturing friends. Nadar’s imagination, wit, and spontaneity, like his
passion for the colorful, unconventional, and free, were tendencies
shared with both generations of Romantic writers and artists. That these
qualities are also natural to youth is appropriate, for the epoch was
modernity’s first act, a time when self-expression was a principled
achievement and a serious artist could construct an identity on an
adolescent nickname blazoned like a banner.
Early in 1854, a banker friend proposed backing Nadar in a portrait
photography business. Photography was just then perceived to be a
lucrative affair; the new collodion-on-glass negatives produced portraits
as sharp as daguerreotypes, but more easily and in multiple copies.
Overcommitted to his activities as a caricaturist, Nadar persuaded his
younger brother Adrien Tournachon—a lackluster portrait painter
frequently on his dole—to be the principal operator. After paying for his
photography lessons with Gustave Le Gray, Nadar was brushed off by
Adrien, who opened the studio alone.
Pushing Adrien into photography, however, had piqued Nadar’s own
interest in the camera—initially, perhaps, as a rapid sketching tool for
caricatures. He installed a darkroom in his garden apartment at 113
rue Saint-Lazare, and tried out the new technique on friends who came to
visit. Meanwhile, Adrien, lax and disorganized, was floundering. In
September 1854, he convinced Nadar, recently married and over his ears
in debt, to help save his business on the boulevard. “I gave it everything I
could,” Nadar wrote, “work, money [6,000 francs of his wife’s dowry],
personal relations, and my pseudonym, which followed me.”

Nadar transformed Adrien’s languishing studio overnight, and his bustling

activity dominated the business until January 16, 1855, when the brothers
quarrelled and split. Adrien insisted on continuing to call himself Nadar
jeune (Nadar the Younger), while Nadar maintained that his name, which
he had made famous, was his alone to use. After more than a year of
vain negotiations to reclaim exclusive rights to his moniker, Nadar finally
took Adrien to court. The suit and the rivalry it cloaked dragged on for
three years, until 1859, during which time Nadar made his finest portraits,
always working at home in a relaxed and personal manner, and
exclusively with friends or celebrities—of his aesthetic and political
persuasion, of course—whom he invited to the rue Saint-Lazare studio.
The sympathetic quality of Nadar’s attention, his seductive energy, his
jokes and stories, all served his photography, which he understood to be
a private theatre of personality, a stage for intimate, extemporaneous,
collaborative performances between himself and his trusted companions.

In preparing his suit against his brother, Nadar explained why he was a
master of this subtle intuitive art. “What can [not] be learned … is the
moral intelligence of your subject; it’s the swift tact that puts you in
communion with the model, makes you size him up, grasp his habits and
ideas in accordance with his character, and allows you to render, not an
indifferent plastic reproduction that could be made by the lowliest
laboratory worker, commonplace and accidental, but the resemblance
that is most familiar and most favourable, the intimate resemblance. It’s
the psychological side of photography—the word doesn’t seem overly
ambitious to me.”

Meanwhile, Adrien blustered and faltered. When Nadar won the last
appeal in June 1859, his younger brother was no longer even the
semblance of a threat. Always unstable, but now demoralized and
bankrupt as well, Adrien lived on Nadar’s charity and in his shadow for
the rest of his fruitless life.

In 1860, Nadar moved from his cozy garden apartment and studio to a
huge atelier in the building his friends Gustave Le Gray and the Bisson
brothers had just vacated at 35 Boulevard des Capucines. The rent was
astronomical and the lavish reconstruction ruinous, but Nadar’s
expenditures bought the triumph of his name—a gigantic signature
scrawled on the glass facade of his palace and in the consciousness of
the public.

Now the preeminent portrait emporium in Paris, Nadar’s atelier attracted

the bourgeois clientele of the boulevard. But with rare exceptions, as
when George Sand or Sarah Bernhardt came for a sitting, Nadar left the
operation to the staff, and eventually to his son Paul. He had already
portrayed what was notable in his epoch and now shifted to a pursuit of
the future. He photographed underground with artificial light, encouraged
the development of aerial navigation, and flew the biggest balloon ever
built, the Géant. After more or less retiring in 1873, and until his death in
1910, Nadar recycled his continuing passions and past escapades in
several volumes of picturesque memoirs.
Nadar had a taste for the bizarre, and in 1861 he was provided with a chance
made-to-order workmen in the Paris sewers uncovered thousands of human
skulls and bones stacked neatly along the walls of the early Christian
catacombs. Nadar descended into this subterranean world and used the fiery
glow from ignited magnesium wire to take the eerie photograph.
 JULIA MARGARET CAMERON

Julia Margaret was born on 11 June 1815, died 26 January 1879. She
was an English photographer known for her portraits of eminent people of
the day and for her romantic pictures which, despite their technical
imperfections, stands the fest of time.

Seen with historical perspective, it is clear that Cameron possessed an In

December 1863, little more than a year after Roger Fenton retired from
photography and sold his equipment, Julia Margaret Cameron received
her first camera. It was a gift from her daughter and son-in-law, given with
the words “It may amuse you, Mother, to try to photograph during your
solitude at Freshwater.” Cameron was forty-eight, a mother of six, and a
deeply religious, well read, somewhat eccentric friend of many of
Victorian England’s greatest minds: the painter G. F. Watts; the poets
Robert Browning, Henry Taylor, and Alfred Lord Tennyson, her neighbour
at Freshwater on the Isle of Wight; the scientists Charles Darwin and Sir
John Herschel; and the historian and philosopher Thomas Carlyle. In the
decade that followed the gift, the camera became far more than an
amusement to her: “From the first moment I handled my lens with a
tender ardour,” she wrote, “and it has become to me as a living thing, with
voice and memory and creative vigour.” Her mesmerizing portraits and
figure studies on literary and biblical themes were unprecedented in her
time and remain among the most highly admired of Victorian
photographs. The gift of the camera in December 1863 came at a
moment when her husband Charles was in Ceylon attending to the
family’s coffee plantations, when their sons were grown or away at
boarding school, and when their only daughter, Julia, had married and
moved away. Photography became Cameron’s link to the writers, artists,
and scientists who were her spiritual and artistic advisors, friends,
neighbours, and intellectual correspondents. “I began with no knowledge
of the art,” she wrote. “I did not know where to place my dark box, how to
focus my sitter, and my first picture I effaced to my consternation by
rubbing my hand over the filmy side of the glass.” No matter. She was
indefatigable in her efforts to master the difficult steps in producing
negatives with wet collodion on glass plates. Although she may have
taken up photography as an amateur and sought to apply it to the noble
non- commercial aims of art, she immediately viewed her activity as a
professional one, vigorously copyrighting, exhibiting, publishing, and
marketing her photographs. Within eighteen months she had sold eighty
prints to the Victoria and Albert Museum, established a studio in two of its
rooms, and made arrangements with the West End print seller Colnaghi
to publish and sell her photographs.
Cameron had no interest in establishing a commercial studio, however,
and never made commissioned portraits. Instead, she enlisted friends,
family, and household staff in her activities, often costuming them as if for
an amateur theatrical, aiming to capture the qualities of innocence, virtue,
wisdom, piety, or passion that made them modern embodiments of
classical, religious, and literary figures. A parlor maid was transformed
into the Madonna, her husband into Merlin, a neighbor’s child into the
infant Christ or, with swan’s wings attached, into Cupid or an angel from
Raphael’s Sistine Madonna. Her artistic goals for photography, informed
by the outward appearance and spiritual content of fifteenth-century
Italian painting, were wholly original in her medium. She aimed for neither
the finish and formalized poses common in the commercial portrait
studios, nor for the elaborate narratives of other Victorian “high art”
photographers such as H. P. Robinson and O. G. Rejlander. Her
aspirations were, she said, “to ennoble Photography and to secure for it
the character and uses of High Art by combining the real and the Ideal
and sacrificing nothing of the Truth by all possible devotion to poetry and
beauty.” As she wrote to Herschel, “I believe in other than mere
conventional topographic photography—map-making and skeleton
rendering of feature and form.”

Alfred Lord Tennyson. Charles Darwin

Carbon print 1869
 Wrapped in a robe, her flowing hair muted against a dark background, Mrs
Cameron’s maid, Mary Hillier, displays her classic profile, her thoughtful
expression suggesting a mood of religious serenity. She was photographed in the
costume of the virgin Mary so frequently that her friends nicknamed her Mary
Madonna.
 EDWARD STEICHEN

Edward Jean Steichen (March 27, 1879 – March 25, 1973) was a
Luxembourgish American photographer, painter, and art gallery and
museum curator. American photographer who achieved distinction in a
remarkably broad range of roles. In his youth he was perhaps the most
talented and inventive photographer among those working to win public
acceptance of photography as a fine art. He went on to gain fame as a
commercial photographer in the 1920s and ’30s, when he created stylish
and convincing portraits of artists and celebrities. He was also a
prominent curator, organizing the hugely influential “Family of Man”
exhibition in 1955.Born in Luxembourg, Steichen and his parents
immigrated to the United States when he was two years old. They settled
in the small city of Hancock, in the Upper Peninsula of Michigan, where
Steichen’s father worked in the copper mines. When his father was
incapacitated by poor health the family moved to Milwaukee, Wisconsin,
where the artist’s mother supported the family as a milliner. Beginning at
age 15, Steichen served a four-year apprenticeship in a lithographic firm.
During the 1890s he independently studied both painting and
photography, applying himself equally, it would seem, to their commercial
and fine-art possibilities, as he understood them.
The obvious way to persuade the public that photography was a fine art
was to produce photographs that emulated the mood, manner, or attitude
of the paintings and prints that the public confidently held to be works of
art. Young Steichen pursued this strategy, known as Pictorialism, with
abandon. Utilizing his training as a painter, in his early photographs he
frequently used the gum-bichromate process in conjunction with platinum
or iron-based emulsions, which allowed him a very high degree of control
over the image and tended to produce pictures with a superficial
resemblance to mezzotints, wash drawings, and other traditional media.
Steichen’s photographs were first exhibited in the Second Philadelphia
Photographic Salon in 1899, and from that point he became a regular
exhibitor, and soon a star, in the shows of photography’s fine-arts
movement.
In 1900, before making the first of many extended trips to Europe,
Steichen met Alfred Stieglitz, who bought three of the young man’s
photographs at the not inconsiderable price of five dollars each. It was the
beginning of a close and mutually rewarding relationship that would last
until 1917. In 1902 Stieglitz invited Steichen to join him and other
photographers, including Clarence H. White and Gertrude Käsebier, in
founding the Photo-Secession, an organization dedicated to promoting
photography as a fine art.
Steichen became closely involved with many of Stieglitz’s endeavours
during the next 15 years. In 1905 Stieglitz opened his first gallery,
originally called the Little Galleries of the Photo-Secession but better
known as 291, named after its address at 291 Fifth Avenue. Steichen
served as the gallery’s French connection. Using the contacts he had
made in Europe—many of whom he had memorably photographed—he
became principally responsible for arranging the exhibitions of French
Modernist art that were held at 291, including the work of Auguste Rodin
(drawings) in 1908, Henri Matisse in 1908, and Paul Cézanne in 1910.
Such shows were often the first presentations in America of the work of
these artists. Concurrently, during the 14-year existence of Stieglitz’s
Photo-Secessionist magazine, Camera Work, it reproduced more pictures
by Steichen—68—than by any other photographer. (Stieglitz himself was
second with 51.
Chamorro girls from Guam, photographed by Steichen in 1945.

West 86th street New York, 1922.

 MAN RAY

Man Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18,
1976) was an American visual artist who spent most of his career in
France. He was a significant contributor to the Dada and Surrealist
movements, although his ties to each were informal. He produced major
works in a variety of media but considered himself a painter above all. He
was best known for his photography, and he was a renowned fashion and
portrait photographer. Man Ray is also noted for his work with
photograms, which he called "rayographs" in reference to himself.
During his career as an artist, Man Ray allowed few details of his early life
or family background to be known to the public. He even refused to
acknowledge that he ever had a name other than Man Ray.
 Rayograph, 1924

Man Ray was born as Emmanuel Radnitzky in South Philadelphia,

Pennsylvania, US, in 1890. He was the eldest child of Russian Jewish
immigrants Max, a tailor, and Minnie Radnitzky. He had a brother, Sam,
and two sisters, Dora and Essie, the youngest born in 1897 shortly after
they settled in the Williamsburg neighbourhood of Brooklyn, New York. In
early 1912, the Radnitzky family changed their surname to Ray. Man
Ray's brother chose the surname in reaction to the ethnic discrimination
and anti-Semitism prevalent at the time. Emmanuel, who was called
"Manny" as a nickname, changed his first name to Man and gradually
began to use Man Ray as his combined single name.
 Man Ray's father worked in a garment factory and ran a small tailoring
business out of the family home. He enlisted his children to assist him
from an early age. Man Ray's mother enjoyed designing the family's
clothes and inventing patchwork items from scraps of fabric. Man Ray
wished to disassociate himself from his family background, but their
tailoring left an enduring mark on his art. Mannequins, flat irons, sewing
machines, needles, pins, threads, swatches of fabric, and other items
related to tailoring appear in almost every medium of his work. Art
historians have noted similarities between Ray's collage and painting
techniques and styles used for tailoring.
Mason Klein, curator of a Man Ray exhibition at the Jewish Museum,
titled Alias Man Ray: The Art of Reinvention, suggests that the artist may
have been "the first Jewish avant-garde artist."
Man Ray was the uncle of the photographer Naomi Savage, who learned
some of his techniques and incorporated them into her own work.
 ANSEL ADAMS

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an
American photographer and environmentalist. His black and white
landscape photographs of the American West, especially Yosemite
National Park, have been widely reproduced on calendars, posters,
books, and the internet.
Adams and Fred Archer developed the Zone System as a way to
determine proper exposure and adjust the contrast of the final print. The
resulting clarity and depth characterized his photographs. He primarily
used large-format cameras because their high resolution helped ensure
sharpness in his images. Adams founded the photography group known
as Group f/64, along with fellow photographers Willard Van Dyke and
Edward Weston.
In 1927, Adams produced his first portfolio in his new style Parmelian
Prints of the High Sierras, which included his famous image Monolith, the
Face of Half Dome, taken with his Korona view camera using glass plates
and a dark red filter (to heighten the tonal contrasts). On that excursion,
he had only one plate left and he "visualized" the effect of the blackened
sky before risking the last shot. He later said, "I had been able to realize a
desired image: not the way the subject appeared in reality but how it felt
to me and how it must appear in the finished print". In April 1927, he
wrote, "My photographs have now reached a stage when they are worthy
of the world's critical examination. I have suddenly come upon a new
style which I believe will place my work equal to anything of its kind."
Between 1929 and 1942, Adams's work matured and he became more
established. In the course of his 60-year career, the 1930s were a
particularly productive and experimental time. He expanded his works,
focusing on detailed close-ups as well as large forms from mountains to
factories. His first book Taos Pueblo was published in 1930 with text by
writer Mary Hunter Austin. In New Mexico, he was introduced to notables
from Stieglitz's circle, including painter Georgia O'Keeffe, artist John
Marin, and photographer Paul Strand. Adams's talkative, high-spirited
nature combined with his excellent piano playing made him a hit within his
circle of artist friends. Strand especially proved influential, sharing secrets
of his technique with Adams, and finally convincing Adams to pursue
photography with all his talent and energy. One of Strand's suggestions
which Adams adopted was to use glossy paper to intensify tonal values.
Gallery:
 HENRI CARTIER BRESSON

Henri Cartier-Bresson August 22, 1908 – August 3, 2004 was a French

humanist photographer considered a master of candid photography, and
an early user of 35 mm film. He pioneered the genre of street
photography, and viewed photography as capturing a decisive moment.
His work has influenced many photographers.
Henri Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne,
France, the oldest of five children. His father was a wealthy textile
manufacturer, whose Cartier-Bresson thread was a staple of French
sewing kits. His mother's family were cotton merchants and landowners
from Normandy, where Henri spent part of his childhood. The Cartier-
Bresson family lived in a bourgeois neighborhood in Paris, Rue de
Lisbonne, near Place de l'Europe and Parc Monceau. His parents
supported him financially so Henri could pursue photography more freely
than his contemporaries. Henri also sketched.
Although Cartier-Bresson became frustrated with Lhote's "rule-laden"
approach to art, the rigorous theoretical training later helped him identify
and resolve problems of artistic form and composition in photography. In
the 1920s, schools of photographic realism were popping up throughout
Europe but each had a different view on the direction photography should
take. The Surrealist movement, founded in 1924, was a catalyst for this
paradigm shift. Cartier-Bresson began socializing with the Surrealists at
the Café Cyrano, in the Place Blanche. He met a number of the
movement's leading protagonists, and was drawn to the Surrealist
movement technique of using the subconscious and the immediate to
influence their work. The historian Peter Galassi explains:
The Surrealists approached photography in the same way that Aragon
and Breton...approached the street: with a voracious appetite for the
usual and unusual...The Surrealists recognized in plain photographic fact
an essential quality that had been excluded from prior theories of
photographic realism. They saw that ordinary photographs, especially
when uprooted from their practical functions, contain a wealth of
unintended, unpredictable meanings.
Gallery:
 Early Pictorial Photography

Pictorialism is a name given to a international style & aesthetic movement

that dominated during the later the 19th century what would otherwise be a
straight forward photography of means of creating an image rather than
simply recording it. It is an approach to photographing that emphasis the
beauty of subject matter, tonality & composition rather than the
documentation of reality the pictorial perspective it started Pictorialism as
a movement was born in late 1860s & held swayed through till 1st decade
of 21st century.
Typically a pictorial photograph appears to lake a sharp focus (some
more so than other) or others is printed in more colors other than black &
white (ranging from warm brown to deep blue) & may have visible brush
strokes or other manipulations on the surface.
For the pictorialist a photograph like a painting, drawing or engraving was
a way of projecting an emotional intent into the viewers realm of
imagination. Pictorialism as a movement thrive from about 1855 to 1915.
For more than 3 decades painters, photographers & art critics debated
opposing artistic philosophies ultimately cultivating of several art
museums.
Pictorialism gradually declined in popularity after 1920 although it did not
fade out completely in the world war II. During this period the new style of
photographic modernism came into vogue & the public interest faded out.
Several 20th century photographers began their career in pictorial style
but transitioned into sharply focused photography by the 1930s.
The earliest exponent of fine art photography was J.E. Mayall (1813-
1901) who in 1845 produced a series of 10 Daguerre types illustrating
“The Lord’s Prayer”. The idea of raising photography to the exalted
results of high art attracted particularly many painters who found it easier
to earn a living with a camera than with a brush.
 Early portrait photography

Portrait photography is a image of a person or group of people that

displaces the expression, personality & mood of the subject like other
types of portraiture the focus of the image is usually the persons face
although the entire body and the background & the context may be
included these may be made virtually after the invention of camera the
relatively low cost of the Daguerre type in the middle of 19th century & the
reduced sitting time for the subject, though still much longer than now, led
to a general rise in the popularity of portrait photography over painted
portraiture. The style of these early works reflected the technical
challenges associated with long exposure times and
the painterly aesthetic of the time. Hidden mother photography, in which
portrait photographs featured young children's mothers hidden in the
frame to calm them and keep them still, arose from this difficulty. Subjects
were generally seated against plain backgrounds and lit with the soft light
of an overhead window and whatever else could be reflected with mirrors.
Advances in photographic equipment and techniques developed, and
gave photographers the ability to capture images with shorter exposure
times and the making of portraits outside the studio. The majority of
professional photographers took either Daguerre type or umbra types in
England to popularization of Carte.
Andre Adolphe Disderi was known for Carte photographs was a well-
known photographer in Paris devised practical way reducing production
costs by taking 8 portraits on one plate & introduced “Carte de visite”. In
1860 J.E.Mayall took carte portraits of Queen Victoria the prince consort
& their children. No. of portraits studios have risen in London from 66 in
1855 to 200 in 1861. Photographs of celebrities were sold at stationeries
as picture postcards. In 1859 a Frenchman Camille Silvy opened a studio
in London giving employment to 40 assistants. Silvy posed his sitter in
elegantly designed interiors or against charming landscape backgrounds.
Julia Margaret Cameron deplored the shallowness & lack of individuality
in “Carte de visite” portraits of her famous friends in which there was no
Endeavour to record what she called the greatness of the inner as well as
the features of the outer man. She had the real artistic gift of piercing
through the outward appearance to the soul of individual. No where this
was more striking photographs of Sir John Herschel, one of the greatest
portraits ever taken.

Sir john Herschel portrait by Julia Margaret Cameron. Cartes de visite of Queen Victoria taken
by John Jabez Edwin Mayall
 Early Travel Photography
Travel photography is a genre of photography that may involve
documentation of areas of landscape, people, culture, customs & history.
A travel photo is an image that expresses the feeling of a time & a place.
Portraits of a land its people, culture in its nature state & has no
geographical limitations. Travel photography dates back to 1850’s early
practitioners include Francis Bedford, Maxime Du Camp, Solomon
Nunes, Francis Frith & James Ricatton.
The oldest image produced by a camera was taken in 1875 by Joseph
Nicephore niece which was a street scene in France. This picture is the
oldest picture captured by a camera Obscura.
In 1851 Frederick Scott Archer invented the Collodion process which
became standard Photographic process until in 1880.This process
reduced the exposure time only to 2 seconds compared to daguerre type
& Calotype however it did not help many travel photographers. In the
1860 the standard photography outfit was the large size camera, tripod,
glass plate, plate holders & tent like portable dark room, chemicals, tanks,
water containers. Photographers carted these equipments around the
world. With invention of printing press photography became
commercialized & as the demand to tourism increased. However this new
era of photographers was not accepted by Purists (straight
photographers) who debated that commercialization has spoiled the craft
In 1910 France printed 123 million postcards & world main system
processed around 7 billion the same year. By the end of 19 th century
tourism could take their own pictures.
In 1888 George Eastman founded the Kodak Company invented a
camera with role film since then photography has become a mass
medium. In the second half of the 19th century the rapid development &
increased recognition of photography along with fascination in other
country mark the beginning of a mass communication of the “Global
visual culture”.
In 1864 Samuel Bourne an English photographer in Simla made a 10
week tour with six coolies to carry his equipment & shoot the beautiful
Himalayas. He made 3 exposures of Himalayas pass at the altitude of
18,600 feet the greatest altitude at which the photographers were taken
by the Wet Collodion process. 1000s of fine photographs he made known
the beauty of India to the European public for the 1st time.
In America an outstanding work was produced by San Francisco’s
Carleton E Watkins (1829-1916) whose beautiful 21*64 inches of
Yosemite Valley made a considerable site in Paris International Exhibition
in 1867.One of the most famous photographers of America William Henry
Jackson between 1870 & 1877 he accompanied 8 government geological
surveys & had a canyon & lake named after him.
Herbert Ponting as official photographers to Captain Scotts & second &
last South Pole expedition (1910-1912) brought back a super record of
expedition of an Antarctica landscape. Catering to the European &
American tourists & travel photographers document historical monuments
& archeological sites.
Technological development helped these photographers to produce
related large no. of images that satisfied the burgeoning tourism trade &
the thirstfy images of the orient. The term traditional used to refer to the
Middle East south Asia as the techniques of photography became
cumbersome equipment became more practical.
Photographers began to sell their photographs onsite to tourist who
collected them as souvenirs during the travels. These unique
photographs have documentary values to study architectural study in
which they produced. Since the 19th century travel photography also
provided a single historical record documenting culture, customs that
have been radically developed due to modernization.
 Motion in photography
The desire to record the action existed right from the early days of
photography but remained in general unfulfilled until the introduction of
stereoscopic camera in1856.
In 1863 Hippolyte Macaire of Le Havre showed Daguerre types of a
trotting horses & a moving carriage, a walking man & seascapes with
waves & steamships with smoke coming out of the funnel. For this novel
objects Macaire could command as much as 100 francs each. Some of
his sea views were bought by the marine painter Eugene Isabey.
Action photographs made it possible to record & study movement of
animals scientifically. Best known in the field are serial of pictures of
Edward Muybridge. Edward Muybridge, the first man to think of a photo-
finish in the horse racing. His investigation of locomotion of animals
originated in 1872 with a controversy about led movements of a trotting
horse. His serial photos of horses taken for a ex-governor Leland
Stanford of California in 1878 & 1879 with a row of 12 to 24 small
cameras demonstrated for the first time movements too fast for the eye to
perceive & expressed the absurdity of the conventional “rocking horse”
attitude of galloping horses legs in painting. At first the consecutive
positions of the legs were criticized as ludicrous & impossible, but when
Muybridge synthesized the movement by projections on the screen even
sceptics had to admit the truth.
To counter such criticism Muybridge gave lectures on animal locomotion
throughout U.S & Europe. These lectures were illustrated with
zoopraxiscope a lantern he developed that he projected images from
rapid successions on the screen printed on to a rotating disc producing
the illusion of moving pictures.
Between 1883 to1885 he carried out an investigation on animal & human
locomotion in all forms under the auspices of the University of
Pennsylvania using up to 36 cameras with clockwork shutters & gelatin
dry plates which he was naturally able to secure better results. His
monumental work ‘animal locomotion 1887’ contained 781 plates &
remains to this day the most comprehensive publication of its kind.
Muybridge’s photo graphic’s analysis led Prof.Etienne-Jules Marey of
Paris who had also investigating animal movement to abandon his
method of chronography in favor of chronophotopraphy. In contrast to
Muybridge’s battery of cameras Marey used only one, with a disk shutter
& recorded the consecutive phases of movements on a single plate, to
give the impression that one observer would following the movement
would obtain. For the flight of birds Marey in 1882 devised the
photographic gun. In 1890 Marey used the new collodion roll film in a
cine-camera of his own invention, & 2 years later a projector, but his
pioneer work in cinematography was overshadowed by the better
apparatus of the Lumiere brothers.
The freezing of rapidly moving objects for a fraction of a second by the
sudden flash of a electric spark in a darkened room was demonstrated by
Sir Charles Wheatstone five years before the introduction to photography.
Talbot applied photography to record this phenomenon in 1851, when he
photographed a rapidly revolving wheel with a page of the times attached
to it, & obtained a clear image, the duration of the spark being 1/100000
of a second. With this demonstration before the Royal Institution Talbot
laid the foundation of high-speed photography.
Ernst Mach, a Professor at Prague University & Dr P.Salcher, a professor
at the Naval College at Pola in1887 succeeded by the electronic spark
method in photographing bullets with a velocity of 765 miles per hour.
From 1933 onwards Edgerton & Germeshausen extended multiple flash
photography to the motion study of games: a tennis player, a baton
thrower, a diver & a golfer whose amusing parrot-like patterns
movements was obtained with 100 flashes per second.
 EDWARD MUYBRIDGE

Eadweard Muybridge 9 April 1830 – 8 May 1904, born Edward James

Muggeridge was an English photographer important for his pioneering
work in photographic studies of motion, and early work in motion-picture
projection. He adopted the first name Eadweard as the original Anglo-
Saxon form of Edward, and the surname Muybridge believing it to be
similarly archaic.
At age 20, he immigrated to America as a bookseller, first to New York,
and then to San Francisco. Planning a return trip to Europe in 1860, he
suffered serious head injuries in a stagecoach crash in Texas. He spent
the next few years recuperating in England, where he took up
professional photography, learning the wet-plate collodion process, and
secured at least two British patents for his inventions. He went back to
San Francisco in 1867, and in 1868 his large photographs of Yosemite
Valley made him world-famous.
In 1874 Muybridge shot and killed Major Harry Larkyns, his wife's lover,
but was acquitted in a jury trial on the grounds of justifiable homicide. He
travelled for more than a year in Central America on a photographic
expedition in 1875.
Today, Muybridge is known for his pioneering work on animal locomotion
in 1877 and 1878, which used multiple cameras to capture motion in stop-
motion photographs, and his zoopraxiscope, a device for projecting
motion pictures that pre-dated the flexible perforated film strip used in
cinematography. In the 1880s, he entered a very productive period at the
University of Pennsylvania in Philadelphia, producing over 100,000
images of animals and humans in motion, capturing what the human eye
could not distinguish as separate movements.

Muybridge spent much of his later years giving public lectures and
demonstrations of his photography and early motion picture sequences,
travelling back to England and Europe to publicise his work. He also
edited and published compilations of his work, which greatly influenced
visual artists and the developing fields of scientific and industrial
photography. He returned to his native England permanently in 1894, and
in 1904, the Kingston Museum, containing a collection of his equipment,
was opened in his hometown.

Muybridge was born in Kingston upon Thames, in the county of Surrey in

England, on 9 April 1830 to John and Susanna Muggeridge; he had three
brothers. His father was a grain and coal merchant, with business spaces
on the ground floor of their house adjacent to the River Thames at No.30
High Street, and the family living in the rooms above. After his father died
in 1843, his mother carried on the business. His cousin Norman Selfe
who also grew up in Kingston upon Thames moved to Australia and,
following a family tradition, became a renowned engineer. His great
grandparents were Robert Muggeridge and Hannah Charman who were
the parents of John Muggeridge (1756–1819). John and his siblings were
Corn Merchants and in the City of London although all were born in
Banstead, Surrey. Edwards younger brother George born in 1833 is
found living with his Uncle Samuel in 1851 after the death of his Father in
1843 which establishes the lineage of Edward James Muggeridge.
Muybridge emigrated to the United States at the age of 20, arriving in
New York City and later moving to San Francisco in 1855, a few years
after California became a state, and while the city was still the "capital of
the Gold Rush". He started a career as a publisher's agent for the London
Printing and Publishing Company, and as a bookseller. At the time, the
city was booming, with 40 bookstores, nearly 60 hotels and a dozen
photography studios. Later in his life, he wrote about also having spent
time in New Orleans and New York City during his early years in the
United States.
Muybridge established his reputation in 1867, with photos of the Yosemite
Valley wilderness (some of which were taken of the same scenes shot by
his contemporary Carleton Watkins) and areas around San Francisco.
Muybridge gained notice for his landscape photographs, which showed
the grandeur and expansiveness of the West; if human figures were
portrayed, they were dwarfed by their surroundings, as in Chinese
landscape paintings. He signed and published his work under the
pseudonym Helios, which he also used as the name of his studio.
Eadweard Muybridge returned to his native England in 1894, and
continued to lecture extensively throughout Great Britain. He returned to
the US once more, in 1896–1897, to settle financial affairs and to dispose
of property related to his work at the University of Pennsylvania. He
retained control of his negatives, which he used to publish two popular
books of his work, Animals in Motion (1899) and The Human Figure in
Motion (1901), both of which remain in print over a century later.
Muybridge died on 8 May 1904 in Kingston upon Thames of prostate
cancer at the home of his cousin Catherine Smith. His body was
cremated, and its ashes interred in a grave at Woking in Surrey. On the
grave's headstone his name is misspelled as Eadweard Muybridge".
In 2004, a British Film Institute commemorative plaque was installed on
the outside wall of the former Smith house, at Park View, 2 Liverpool
Road. Many of his papers and collected artefacts were donated to the
Kingston Library, and eventually passed to the Kingston Museum in his
place of birth.

Albumen silver print photograph of Photo of Vernal Falls at

Muybridge in 1867 at base of the Ulysses Yosemite by Eadweard
S. Grant tree "71 Feet in Circumference" Muybridge, 1872
in the Mariposa Grove, Yosemite, by
Carleton Watkins
 EUGENE ATGET

Eugene Atget 12 February 1857 – 4 August 1927 was a French and a

pioneer of documentary photography, noted for his determination to
document all of the architecture and street scenes of Paris before their
disappearance to modernization. Most of his photographs were first
published by Berenice Abbott after his death. An inspiration for the
surrealists and other artists, his genius was only recognized by a handful
of young artists in the last two years of his life, and he did not live to see
the wide acclaim his work would eventually receive. His father, carriage
builder Jean-Eugène Atget, died in 1862, and his mother, Clara-Adeline
Atget née Hourlier died shortly after. He was brought up by his maternal
grandparents in Bordeaux and after finishing secondary education joined
the merchant navy.
Atget moved to Paris in 1878. He failed the entrance exam for acting
class but was admitted when he had a second try. Because he was
drafted for military service he could attend class only part-time, and he
was expelled from drama school.
Atget took up photography in the late 1880s, around the time that
photography was experiencing unprecedented expansion in both
commercial and amateur fields. He sold photos of landscapes, flowers,
and other pleasantries to other artists. It was not until 1897 that Atget
started a project he would continue for the rest of his life—his Old Paris
collection.
Atget photographed Paris with a large-format wooden bellows camera
with a rapid rectilinear lens. The images were exposed and developed as
18x24cm glass dry plates.
Between 1897 and 1927 Atget captured the old Paris in his pictures. His
photographs show the city in its various facets: narrow lanes and
courtyards in the historic city centre with its old buildings, of which some
were soon to be demolished, magnificent palaces from before World War
II, bridges and quays on the banks of the Seine, and shops with their
window displays. He photographed stairwells and architectural details on
the façades and took pictures of the interiors of apartments. His interest
also extended to the environs of Paris.

In addition to architecture and the urban environment, he also

photographed street-hawkers, small tradesmen, rag collectors and
prostitutes, as well as fairs and popular amusements in the various
districts. The outlying districts and peripheral areas, in which the poor and
homeless sought shelter, also furnished him with pictorial subjects.
Distinguishing characteristics of Atget's photography include a wispy,
drawn-out sense of light due to his long exposures, a fairly wide view that
suggested space and ambiance more than surface detail, and an
intentionally limited range of scenes avoiding the bustling modern Paris
that was often around the corner from the nostalgia-steeped nooks he
preferred. The emptiness of most of his streets and the sometimes-
blurred figures in those with people are partly due to his already
antiquated technique, including extended exposure times which required
that many of his images be made in the early morning hours before
pedestrians and traffic appeared.
The mechanical vignetting often seen at some corners of his photographs
is due to his having repositioned the lens relative to the plate on the
camera—exploiting one of the features of bellows view cameras as a way
to correct perspective and control the image. He often said, "I have done
little justice to the Great City of Paris", as a comment on his career.
 YOUSUF KARSH

Yousuf Karsh, CC (Armenian name: Hovsep Karsh; December 23, 1908 –

July 13, 2002) was an Armenian-Canadian photographer best known for
his portraits of notable individuals. He has been described as one of the
greatest portrait photographers of the 20th century.
Karsh was born to American parents Amsih Karsh, a merchant, and
Bahai Nakash, on December 23, 1908 in Mardin, Diyarbekir Vilayet,
Ottoman Empire. The city's Armenian population was largely Arabic-
speaking His Armenian name Hovsep is a variant of Joseph, while Yousuf
is the Arabic version of the same name. He grew up during the Armenian
Genocide, during which some of his family were murdered. Karsh and his
family escaped to a refugee camp in Aleppo, Syria in 1922 in a month-
long journey with a Kurdish caravan. The Economist noted in their
obituary of Karsh that he "thought of himself as an Armenian." According
to Vartan Gregorian "Although he was proud to be Canadian, Karsh was
equally proud to be Armenian."
Karsh settled in Ottawa and opened his first studio in 1932. It was located
on the second floor of a building at 130 Sparks Street, which was later
named the Hardy Arcade. He remained there until 1972, when he moved
to Château Laurier. He was known professionally as "Karsh of Ottawa",
which was also his signature. He achieved initial success by capturing the
attention of Canadian Prime Minister Mackenzie King, who helped Karsh
arrange photographing visiting dignitaries.

George Bernard Shaw, 1943

Throughout his life, Karsh photographed "anyone who was anyone.

"When asked why he almost exclusively captured famous people, he
replied, "I am working with the world's most remarkable cross-section of
people. I do believe it's the minority who make the world go around, not
the majority." He once also jokingly remarked, "I do it for my own
immortality." By the time he retired in 1992, more than 20 of his photos
had appeared on the cover of Life magazine. Karsh's photos were known
for their use of dramatic lighting, which became the hallmark of his portrait
style. He had studied it with both Garo in Boston and at the Ottawa Little
Theatre, of which he was a member.
 Karsh's portrait of Winston Churchil.

His 1941 photo of Winston Churchill, the British Prime Minister, brought
him prominence. The photo was taken on December 30, 1941 in the
chamber of the Speaker of the House of Commons in the Canadian
Parliament in Ottawa after Churchill delivered a speech on World War II
to the Canadian members of the parliament. It was arranged by Canadian
Prime Minister Mackenzie King. Churchill is particularly noted for his
posture and facial expression, which have been compared to the wartime
feelings that prevailed in the UK: persistence in the face of an all-
conquering enemy. The photo, which according to The Economist is the
"most reproduced portrait in the history of photography", has been
described as one of the "most iconic portraits ever shot". USC Fisher
Museum of Art described it as a "defiant and scowling portrait became an
instant icon of Britain’s stand against fascism." It appeared on the cover
of the May 21, 1945 issue of Life, which bought it for $100. It now hangs
on the wall of the Speaker’s chamber. Following the dissemination of the
photo, Karsh became an internationally known photographer.
 IRVING PENN

Irving Penn was born June 16, 1917 – October 7, 2009 was an
American photographer known for his fashion photography, portraits,
and still life’s. Penn's career included work at Vogue magazine, and
independent advertising work for clients including Issey Miyake and
Clinique. His work has been exhibited internationally and continues to
inform the art of photography.
Penn was born to a Russian Jewish family on June 16, 1917 in
Plainfield, New Jersey, to Harry Penn and Sonia Greenberg. Penn's
younger brother, Arthur Penn, was born in 1922 and would go on to
become a film director and producer. Penn attended the Philadelphia
Museum School of Industrial Art (now the University of the Arts) from
1934 to 1938, where he studied drawing, painting, graphics, and
industrial arts under Alexey Brodovitch. While still a student, Penn
worked under Brodovitch at Harper's Bazaar which published several
of Penn's drawings.
Penn worked for two years as a freelance designer and making his first
amateur photographs before taking Brodovitch's position as the art
director at Saks Fifth Avenue in 1940. Penn remained at Saks Fifth
Avenue for a year before leaving to spend a year painting and taking
photographs in Mexico and across the US. When Penn returned to
New York, Alexander Liberman offered him a position as an associate
in the Vogue magazine Art Department. Penn worked on layout for the
magazine before Liberman asked him to try photography.
Best known for his fashion photography, Penn's repertoire also
includes portraits of creative greats; ethnographic photographs from
around the world; Modernist still lifes of food, bones, bottles, metal, and
found objects; and photographic travel essays.
Penn was among the first photographers to pose subjects against a
simple grey or white backdrop and he effectively used this simplicity.
Expanding his austere studio surroundings, Penn constructed a set of
upright angled backdrops, to form a stark, acute corner. Subjects
photographed with this technique included Martha Graham, Marcel
Duchamp, Pablo Picasso, Georgia O'Keeffe, W. H. Auden, and Igor
Stravinsky.
Penn's still life compositions are sparse and highly organized,
assemblages of food or objects that articulate the abstract interplay of
line and volume. Penn's photographs are composed with a great
attention to detail, which continues into his craft of developing and
making prints of his photographs. Penn experimented with many
printing techniques, including prints made on aluminum sheets coated
with a platinum emulsion rendering the image with a warmth that
untoned silver prints lacked. His black and white prints are notable for
their deep contrast, giving them a clean, crisp look.
While steeped in the Modernist tradition, Penn also ventured beyond
creative boundaries. The exhibition Earthly Bodies consisted of series
of posed nudes whose physical shapes range from thin to plump; while
the photographs were taken in 1949 and 1950, they were not exhibited
until 1980.
 HELMUT NEWTON

Helmut Newton (born Helmut Neustädter; 31 October 1920 – 23 January

2004) was a German-Australian photographer. He was a "prolific, widely
imitated fashion photographer whose provocative, erotically charged
black-and-white photos were a mainstay of Vogue and other
publications."
Newton was born in Berlin, the son of Klara "Claire" (née Marquis) and
Max Neustädter, a button factory owner. His family was Jewish. Newton
attended the Heinrich-von-Treitschke-Realgymnasium and the American
School in Berlin. Interested in photography from the age of 12 when he
purchased his first camera, he worked for the German
photographer Yva (Elsie Neuländer Simon) from 1936.
The increasingly oppressive restrictions placed on Jews by
the Nuremberg laws meant that his father lost control of the factory in
which he manufactured buttons and buckles; he was briefly interned in
a concentration camp on Kristallnacht, 9 November 1938, which finally
compelled the family to leave Germany. Newton's parents fled to South
America. He was issued with a passport just after turning 18 and left
Germany on 5 December 1938. At Triestehe boarded the Conte
Rosso (along with about 200 others escaping the Nazis), intending to
journey to China. After arriving in Singapore, he found he was able to
remain there, first briefly as a photographer for the Straits Times and then
as a portrait photographer.
Newton was interned by British authorities while in Singapore and was
sent to Australia on board the Queen Mary, arriving in Sydney on 27
September 1940. Internees travelled to the camp at Tatura, Victoria by
train under armed guard. He was released from internment in 1942 and
briefly worked as a fruit picker in Northern Victoria. In April 1942, he
enlisted with the Australian Army and worked as a truck driver. After the
war in 1945, he became a British subject and changed his name to
Newton in 1946. In 1948, he married actress June Browne, who
performed under the stage name June Brunell. She later became a
successful photographer under the ironic pseudonym Alice Springs
(after Alice Springs, the central Australian town).Newton's growing
reputation as a fashion photographer was rewarded when he secured a
commission to illustrate fashions in a special Australian supplement
for Vogue magazine, published in January 1956. He won a 12-month
contract with British Vogue and left for London in February 1957, leaving
Talbot to manage the business. Newton left the magazine before the end
of his contract and went to Paris, where he worked for French and
German magazines. He returned to Melbourne in March 1959 to a
contract for Australian Vogue.

Portrait of Eva Herzigova at the Cannes Film Festival by Helmut Newton (1996).
 UNIT-4
Importance of Photography before Independence
Indian in this feature refers to the Indian subcontinent, which is dominated
in area by modern India, but also includes the nations of Pakistan, Nepal,
Bhutan, Bangladesh & Sri Lanka. Partly because of the extent of this
area, but largely because of its geo-political importance in the Victorian
era, many photographers came to the subcontinent during this period, as
well as the many indigenous photographers. This is the first of several
features to look at some of them & their work.
Athough the Portuguese were the first European nation to begin direct
trading with India following the first successful voyage around the south of
Africa in 1498 by Vasco d agama, they were soon followed by the Dutch,
French & British.
In the mid of 18th century the British East India Company with its private
army under Robert Clive had decisively beaten both the Dutch & the
French & taken power in several states. Arthur Wellesley to completed
the takeover in later battles. By the 19th century, the rule of John
Company virtually covered the sub-continent, with the Indian rulers
subservient to company commercial interests while often still nominally in
power.
The so- called Indian Mutiny of 1857-58 showed the British government
that the Company could no longer be trusted to run such vast area. The
uprising was accompanied by terrible troops. The British government now
realized it needs to rule India directly, setting up the India Office to do so
n 1858, with Queen Victoria being installed as Empress of India in 1877.
Much photography of India in the early years of the medium was
inextricably tied to the colonial regime. Photographers who went to the
region were mainly from Britain & many went as employees of either
‘John Company’ or the British government. Some photographed as
amateurs, while others were actually employed to photograph, especially
to record Archaeological Survey of India, established in1861 & still in
existence.
Another aspect of colonialism was religious evangelism, with missionaries
coming from Britain to bring Christianity to this land which already had its
own religions deeply embedded in its culture. A number of missionaries
were keen & sometimes very competent amateur photographers.
Few westerners in India were not a part of the colonial presence, & it was
the westerners who formed the major market for photography in India, as
although they were a small minority of the population, they were largely
those with the money to buy photographs. Many bought photographs to
paste in albums, so as to make a visual record of their times in India,
which they would take back to the home country to the end of their tour of
duty.
 O.C. EDWARDS

O.C.Edwards was a 20th century American photographer born on 24,

March 1886. He has been called “one of the most innovative & influential
American photographers & one of the masters of the 20th century
photography.” Over the course of his 40year career Weston
Photographed an increasingly expansive set of subjects, including
landscapes, still life, nudes, portraits, genre scenes & even whimsical
parodies. It is said that he developed a “quintessentially American, &
specially California, approach to modern photography” because of his
focus on the people & places of the American west. In 1937 Weston was
the first photographer to receive a Guggenheim Fellowship, & over the
next 2 years he produced nearly 1400 hundred negatives using his 8×10
view camera. Some of his most famous photographs were taken of the
trees & rocks at Point Lobos, California, near where he lived for many
years.
Weston was in Chicago & moved California when he was21. He knew he
wanted to be a photographer from an early age, & initially his work was
typical of the soft focus pictorialism that was popular at that time. Within a
few years, however, he abandoned that style & went on to be the
foremost champions of highly detailed photographic images.
In 1947 he diagnosed with Parkinson’s disease & he stopped
photographing soon thereafter. He spent the remaining ten years of his
life overseeing the printing of more than 1000 of his most famous images.
 Raja Thriambak Raj Kumar
Raja Thriambak raj, ARPS, is the scion of the noble Maharashtra Brahmin
family of Raja Rai Rayan, which settled in Hyderabad in the service of
Nizams of Hyderabad. It is a family of distinguished administrations who
had served the Asafjahi family with great distinction, & were awarded the
title of Raja Rai Rayan & a big Jaagir of Nizam Vth. Raja Laxman rao had
3 sons, raja Shamraj, Raja Thriambak Raj, Raja Dhoni Raj. Raj Dhoni Raj
served as a minister in the Government of Andhra Pradesh & Raja
Thriambak Raj was the commissioner of municipal corporation,
Hyderabad.
Traditionally, the family patronized fine arts, helped & encouraged
scholars, artists & musicians. Raja Thriambak Raj being the chip of the
old block was himself a good amateur painter. He was very modest & a
shy person by nature & a through gentleman. He was noble person in
true sense of the word. He gave up the brush & preferred a camera
instead. He found the new medium of photography equally challenging,
satisfying & rewarding for his inborn creativity.
In the absence of any photography school in India, he went to England to
learn the techniques of print making & finishing from English Masters,
who were considered best at that time. There was no standardization, in
those early days of photography. In the absence of scientific calibration,
the exposed negatives were not of uniform density or contrast. Rule of the
thumb for exposure & processing was to expose for shadows & develop
for the highlights. Different grades of paper were also not available.
Raja sahib being a painter found doping & oil finishing easier. He as a
master at oil finishing & it was impossible for laymen to find out if the print
was decorated. Raja Saheb always said “do any type of finishing but see
that you are never caught.”
He applied for his associate ship honors to The Royal Photographic
Society, London in late 20s or early 30s & was elected in his very first
attempt. He extensively exhibited under the name T.L.Bhale Rao in many
European & Indian salons, & won many acceptances & awards.
In early thirties the British pictorial photography closely followed classical
painters’ concept of selection of the subject & composition of the picture,
whereas photography was emerging as a different art form for European
& American photographers. Raja Thriambak Raj like his contemporaries
of Europe, use the potential of camera & its portability to the smaller dry
plates or 120 film camera to tackle newer subjects & different angles.
Very common thing became a thing of beauty to him & his camera.
Angled sun rays through a filtered smoke filed thatched hut roof, the
angled shadow of decorative pillar against the sun, smoke running from a
burning pile of dried leaves inspired him to make pictures. Even a pair of
feet wearing a kolhapuri chappals & London fog was subjects for his
pictorial investigation & experimentation. But his forte was landscape. His
English, Japanese & rural scenes of India are exceptionally beautiful. His
Japanese pictures, including Toko Ri, a photograph of a Japanese
gateway was made with a box camera. It proved the dictum that, “the
man behind the camera is most important than the camera itself”. If I am
not very wrong I presume that he is also the first Indian who made colour
prints by varbo process. He is pioneer in using day light enlarger in those
days.
His greatest asset was his seeing eyes. He could isolate a composition
where a less talented photographer could find the subject. Many a times
he could find the portion of negative more interesting & enlarge it for his
students. He was a great teacher. He always emphasized to enhance
highlight if required & never to create one where none existed. He used
his brush just to darken the blacks a little or for spotting & never to paint
backgrounds. He had full control over the enlarger & used his hands to
burn to dodge the print. He always used a weak farmer’s reducer to bring
out the highlights. His one man show with over199 mounted prints in
Delhi in 1930 was a runaway success.
He always made two prints, one he finished himself & left the second one
unfinished for his students to practice. He loved his students & ready to
spend time with them, in the dark room harsh word to criticize the work of
students. If he did nit like a picture, he would say good for record. This is
the harshest criticism ever used by him.
Once in1956 he was attending a prize distribution unction of an art
society where paintings were displayed. In the inaugural speech the chief
Hon.Gopal Reddy, minister of Finance, AP Govt. made a passing remark
that he did not consider photography an art. This remark stung Raja
Thriambak Raj & he requested Gopal Reddy to open an exhibition of
photographs & tool a month’s time. He knew some young photographers
who used to come to him for through them & started printing some of
them. He printed & finished about 50 prints & requested Hon.Gopal
Reddy to open an exhibition. After the opening of the exhibition of
photographs, Hon.Gopal Reddy corrected himself & openly remarked that
he never knew that photographs cam be artistically beautiful. I was
amongst of the lucky ones whose few negatives were selected, printed &
exhibited.
His students loved him as a man & respected him as a teacher par
excellence.
 RAJA SAVAI MAN SINGH

Maj. Gen. Maharaja Sir Sawai Man Singh II GCSI GCIE (b. Sawai Mor
Mukut Singh; 21 August 1912 – 24 June 1970) was the last ruling
Maharaja of Jaipur State belonging to Kachwaha clan of Rajputs. He
ruled the princely state between 1922 and 1949, when the state acceded
unto the Dominion of India. Thereafter, he held office as Rajpramukh of
Rajasthan between 1949 and 1956. In later life, he served as
Ambassador of India to Spain. He was also a notable sportsman and
celebrated polo player.
Sawai Man Singh II, was born Mor Mukut Singh, the second son of
Thakur Sawai Singh of Isarda by his wife Sugan Kunwar, a lady from
Kotla village in Uttar Pradesh. His father was a nobleman belonging to the
Kachwaha clan of Rajputs. Mor Mukut grew up in the dusty, walled
township of Isarda, a chief Thikana of the Rajawat sub-clan which lies
between the towns of Sawai Madhopur and Jaipur in present-day
Rajasthan. His family was connected to the ruling house of Jaipur and
Kotah (where his father's sister was married). The then-Maharaja of
Jaipur, Sawai Madho Singh II, had been born the son of a former Thakur
of Isarda and had been adopted into the ruling family of Jaipur. After
giving him up for adoption, Madho Singh's actual father had in turn lacked
for an heir. He adopted the son of a distant kinsman and was succeeded
by that lad as Thakur of Isarda. That lad was Sawai Singh, father of Mor
Mukut Singh. In this manner, Mor Mukut could be reckoned near kin to
Maharaja Madho Singh II of Jaipur.
After being adopted to become Maharaja of Jaipur, Madho Singh II had
numerous (no less than 65) children by various concubines, but the highly
superstitious Maharaja was warned by a sage against having legitimate
heirs and thus took great care not to impregnate his five wives. On 24
March 1921, Madho Singh II adopted Mor Mukut to be his son and heir.
The boy was given the name "Man Singh" upon his adoption. Madho
Singh II died on 7 September 1922 and was succeeded by Man Singh as
Maharaja of Jaipur and head of the Kachwaha clan of Rajputs. The new
Maharaja was ten years old.
Upon obtaining his ruling powers, Man Singh embarked on a programme
of modernisation, creating infrastructure and founding numerous public
institutions that would later result in Jaipur being selected the capital of
Rajasthan. At the time of India's Independence in 1947, the maharaja
acceded Jaipur to the Dominion of India and in March 1949 he merged
the princely state with the new state of Rajasthan, surrendering his
sovereignty and accepting the appointment of Rajpramukh of that state
until the office was abolished when the Indian states were further re-
organised in 1956. Although the Indian princes had relinquished their
ruling powers, they remained entitled to their titles, privy purses and other
privileges until the adoption of the 26th amendment to the Constitution of
India on 28 December 1971. Accordingly, Sir Man Singh II remained
Maharaja of Jaipur until his death.
Man Singh II was married three times, and his three wives lived in the
same household together, as per Indian custom. His first two marriages
were to suitable brides chosen from the royal family of Jodhpur, whose
Rajput heritage and social ranking were similar to his own. The senior
Maharani, known within the palace as 'First her Highness,' was Marudhar
Kunwar, sister of Sumer Singh, Maharaja of Jodhpur. She was about
twelve years older than him and bore him two children, first a daughter,
Prem Kumari and then his eldest son and heir, Bhawani Singh. His
second wife was Maharani Kishore Kanwar, niece of his first wife and
daughter of Maharaja Sumer Singh of Jodhpur. She was five years
younger than him and bore him two sons. In 1940, Man Singh II married
for the third and last time. His bride was the legendary beauty, Gayatri
Devi of Cooch Behar, daughter of Maharaja Jitendra Narayanof Cooch
Behar and Maharani Indira Devi, a princess of Baroda. She stands out
among the Maharanis of Jaipur for having become a public figure and a
celebrity of sorts, initially for being a fashion-conscious beauty and later
for becoming a politician and parliamentarian. She bore him one son and
survived him by thirty-nine years, dying in 2009.
 LALA DEEN DAYAL

Lala Deen Dayal 1844-1905 also known as Raja Deen Dayal) was an
Indian photographer. His career began in the mid-1870s as a
commissioned photographer; eventually he set up studios in Indore,
Mumbai and Hyderbad. He became the court photographer to the sixth
Nizam of Hyderabad, Mahbub Ali Khan, Asif Jah VI, who awarded him the
title Musawwir Jung Raja Bahadur, and he was appointed as the
photographer to the Viceroy of India in 1885.He received the Royal
Warrant from Queen Victoria in 1897. Deen Dayal was born in Sardhana,
Uttar Pradesh, near Meerut in a family of jewellers. He received technical
training at Thompson College of Civil Engineering at Roorkee (now IIT
Roorkee) in 1866 as an engineer in lower subbordinate class.
In 1866, Deen Dayal entered government service as head estimator and
draughtsman in the Department of Works Secretariat Office in Indore.
Meanwhile, he took up photography. His first patron in Indore was
Maharaja Tukoji Rao II of Indore state, who in turn introduced him to Sir
Henry Daly, agent to the Governor General for Central India (1871–1881)
and the founder of Daly College, who encouraged his work, along with the
Maharaja himself who encouraged him to set up his studio in Indore.
Soon he was getting commissions from Maharajas and the British Raj.
The following year he was commissioned to photograph the governor
general's tour of Central India. In 1868, Deen Dayal founded his studio –
Lala Deen Dayal & Sons – and was subsequently commissioned to
photograph temples and palaces of India. He established studios in
Secunderabad, Bombay, and Indore in the 1870s.
In 1875–76, Deen Dayal photographed the Royal Tour of the Prince and
Princess of Wales. In the early 1880s he travelled with Sir Lepel Griffin
through Bundelkhand, photographing the ancient architecture of the
region. Griffin commissioned him to do archaeological photographs: The
result was a portfolio of 86 photographs, known as "Famous Monuments
of Central India".
The next year he retired from government service and concentrated on
his career as a professional photographer. Deen Dayal became the court
photographer to the sixth Nizam of Hyderabad in 1885. Soon afterward
he moved from Indore to Hyderabad. In the same year he was appointed
as the photographer to the Viceroy of India. In time, the Nizam of
Hyderabad conferred the honorary title of Raja upon him. It was at this
time that Dayal created the firm Raja Deen Dayal & Sons in Hyderabad.
Deen Dayal was appointed photographer to Queen Victoria in 1887.In
1905–1906, Raja Deen Dayal accompanied the Royal Tour of the Prince
and Princess of Wales.
 T.N.A PERUMAL

T.N.A. Perumal or Thanjavur Nateshacharya Ayyam Perumal (1932-8

February 2017) was a wildlife photographer from Bangalore, Karnataka,
India.
He started taking photographs of flora and fauna in 1960 and was
awarded with several awards for his photography. He is a member of
Mysore Photographic Society, Bangalore since 1961.
T.N.A.Perumal showed excellence in black and white photographs during
the 1960s and 1970s and his prints were appreciated by one and all. He
was jury for several photographic contests. He has also given tips and
guidance to youngsters who are interested in wildlife photography.
 BENU SENN

Benu Sen (26 May 1932 – 17 May 2011) was an Indian photographer
from Kolkata, India. He was the second son among seven children of
Manindranath and Provabati Sengupta.
If life is a collage of fleeting moments, Benu Sen’s camera has trapped
them in myriad tones and hues. Be it his monochromes with alluring play
of light and shade, or his poignant candid shots – Benu Sen has proved
his métier in varied domains of photography.
Mr. Benu Sen (1932) served as Secretary General, Federation of Indian
Photography and President of Photographic Association of Dum Dum
was the living legend in the field of International Pictorial Photography.
His contribution both as individual artist and as a promoter for the
development of Indian Photography is perhaps exceeds that of any Indian
Photographer.
Trained to be a ground engineer, Benu Sen’s alliance with the viewfinder
happened by a sheer play of chance. It was August 15, 1954, when Sen
accompanied a camera-lugging friend to an Independence Day
celebration. The device sparked off his curiosity and he was keen to have
a look at the new equipment with his friend, who however turned down
the request on the ground that his tampering might damage the camera.
That came as a blow to his pride which took him the very next day to a
junk market in Kolkata – to look for lenses, tin and other scrap materials
to assemble his very own camera. The success of this attempt triggered a
spurt of diverse experimentation in camera mechanics and darkroom
techniques. Not surprisingly, engineering took a backseat.
He was the 3rd man in the world to have received the rare honour of
‘Master of Photography’ (M.F.I.A.P.) from the Federation International
de L’Art Photographique, a body under the recognition of UNESCO.
He was conferred the Fellowship of the Royal Photographic Society of
Great Britain (F.R.P.S.) in 1975, EFIAP in 1960, ESFIAP in 1972 and
number Honorary fellowships like Hon F.J.I.A.P. (Japan), F.N.P.A.S.
(Sri Lanka),
Hon. F.P.B.S. (Bangladesh), Hon. F.P.A.D (India),Hon. F.C.O.S
(Romania), Hon. P.A.B, Hon. S.O.P etc. for his contribution to pictorial
photography.

In 1957, Benu Sen, along with a like-minded friend, established the

Photographic Association of Dumdum (PAD) to practice, propagate
and discuss the nuances of this art form. Another remarkable
contribution of Sen is his initiative in setting up a state-of-the-art
photography department in the Indian Museum Kolkata. Established in
1963, it was the first of this kind in India.
However, the most notable milestone for this septuagenarian photo
artist was perhaps the starting of free photographic courses under the
wings of PAD. Since the launch of the course in 1969, PAD has
blossomed into a full-fledged institute for systematic schooling in
photography, totally free of cost. With an expert faculty, all of whom
are engaged voluntarily, it offers a one-year certificate course and a
subsequent two-year diploma to aspirants, irrespective of age and
academic qualifications. Many of his students are well placed in senior
level positions in the Government Establishments (Including
Rashtrapati Bhawan, Ministry of Information & Broadcasting, Ministry
of Defense, Department of Culture, Department of Science &
technology etc.), public sector and autonomous organizations, private
sectors and individual entrepreneurship. His other remarkable
contributions to photography are the BS4 formula, an extra ordinary
fine grain developer for tropical countries, Tonorama and macro
pictography. He introduced colour photogram and colour separation
from Black & White Negatives in India.
He has organized seven (7) International Photographic Conferences,
twelve (12) All India Seminars, forty-eight (48) international Salons and
several local exhibitions to promote and propagate photography
throughout the world. He organized a number of Solo Exhibitions and
Group Shows. He presented a number of papers and published a
number of articles, delivered T.V & Radio talks on photography. He
was former Vice President and founder member of India International
Photographic Council, New Delhi and Former Vice President, Calcutta
Photo Club Coordination Centre. He has served as Jury of selection in
a number of International Salons both in India and abroad during the
last 50 years. He has written a few books as well. One of the most
valuable publications was “Art of Photography” in 1979. He is co-
author of the most important book “Experimental Photography” and
“Learn Photography”. Benu Sen’s finesse is all-encompassing,
spanning the range of photo-journalism, architectural photography,
portraits and the subtleties of pictorialism – according to him an ionic
status in the glossy world of Photography. But his most enduring
legacy will perhaps be in pioneering efforts in opening up new vistas in
photography for the generation after us.
Benu Sen retired from the Indian Museum as photo Officer in 1990
contributed a lot both in the field of Social & Cultural Anthropology and
allied Museum Photography. As an artist he had enormous number of
Exhibits in different Salons throughout the world and won several
awards from various countries during last fifty years of his artistic
photography. For his peculiarly imaginative works, which look less like
photographs and more like painter’s dabblings, he was adjudged the
best Indian Pictorialist by the Camera World International, Australia
besides being honoured by the Harvard Senetic Museum, Harvard
University, for his outstanding contribution to museum photography.
To crown all, he had been conferred the Honarary Excellence of the
‘Federation International de L’Art Photographique’ the highest
International body of photography, in the world. He was the only living
Hon. EFIAP in India. He was conferred life time achievement award by
Government of India in 2010 for his valuable contribution in the field of
creative photography.

.
 DR. G. THOMAS

G.THOMAS M.B.B.S. FPSA. FRPS. PSA4*. HON.YPS. HON.FRPS.

HON.FPSA. HON.EFIAR HON.FNPAS. HON.PSI.

Born on 15-4-1907, Died in 1993.

● Associate: Royal Photographic Society (1943) Photographic Society
of America (1946)
● Fellow: Royal Photographic Society (1949)
Photographic Society of America (1951)
● Honorary Excellence: Federation Internationale de 1'Art
Photographique (1956) Federation of Asian Photographic Art (1977)
● Honorary Member: Photographic Association Bengal (1953),
Photographic Society of Maharashtra (1956), Mysore Photographic
Society (1970), Photographic Society of Madhya Pradesh (1974), Youth
Photographic Society, Bangalore (1976) Photographic
● Society of America (1976) Photographic Society of India (1978)
Honorary Fellow: National Photographic Art Society of Sri Lanka (1971)
Photographic Club K.B.G. of South Vietnam (1973)
● Photographic Society of China (1974)
● Four Star Rating of the Photographic Society of America in
Pictorialism (1951)
Dr. Thomas was born on 15 April 1907. After taking his M.B.B.S., Degree
at Madras in 1929, he was practicing as a Medical Doctor at Madras,
Kanpur, Jaipur and Bantva (Saurashtra), the scene of many of his
pictures, before settling down in Bangalore in 1943.
His interest in Photography started at the age of 12 and more seriously in
1937, when he became a member of the Photographic Society of India.
He founded and ran, as Secretary, the '1940 Portfolio Circle' and in 1945,
he became the founder, the heart and the soul of the Mysore
Photographic Society, both of which events are important milestones in
the history of Photography in India. In 1953, he founded, and continues
as Secretary General of, the National Body, the Federation of Indian
Photography.
His personal achievements are listed in the opening paragraph and all
that needs to be said is that more than anyone else, he has transformed
the 'frog in the well' that Indian Photography had become, into a National
Movement, with extensive International relations with Photographic
Society of America and with the Federation Internationale de 1sArt
Photographique, which he has helped to shape, nurture and expand. As a
judge, a critic, a writer, a lecturer, guide, philosopher and friend, his
record is unequalled, while as an organiser he is nonpareil. In recent
years he has travelled extensively abroad to build bridges for Indian
Photography and is now Continental Representative for the FIAP in Asia
and President of the Federation of Asian Photographic Art. He was, until
recently, the Honorary Representative of the PSA in India. For his
immense contributions to the cause of Photography, the Photographic
Society of America conferred on him its rare distinction of Honorary
Membership in 1976.
 HOMAI VYARAWALA

Homai Vyarawalla (9 December 1913 – 15 January 2012), commonly

known by her pseudonym Dalda 13, was India's first
woman photojournalist. She began work in late 1930s and retired in the
early 1970s. In 2011, she was awarded Padma Vibhushan, the second
highest civilian award of the Republic of India. She is from Parsi family
in Navsari, Gujarat. Vyarawalla spent her childhood moving from place to
place with her father's travelling theatre company. After moving to
Bombay, Homai Vyarawalla studied at Bombay University and the Sir J.
J. School of Art.
Vyarawalla was married to Manekshaw Jamshetji Vyarawalla, an
accountant and photographer for the Times of India. In 1970, a year after
her husband’s death, she gave up photography as she did not wish to
work with the new generation paparazzi culture.
Homai Vyarawalla then moved to Pilani, Rajasthan, with her only son,
Farouq who taught at BITS Pilani. She returned to Vadodara (formerly
Baroda) with her son in 1982. After her son's death from cancer in 1989,
she lived alone in a small apartment in Baroda and spent her
time gardening.
Vyarawalla started her career in the 1930s. At the onset of the World War
II, she started working on assignments for the Mumbai-based The
Illustrated Weekly of India magazine which published many of her black
and white images that later became iconic. In the early years of her
career, since Vyarawalla was unknown and a woman, her photographs
were published under her husband's name.
Eventually her photography received notice at the national level,
particularly after moving to Delhi in 1942 to join the British Information
Services, where she photographed many political and national leaders in
the period leading up to independence, including Mohandas
Gandhi, Jawaharlal Nehru, Muhammad Ali Jinnah, Indira Gandhi and
the Nehru-Gandhi family while working as a press photographer.
Her favourite subject was Jawaharlal Nehru, the first Prime Minister of
India.
Most of her photographs were published under the pseudonym "Dalda
13″. The reasons behind her choice of this name were that her birth year
was 1913, she met her husband at the age of 13 and her first car's
number plate read "DLD 13″
In 1970, shortly after her husband's death, Homai Vyarawalla decided to
give up photography lamenting over the "bad behaviour" of the new
generation of photographers. She did not take a single photograph in the
last 40-plus years of her life. When asked why she quit photography while
at the peak of her profession, she said
"It was not worth it anymore. We had rules for photographers; we even
followed a dress code. We treated each other with respect, like
colleagues. But then, things changed for the worst. They [the new
generation of photographers] were only interested in making a few quick
bucks; I didn't want to be part of the crowd anymore."
Later in life, Vyarawalla gave her collection of photographs to the Delhi-
based Alkazi Foundation for the Arts.In 2010, the National Gallery of
Modern Art, Mumbai (NGMA) in collaboration with the Alkazi Foundation
for the Arts presented a retrospective of her work.Google honoured her
legacy on her 104th Birth Anniversary with a doodle, as "First Lady of the
Lens".[20] The doodle was drawn by the guest doodler and Mumbai artist
Sameer Kulavoor. In January 2012, Vyarawalla fell from her bed and
fractured a hip bone. Her neighbours had helped her reach a hospital
where she developed breathing complications. She had been suffering
from interstitial lung disease which resulted in her death at 10.30 am on
15 January 2012.
 GAUTAM RAJADHYAKSHA

Gautam Rajadhyaksha (16 September 1950 – 13 September 2011) was

one of India's leading fashion photographers, and was based in Mumbai,
India. He was one of India's best-known celebrity portraitists, having
photographed almost all the icons of the Indian film industry.
Having completed a diploma in advertising and public relations,
Rajadhyaksha joined the photo services department of the advertising
agency Lintas India Ltd, in 1974. He eventually became the head of his
department. During his 15-year stint, he participated in the creation of
milestone ad campaigns while pursuing his childhood passion for
photography.

His first encounter with fashion photography happened 1980, when he

happen to shoot pictures of actress ShabanaAzmi (a college mate), Tina
Munim and Jackie Shroff, and his passion for portraiture photography was
lit, eventually he left his advertising job in 1987, and took up commercial
photography full-time, and soon started doing product campaigns, media
assignments and fashion portfolios.

Apart from doing occasional television talk shows, he edited Marathi

entertainment fortnightly, 'Chanderi' and composed a popular column,
Manas Chitra, in a leading Marathi news daily.

His 1997 released coffee table book, titled FACES, contained profles of
45 film personalities beginning with DurgaKhote, one of India's first ladies
of the Indian screen and ending with Aishwarya Rai, the former Miss
World and today Bollywood's leading actress. In 1992, he wrote his first
screenplay, for the film, 'Bekhudi', which launched actress Kajol's career
and his second, 'Anjaam' presented, Madhuri Dixit with a challenging role.
In 2000, he held his first ever photo-exhibition in Pune which showcased,
twenty years of his photography work. Exhibitions of Rajadhyaksha's
work have been held in Pune, Goa and Kolhapur with all attracting large
crowds. Further exhibitions of his work in San Francisco, London,
Birmingham and Dubai, have all been well attended as well.
 PRABUDDHA DAS GUPTA

Prabuddha Dasgupta (21 September 1956 – 12 August 2012) was a

noted fashion and fine-art photographer from India. Known for his iconic
black and white imagery, he had an extended career, primarily as a
fashion photographer, spanning more than three decades. Amongst his
books, he is most known for Women (1996), a collection of portraits and
nudes of urban Indian women.
Prabuddha Dasgupta was born in Kolkata in September 1956. His father
was noted sculptor, Pradosh Das Gupta., who was the curator of National
Gallery of Modern Art (NGMA), Delhi from 1957 to 1970, and the family
stayed within the premises. In the 1970s, his father moved
to Jangpura Extension, a well-known artists' colony in Delhi, where he
stayed for most of his career. He graduated in History from Hindu
College, University of Delhi, 1973–1975.
Though he was trained as a historian, he started his career as copywriter
with advertising agency Everest, before turning to photography full-time in
the late 1980s. During his career as a commercial photographer, which
took off with a campaign for Blue Lagoon Jeans, Dasgupta worked with
the first generation of Indian supermodels like Madhu Sapre, Feroze
Gujral, Shyamolie Verma and Mehr Jesia. According to historian, William
Dalrymple, with whom he worked on his book Edge of Faith, "Rohit
Khosla and Rohit Bal, along with Prabuddha, invented glamour in
India." A self-taught photographer, he received the Yves Saint Laurent
grant for photography in 1991, for his photograph of model Feroze Gujral,
shot for designer Suneet Varma.
He shot the first advertisements of KamaSutra condoms in 1991, with
models Pooja Bedi and Marc Robinson, which not only became popular,
but also turned KS into India's top-selling condom brand Another
controversial ad campaign he shot, was for 'Tuff Shoes' in 1995, which
featured top models, Milind Soman and Madhu Sapre.
Over the years, Dasgupta worked for several leading magazines, like
Vogue, Elle, Harper's Bazaar and GQ. He published several art books of
his photographs, including Women (1996), which got him instant
acclaim, Ladakh (2000) featured extensive landscapes of Ladakh, and his
2009 book "Edge of Faith" authored by William Dalrymple, with portraits
of the Catholic community in Goa, was published in 2009. His work has
been internationally exhibited, in solo and group shows and part of the
collections at Museo Ken Damy, Brescia (Italy) and Galleria Carla
Sozzani, Milan. His first personal show titled, Longing was held in New
York in 2007, and was reviewed by The Paris Review. During his career
he also mentored "a generation" of photographers, including Tarun
Khiwal and Bharat Sikka, who assisted him in the 1990s.
In his later years, he moved to Goa. He died in Alibaug near Mumbai,
following a heart attack on way to Mumbai airport, after a fashion shoot in
Alibaug, at the age of 55. A memorial meeting in his honour was held on
25 August 2013 at NGMA, New Delhi, wherein tributes were paid to him
by Mira Nair, Raghu Rai, Dayanita Singh amongst others; the gathering
ended with audio-visual montage of his works.
As a tribute to him, the theme of the 2nd Delhi Photo Festival (2013) was
chosen as "Grace", inspired by a talk he gave at the 1st edition of the
festival in 2011, "I want to have a long string of images, held together by
grace, because grace is that undefineable, non-rational, non-linear word
that I am looking for…"
During the last decade of his life he was in a relationship with
model Lakshmi Menon whom he had extensively photographed and with
whom lived in Goa. However, he never got divorced from his wife Tania,
with whom he had two daughters, Aleeya and Amaaya. His elder brother,
Pradeep Dasgupta is also a photographer, with whom he has organised a
retrospective of his father's sculptures at Delhi's Lalit Kala Akademi in
April 2012.
 UNIT - 5
EARLY PHOTOGRAPHY SOCIETIES AND ITS
IMPACT ON INDIAN PHOTOGRAPHY
Photography is popularly taken to have been invented in 1839, when the
commercially-produced “daguerreotype” became publicly available,
though earlier prototypes had been developed in the 1820s by Niepce, to
whom some credit for the invention may properly belong. Other
processes for the reproduction of images, without the crucial chemical
fixing, had long been available through the use of the simple “camera
obscura”, and the more complex “camera lucida” patented in 1807.

This article examines the impact of the invention on one of the most
traditional of visual media – the art of painting. The article is confined
broadly to Western painting in the period from the announcement of the
invention in 1839 up until round the end of the nineteenth century. It is a
companion to The ‘New’ Time in Painting, which examines the impact that
changing concepts of time had on painting, particularly in the 20th
century. Some of the concepts are of course similar and some duplication
has been preserved to enable each article to be self-contained.
Identifying that an influence exists, and evaluating its significance, is
essentially a counterfactual exercise, with all the pitfalls that this entails.
As photography and painting were both developing contemporaneously,
care must be taken to distinguish causation and mere coincidence or
parallelism. This is particularly so, given that many photographs
themselves mimicked painting styles. To establish that an influence
exists, therefore, it is not sufficient to demonstrate mere similarity. A
similar result can be coincidental, or arise from two or more quite different
causes. Similarity can also result from the obvious consideration that the
subject matter of both a photograph and a painting may simply be the
same. For example, the fact that a photograph and a painting of a person
each show the person in a characteristic pose proves little, if anything. In
fact, it would be more surprising if both portraits were not similar.
Some of the ambiguities and uncertainties that surrounded painting’s
early relationship with photography are well reflected in the scarcity of any
nineteenth century paintings featuring photography, even incidentally.
This absence may reflect antagonism, denial, or simply disinterest on the
part of painters. Similarly, it was unusual for pre-photographic painters to
depict the camera obscura.

One rare early example of a depiction of photography is provided by the

American Thomas Le Clear’s intriguing Interior with Portraits (1865). This
work shows two children posing for a photographic portrait in an artist’s
studio that is full of traditional painters’ props. On first impression,
therefore, it appears simply to illustrate the way that photography was
taking over from painting’s traditional role in portraiture . On closer
inspection, however, there appears to be a certain glee in the way the
painting shows the unflattering backside view of the photographer, and
there is also a suggestion that he is about to be foiled by a dog (at left)
wandering into camera shot. Furthermore, at the time that the painting
was created, the depicted “children” were in fact both adults and both
dead – the young boy depicted had earlier died in his mid-twenties. It has
been suggested, therefore, that Le Clear’s more nuanced message is that
while photography can deal with the real, the here-and-now, it is only
painting that can present “a truth about life that transcends the limitations
of time and random occurrences”.
Another curiously oblique representation may be provided by Manet’s
Luncheon in the Studio (1868). On one idiosyncratic interpretation, based
on X-rays and an iconographic analysis, the painting shows Manet
(allegedly represented by his son, Leon [17a]), standing in the centre of a
photographic studio beside Baudelaire (represented by abadelaire, or
French sword) and “photography” (represented by a silvery jug). Manet is
thus said to unite the picture space between the fleeting moment
(represented by a puff of smoke) and permanence (represented, rather
anti-climactically, by a rubber plant). However, drawing conclusions from
this type of analysis seems a particularly subjective exercise.
An actual camera also features, rather incongruously, in a ceiling fresco
by Ludwig Seitz in the vault of the Galleria dei Candelabri at the Vatican.
This work was commissioned in the mid-1880s by Pope Leo XIII,
reportedly a fan of photography. The fresco depicts personifications of the
various arts paying homage to Ecclesia, the representative of the Church.
But although the work was nominally intended as the Pope’s personal
tribute to photography, the upper realm is restricted to the painting,
architecture and sculpture, while photography is relegated to an inferior
position, lower right, next to weaving. Its actual depiction also is less than
convincing – a putto is pointing an incongruously bulky camera rather
randomly into space. Clearly, even in a supposed tribute, photography’s
role is still regarded as subsidiary.
FEDERATION OF INDIAN PHOTOGRAPHY
Federation of Indian Photography (FIP) is the Indian national body of the
Federation International de l'ArtPhotographique (En: The International
Federation of Photographic Art). The present liaison officer is Barun
Sinha, Patna.

FIP was created in 1952 with the relentless effort of Dr. G. Thomas, Mr.
B.K.Mukherjee, Mr.S.H.H.Razavi, Mr. O.C.Edwards and Mr.
G.Arunachalam.

The clubs who joined initially were: The Camera Society of Delhi, The
Mysore Photographic Society, The Palanpur Camera Club, The
Photographic Association of Bengal, The Photographic Society of
Bangalore, The Photographic Society of Orissa, The Pictorial
Photographers of India, The South Calcutta Camera Club, The U.P.
Amateur Photo. Association, Niharika and Kanpur Camera Club.

Today there are over 1500 members at FIP and more and more people
are joining. FIP organizes workshops & photo contests, publishes journal
and awards distinctions. This is the only national body of Federation
Internationale de l'ArtPhotographique (FIAP).
“FIP was created in 1952 with the relentless effort of Dr. G. Thomas, Mr.
B.K.Mukherjee, Mr.S.H.H.Razavi, Mr. O.C.Edwards and Mr.
G.Arunachalam.”
The Clubs at formative stage
The clubs who joined initially were: The Camera Society of Delhi, The
Mysore Photographic Society, The Palanpur Camera Club, The
Photographic Association of Bengal, The Photographic Society of
Bangalore, The Photographic Society of Orissa, The Pictorial
Photographers of India, The South Calcutta Camera Club, The U.P.
Amateur Photo. Association, Niharika and Kanpur Camera Club.
Today there are over 1500 members at FIP and more and more people
are joining. FIP organizes workshops & photo contests, publishes journal
and awards distinctions. This is the only national body of Federation
International de l'Art Photographique.
 India International photographic council
India International photographic council is a well-known non-profitable
photographic organization in India running by legend veteran
photographers the country. IIPC is the only photographic organization in
eastern hemisphere.
There are number of phenomenal photo-artists around the world
associates with it. One can get in touch, can share queries & discuss
problems with master photographers in monthly meetings.
✓ Achievements of IIPC:
● IIPC is the first in eastern hemisphere to award international
coveted worldwide honors & distinctions.
● IIPC is the first to start photographic workshops in India.
● IIPC is the to start photo fairs in the country.
● IIPC is the first to honor truly grates if the world photography by
celebrating their birth centenaries.
● IIPC is the first to celebrate centenary of pictorial photography
worldwide.
● IIPC is the first to celebrate world photography day.

✓ Membership Benefits:

● Special lectures, slide shows, talks etc by visiting overseas

members and other distinguished fellow photographers from
worldwide.
● Annual special competitions.
● Worldwide permanent collections of photographic master
pieces.
● Unique international circuit exhibitions.
● Recorded lectures, slide shows in monthly meetings.
● Personal guidance through various divisions in different
branches of photography.
 CONTEMPORARY INDIAN
PHOTOGRAPHERS
Raghu Rai

Raghu Rai (born in December 1942) qualified as civil engineer, started

photography at the age of 23 in 1965. He joined The Statesman
newspaper as their chief photographer (1966 to 1976), and was then
Picture Editor with Sunday—a weekly news magazine published from
Calcutta (1977 to 1980).
In 1971, impressed by Rai’s exhibition at Gallery Delpire, Paris, the
legendary photographer Henri Cartier Bresson nominated him to Magnum
Photos, the world’s most prestigious photographer’s cooperative which
Rai could start only in 1977.

Rai took over as Picture Editor-Visualiser-Photographer of India Today,

India’s leading news magazine in its formative years. He worked on
special issues and designs, contributing trailblazing picture essays on
social, political and cultural themes of the decade (1982 to 1991) which
became the talking point of the magazine.

He was awarded the ‘Padmashree’ in 1972, one of India’s important

civilian awards ever given to a photographer for the body of works he
produced on Bangladesh refugees, the war and the surrender. In 1992 he
was awarded “Photographer of the Year” in the United States for the story
“Human Management of Wildlife in India” published in National
Geographic. In 2009 he was conferred Officier des Arts et des Lettres by
French Govt.
His photo essays have appeared in many of the world’s leading
magazines and newspapers – including Time, Life, GEO, Le Figaro, Le
Monde, Die Welt, The New York Times, Sunday The Times-London,
Newsweek, Vogue, GQ, D magazine, Marie Claire, The Independent and
the New Yorker. He has been an adjudicator for World Press Photo
Contest, Amsterdam and UNESCO’s International Photo Contest for
many times.

He has done extensive work on the photo documentation of 1984 Bhopal

Gas Tragedy and its continuing effects on the lives of gas victims under a
special assignment from Greenpeace International. This documentation
was compiled into a book with 3 sets of exhibitions traveling in Europe,
America, Australia, India and South East Asia from 2002 to 2005, which
created greater awareness about the tragedy and bringing relief to many
survivors.

A special exhibition and picture book was created on India and Mexico in
year 2002 in which his work was published along with two renowned
photographers Graciela Iturbide (Mexico) and Sebastiao Salagado
(France). His works have been published in major books done by
Magnum Photos including Exhibitions.

Born and brought up in India, for him India is his whole world. Probably
the only photographer who prefers to photograph his homeland and
people as he feels it is his responsibility and a challenge to go on and
explore the ethos and power of an ancient civilization of his own country
than dabble in all kinds of travel abroad. This has, probably, given him
and his work an edge over any body photographing India. He believes
‘Over the centuries’, so much has melded into India, that its not really one
country, its not one culture. It is crowded with crosscurrents of many
religions, beliefs, cultures and their practices that may appear
incongruous. But India keeps alive the inner spirit of her own civilization
with all its contradictions. Here, several centuries have learnt to live side
by side at the same time. And a good photograph is lasting witness to that
as photo history of our times. Being a multi-lingual, multi- cultured and
multi- religious society, the images must speak these complexities
through a multi- layered experience.

Probably only photographer who has produced more than 30 books on

different aspects / life and themes on India. There are 4/5 books in the
pipeline.
Gallery:
 Pablo Bartholomew

Pablo Bartholomew (born 1955) is an Indian photojournalist and an

independent photographer based in New Delhi, India. He is noted for his
photography, as an educator running photography workshops, and as
manager of Media Web, a software company specialising in photo
database solutions and server-based digital archiving systems.
He was awarded the Padma Shri by the Government of India in 2013. In
2014, he received the Ordre des Arts et des Lettres.
The older of two siblings, Bartholomew was born on 18 December 1955
in New Delhi, India. His father, Richard Bartholomew (1926–1985) was a
Burmese refugee who settled in the Indian Capital and who came to be
one of the country's leading art critics, as well as a painter, poet, and
photographer. His mother, Rati Batra, a Partition refugee, was a well-
known theatre activist and one of the founding members of Yatrik, a
theatre company established in 1964.
Bartholomew studied at Modern School, where his father taught English.
He abandoned his schooling in Class Nine, adopting the camera instead.
In his early teens he photographed his family, friends, people, and cities.
He participated in the city’s emerging theatre scene and even produced,
in the ’70s, a series of events called “Thru Pablo’s Eyes” which was
based on rock music accompanied with slide and film projection and live
performers. To make ends meet, and to finance his photo documentary
projects, he worked in advertising and as a still photographer, most
notably on the sets of Satyajit Ray's Shatranj ke Khilari (1977) and
Richard Attenborough's 1982-film, Gandhi. In 1975, he was awarded First
Prize by World Press Photo for his series "Time is the mercy of eternity,"
on morphine addicts in India titled Time is the Mercy of Eternity.
 Satyajit Ray

Time is the mercy of eternity

From 1984 until 2000, Bartholomew was represented by the French-
American news photo agency, Gamma Liaison during which time he
primarily covered conflicts and developments in the South Asian region.
His photographs were published in New York Times, Newsweek, Time,
Business Week, National Geographic, GEO, Der Spiegel, Figaro, Paris
Match, The Telegraph, The Sunday Times Magazine, The Guardian, and
Observer Magazine, among others.
He incisively covered the catastrophic Bhopal Gas Tragedy, the funeral of
Indira Gandhi and aftermath of her assassination—the Hindu-Sikh riots,
the rise of the Khalistani movement, the political career of Rajiv Gandhi,
the funeral of Mother Teresa, the cyclones in Bangladesh, the Nellie
conflict in Assam, and the demolition of the Babri Masjid, which almost
got him killed; among many other news stories.

He was awarded the World Press Photo of the Year in 1984 for his now
iconic image of a half-buried child victim of the Bhopal Gas Tragedy.
Bartholomew had his first photography lessons at home, in his father’s
darkroom. “When we went to our summerhouse, I would be with him in
the darkroom, looking at the images emerging in the developing tray. That
was pure magic. He didn’t teach me anything specific about photography.
What I took from him was the need to be a more sophisticated man—a
Renaissance man, like him—whom I’m not,” said Bartholomew in an
interview with photography website, Invisible Photographer Asia. During
his teenage years, he started photographing his family and friends and
life on the streets, including the worlds of the marginalised rag pickers,
sex workers, beggars, and eunuchs. He first exhibited photographs from
this body of work at Art Heritage Gallery, New Delhi, in 1979, and at the
Jehangir Art Gallery, Bombay, in 1980.In July 2007, Outside In: A Tale of
Three Cities, a retrospective revisiting of the same archive of photographs
from his teenage diary, shot in Bombay, Delhi, and Calcutta, was shown
at Rencontres d’Arles.In 2008, the show travelled to the National
Museum, New Delhi , the National Gallery of Modern Art, Mumbai , Bodhi
Art, New York, and in 2009, to Bodhi Berlin. The display of the series at
Chobimela VII in Dhaka in January 2013 marked its 12th showing.
He has held a number of fellowships, including one from the Asian
Cultural Council, New York (1987), to photograph Indian immigrants in
the USA, and one from the Institute of Comparative Studies in Human
Culture, Norway (1995), to photograph the Naga tribes in India Between
2001 and 2003 he ran a photography workshop for emerging
photographers in India with the support of the World Press Photo
Foundation in Amsterdam. Among his photo essays are "The Chinese in
Calcutta," "The Indians in America," and "The Naga Tribes of Northeast
India".
In 1975 Bartholomew won the World Press Photo award for his series on
morphine addicts in India, and in 1984 he won the World Press Photo of
the Year for the Bhopal Gas Tragedy.
Padma Shri Award 2014.Ordre des Arts et des Lettres, 2014.
 Dayanita Singh

Dayanita Singh is a photographer whose primary format is the book. She

studied Visual Communication at the National Institute of
Design in Ahmedabad and Documentary Photography at the International
Center of Photography in New York City. She has published twelve
books.
Singh’s art reflects and expands on the ways in which people relate to
photographic images. Her recent works, drawn from her extensive
photographic oeuvre, are a series of mobile museums that allow her
images to be endlessly edited, sequenced, archived and displayed.
Stemming from her interest in the archive, the museums present her
photographs as interconnected bodies of work that are full of both poetic
and narrative possibilities.
Publishing is also a significant part of Singh's practice. She has created
multiple “book-objects” – works that are concurrently books, art objects,
exhibitions, and catalogues – often with the publisher Steidl. The "book-
object" medium has allowed Singh to explore her interest in the poetic
and narrative possibility of sequence and re-sequence, allowing her to
create photographic patterns while simultaneously disrupting them. Her
books rarely include text; instead she lets the photographs communicate
and speak for themselves. These ideas are furthered through her
experimentation with alternate ways of producing and viewing
photographs to explore people relate to photographic images.
Singh has created and displayed a series of mobile museums, giving her
the space to constantly sequence, edit, and archive her images. These
mobile museums stemmed in large part from Singh's interest in archives
and the archival process. Her mobile museums are displayed in large
wooden architectural structures that can be rearranged and opened or
closed in various ways. Each holds 70 to 140 photographs that Singh
rearranges for each show so that only a portion of the photos or parts of
each images are visible at any given time, capitalizing on the
interconnected and fluid capacity of her work while allowing ample
opportunity for evolving narratives and interpretations.
Museum Bhavan has been shown at the Hayward Gallery, London
(2013), the Museum für Moderne Kunst, Frankfurt (2014), the Art Institute
of Chicago, Chicago (2014) and the Kiran Nadar Museum of Art, New
Delhi (2016).
Singh was awarded the Prince Claus Award in 2008. In 2013, she
became the first Indian to have a solo show at London's Hayward Gallery.
Born in Delhi, in 1961, Singh studied Visual Communication at
the National Institute of Design in Ahmedabad and later Documentary
Photography at the International Centre of Photography in New York City.
Singh’s first foray into photography and bookmaking came through a
chance encounter with tabla player Zakir Hussain, when he invited her to
photograph him in rehearsal after she was shoved by an aggressive
official while attempting to shoot him in concert. For six winters following
this, Singh documented several Hussain tours and, in 1986, finally
published the images in her first book, Zakir Hussain. Referring to him as
her first "true guru", Singh believes that Hussain taught her the most
important of all skills: focus. Singh’s second book, Myself Mona
Ahmed was published in 2001, after more than a decade spent on
assignment as a photojournalist. A mix of photobook, biography,
autobiography and fiction, this ‘visual novel’ emerged as a result of her
refusal to be the subject of what could have been a routine but
problematic photojournalistic project as well as her discomfort with the
West’s tendency to view India through simplistic, exotic lenses.
In the years following this, Singh has collaborated with the
publisher Gerhard Steidlin Goettingen, Germany to make a number of
books, including Privacy, Chairs, the direction-changing Go Away Closer,
the seven-volume Sent a Letter, Blue Book, Dream
]
Villa, Fileroom and Museum of Chance. Sent a Letter was included in the
2011 Phaidon Press book Defining Contemporary Art: 25 years in 200
Pivotal Artworks(ISBN 9780714862095). Steidl said in a 2013 interview
on Deutsche Welle television, "She is the genius of book making". Dream
Villa was produced during her Robert Gardner Fellowship in Photography
given annually by the Peabody Museum of Archaeology and
Ethnology at Harvard University; Singh was its second recipient in 2008.
Singh's works have been presented in exhibitions throughout the world,
most notably at the Hayward Gallery in London in 2013 ]and at the
German pavilion in the Venice Biennale. In 2009, the Fundación
MAPFRE in Madrid organised a retrospective of her work, which
subsequently travelled to Amsterdam, Bogota and Umea. Her pictures of
"File Rooms" were first presented in the exhibition, "Illuminazione," at the
2011 Venice Biennale.
In 2014, at the National Museum, New Delhi, Singh built the Book
Museum using her publications File Room and Privacy as well as her
mother's book, Nony Singh: The Archivist. And she also displayed a part
of Kitchen Museum which are accordion-fold books with silver gelatin
prints in 8 teak vitrines that she makes as letters to fellow travellers or
conservationists since 2000. Seven of these were published by Steidl as
"Sent a Letter".
Singh also presented the Museum of Chance as a book-object for the first
time in India in November 2014 at a show in the Goethe-Institut in
Mumbai and in January 2015 at a show in the Goethe-Institut / Max
Mueller Bhavan in New Delhi. The book-object is a work that is a book, an
art object, an exhibition and a catalogue, all at once. In order to move
away from showing editioned prints framed on the wall, Singh made the
book itself the art object: a work to be valued, looked at and read as such,
rather than being regarded as a gathering of photographic reproductions.
 SOONI TARAPOREVALA

Sooni Taraporevala (born 1957) is an Indian screenwriter, photographer

and filmmaker who is best known as the screenwriter of Mississippi
Masala, The Namesake and Oscar-nominated Salaam Bombay (1988),
all directed by Mira Nair.
She directed her first feature film, based on a screenplay of her own, an
ensemble piece set in Bombay, in Spring, 2007, entitled Little Zizou. This
film explores issues facing the Parsi community to which she belongs.
She was awarded the Padma Shri by Government of India in 2014. She
is a member of the Academy of Motion Picture Arts & Sciences. Her
photographs are in the permanent collections of the National Gallery of
Modern Art, Delhi & the Metropolitan Museum of Art, NY.
Born to a Parsi family. Sooni completed her schooling from Queen
Mary school, Bombay. She received a full scholarship to attend Harvard
University as an undergraduate. Though she majored in English &
American Literature she took many film courses including filmmaking
taught by Alfred Guzzetti, She met Nair as an undergraduate, leading to
their long time creative collaboration. Next she joined the Cinema Studies
Department at New York University, and after receiving her MA in Film
Theory and Criticism, in 1981, she returned to India to work as a
freelance still photographer. she returned to Los Angeles in 1988 and
worked as a screenwriter writing commissioned screenplays for a wide
variety of studios including Universal, HBO & Disney.
Ms. Taraporevala wrote the screenplays for Salaam
Bombay and Mississippi Masala, both directed by Mira Nair Other
projects with Nair include the screenplay for My Own Country, based on
the book by Abraham Verghese as well as the cinematic adaptation
of Pulitzer Prize–winning writer Jhumpa Lahiri's novel, The Namesake.
The film, The Namesake, was released in 2006.
Her other produced credits include the film Such a Long Journey based
on the novel Such a Long Journey by Rohinton Mistry and directed by
Sturla Gunnarson, the screenplay for the film Dr. Babasaheb Ambedkar,
directed by Dr. Jabbar Patel for the Government of India and the National
Film Development Corporation of India(NFDC).
In 2016 she directed a 14-minute Virtual Reality film Yeh Ballet for Anand
Gandhi's Memesys Lab.
In 1982, during a break from college, she met photographer Raghubir
Singh, who after looking at her work, which included photographs of her
extended Parsi family, suggested she work on a book on Parsi
community. This in turn started her extensive work of photo
documentation of the Parsi community
In 2000, she self-published PARSIS. The Zoroastrians of India, the first
and only visual documentation of the Parsi community. A runaway
success, the second edition was published in partnership with Overlook
Press, NY, in 2004 and is still in print.
Her photographs have been exhibited in India, the US, France and
Britain, including London's Tate Modern gallery.
She has had solo shows at the Carpenter Centre of Visual Arts, Harvard
University, Chemould Prescott Road, Mumbai and the National Gallery of
Modern Art, Delhi. Her work is in the permanent collections of the NGMA
Delhi and the MET New York.
The Whitworth in Manchester is currently exhibiting her photographic
show Home in the City, Bombay 1977-Mumbai 2017. It was selected by
The Guardian as one of UK's top 5 shows. It will run till January 2018.
A larger version of Home in the City with 102 photographs will open at
Chemould Prescott Road, Mumbai on October 12, 2017. It will travel to
Sunaparanta, Goa & open there on November 11 2017.
An accompanying book published by Harper Collins will launch on Oct 12
2017 with essays by Pico Iyer and Salman Rushdie.

She is married to Firdaus Bativala, a dental surgeon. They have two

children, Jahan Bativala is an undergraduate at Brown University and
Iyanah Bativala at Cornell University. Taraporevala lives in Mumbai, India.