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Academic literature on the topic '19th century photography'
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Journal articles on the topic "19th century photography"
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Ogden, Kate Nearpass. "Musing on Medium: Photography, Painting, and the Plein Air Sketch." Prospects 18 (October 1993): 237–81. http://dx.doi.org/10.1017/s0361233300004920.
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The relationship of photography and painting has greatly intrigued art historians in recent years, as has the uneasy status of photography as “art” and/or “documentation.” An in-depth study of 19th-century landscape images suggests two new premises on the subject: first, that opinions differed on photography's status as an art in the 19th Century, just as they differ today; and, second, that the landscape photograph is more closely related to the plein air oil sketch than to the finished studio easel painting. For ease of comparison, the visual material used here will consist primarily of landscapes made in and around Yosemite Valley, California, in the 1860s and 1870s; comparisons will be made among paintings by Albert Bierstadt, photographs by Carleton Watkins and Eadweard Muybridge, and works in both media by less famous artists.
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Blanchard, Antoine. "Microhistoire des portraits composites: Le cas Arthur Batut (1846-1918)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 27 (November 27, 2017): 287. http://dx.doi.org/10.20318/revhisto.2017.3975.
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Résumé: A partir d’une enquête portant sur le cas du photographe francais Arthur Batut (1846-1918) qui s’est emparé de la technique du composite portraiture de Francis Galton, nous révélerons dans un premier temps l’importance considérable du portrait photographique dans la constitution, à la fin du XIXe siècle, d’une nouvelle image de soi particulière correspondant à une identité “physicalisée”. Pour ce faire, nous mettrons à l’épreuve les questions et la méthode de la microstoria. Dans un second temps, nous envisagerons la possibilité que la technique historiographique de la microstoria elle-même ne puisse se penser sans l’emergence d’un “regard photographique”.Mots-clés: Arthur Batut, histoire de la photographie, historiographie, microstoria, portrait, anthropologie visuelle.Abstract: This paper investigates the case of Arthur Batut, a 19th century French photographer from Labruguiere (Tarn), who employed a different perspective to reproduce the technique of the composite portraiture, invented by Francis Galton, the father of “eugenics”. We will first reveal the major implication of photography within the constitution of a new quantified and physicalized image of the self at the end of the 19th century by examining Batut’s photography, notably the microstoria method. Secondly, we will examine the possibility that the historiographical technique of microstoria itself would be implausible without the emergence of a “photographic look”.Key words: Arthur Batut, history of photography, historiography, microstoria, portrait, visual anthropology.
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Androsova, Anastasiya Andreevna. "The development of photography in Samara in the middle of the 19th – beginning of the 20th centuries." Samara Journal of Science 9, no. 4 (2020): 246–51. http://dx.doi.org/10.17816/snv202094206.
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The paper deals with the development of photography in Samara and the Samara province during the period of the Samara province establishment to the beginning of the 20th century. The history of the photography as a technology is briefly presented. The paper also contains the data on the chronology of photo workshops appearance in Samara and the province as well as of the first photo business organizers. The author also describes methods of photography lovers organization in Samara at the turn of the 19th20th centuries. The main categories of photographs of the period under review are considered. Having appeared almost simultaneously with the establishment of the province, the photographic business in Samara became an integral part of cultural life at the beginning of the 20th century. Photography in pre-revolutionary Samara developed from individual wealthy citizens entertaining to the establishment of the Samara Photographic Society. By 1917 photographic establishments had spread throughout the Samara province and were accessible to most residents. The analysis of the photographic documents used allows us to say that the Samara photography of the period under review was dominated by photographic portraits and photographs, photographic postcards with views of the city. The paper is based primarily on documents and photographs of the Central State Archives of the Samara Region and the Samara Regional State Archives of Socio-Political History, most of which have not been included in scientific circulation.
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Canosa, Elyse, Gregory Hodgins, and Gawain Weaver. "Radiocarbon Measurements on Early Photographs: Methods Development for Testing Waxed Paper Negatives." Radiocarbon 55, no. 3 (2013): 1862–68. http://dx.doi.org/10.1017/s0033822200048773.
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The earliest years of photography were full of experimentation and innovation; many photographers from this era carefully documented their experimental procedures. Consequently, it is possible to reproduce historically accurate photographs and negatives today. One of the oldest forms of photographic technology is the waxed paper negative, popular during the mid-19th century. It consists of a photosensitive sheet of writing paper coated with a layer of wax to render it transparent. Modern waxed paper negatives made using 19th century paper can potentially pass for historically significant 19th century negatives. This poses problems to museums and others interested in studying or collecting authentic 19th century photographic images. We have developed methods for separating the organic components of waxed paper negatives and measuring their radiocarbon content as a means of distinguishing between modern and historic waxed paper negatives. By detecting the presence or lack of bomb carbon in a given negative, this process can act as a tool for authentication. We have mainly focused on the extraction and 14C measurement of the wax component, reasoning that modern photographers might have easy access to 19th century paper, but would less likely use 19th century beeswax.
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Vogelsang, Helena. "A Nostalgic Longing for the 20th Century: Past and Present Backdrops and Scenes in the Skylight Studio of Josip Pelikan." Membrana Journal of Photography, Vol. 3, no. 2 (2018): 56–61. http://dx.doi.org/10.47659/m5.056.art.
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Taking a visual stroll down the backdrops and sceneries of the master photographer Josip Pelikan is accompanied by commentary supplied by the Celje Museum of Recent History’s senior educator and carer of Pelikan’s collection, Helena Vogelsang. Painted backgrounds with various motifs used by Pelikan in both portraying and in his everyday work in the studio represent a key part of the photographer’s heritage and are part of a permanent exhibition in a skylight studio. It is the only preserved example of a skylight photo studio from the end of the 19th century in Slovenia. Various backdrops enabled the portrayed person to be presented in a way that suited him or her best; e.g. raising their social status, being placed in a specific environment or in a different position than the person occupied in real life. This surely influenced the popularity of portraits made in the wet collodion technique by contemporary photographer Borut Peterlin. In this way, the photographer revitalised the importance of Pelikan’s backgrounds and renewed the interest in old analogue photography techniques as well as a comprehensive studio portrait experience, which today no longer holds a prominent place among photographic practices. Keywords: 20th century photograhy, background, Josip Pelikan, photographic backdrop, portraiture, skylight studio, Slovenian photography, studio photography
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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.
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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications and exhibitions. Photography was rapidly spreading across Asian Russia and by the end of the 19th century there was a photo studio (or several ones) in almost every Siberian town. Political exiles were often among Siberian photographers, making photography their new profession, business, a way of getting a social status in the local society, and a means of surviving financially as well as intellectually and emotionally. They contributed significantly to the museum’s collections by photographing indigenous people in Siberia and even traveling to Mongolia and China, displaying “types” as a part of anthropological research in Asia and presenting “views” of the Russian empire’s borderlands. The visual representation of Siberia corresponded with general perceptions of an exotic East, populated by “primitive” peoples devoid of civilization, a trope reinforced by numerous photographs and depictions of Siberia as an untamed natural world, later transformed and modernized by the railroads construction.
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Ferenc, Tomasz. "Praca, robotnicy, archiwa, fotografia — utrwalanie stereotypów i walka o emancypację". Kultura i Społeczeństwo 59, № 3 (2015): 203–21. http://dx.doi.org/10.35757/kis.2015.59.3.10.
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Work, workers, and workers’ living conditions quickly became a field of interest for photographers. Already by the middle of the 19th century there were photographs showing working people. Nevertheless, the contexts in which such photographs were taken varied considerably. The first part of this article presents, in the historical perspective, the different causes and strategies involved in making these types of documents, up to the moment when photographs began to appear that had been made by workers themselves. The movement to photograph workers, which developed in the first decades of the 20th century, is recalled in the second part of the article (using the examples of the Weimar Republic and Soviet Russia). The third part is devoted to photographic projects whose purpose was to increase the productivity of, and control over, workers. Photography is presented as a scientific tool for measuring movement and as an illustration of the most effective manners of organizing work. At the end, the Digital Repository of Worker Photography is described, as an example of work on a collection of photos and the creation of a platform permitting further work, but also as a legal and methodological problem.
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Wolska, Anna. "HISTORY OF PHOTOGRAPHY ON THE EXAMPLE OF SELECTED PHOTOGRAPHIC TECHNIQUES. A PHOTOGRAPH AS AN OBJECT." Muzealnictwo 61 (August 26, 2020): 192–200. http://dx.doi.org/10.5604/01.3001.0014.3639.
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In the first part of the paper, the focus is on historical and technical aspects of the invention of photography, beginning with the first research works conducted by J.N. Niépce up to the patenting of daguerreotype in 1839 by L. Daguerre. In the further section of the paper emphasis is put on the fast spread of photography; short profiles of the first Polish photographers who contributed to promoting photography: J. Giwartowski, K. Beyer, W. Rzewuski, and M. Strasz, are given. Furthermore, the early-19th-century discourse between the artistic and photographic circles is briefly discussed, with some comments by e.g. E. Delacroix, P. Delaroche, Ch. Baudelaire, L. Daguerre quoted. Subsequently, the early displays of photographs in exhibitions and museums are described, e.g. during the 1851 First World Exhibition in London and at the South Kensington Museum in 1858. What follows this is a presentation of selected photographic techniques, shown against the events related to given inventions, e.g.: daguerreotype, salt print, techniques based on the collodion process, compounds of dichromates and chromates, calotype, cyanotype. Further, source reference is given to describe potential threats related to the degradation, damage, and a possible repair of images recorded in photographs. Another section of the paper is dedicated to presenting artistic movements in photography which formed in the late 19th century. The final part speaks of the questions related to e.g. storage humidity and temperature, display of photographic objects that are in museum collections, and pH of materials and frames; the author also reflects on the need to digitize collections.
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Laroche, Hervé. "Observation as photography: A metaphor." M@n@gement 23, no. 3 (2020): 79–99. http://dx.doi.org/10.37725/mgmt.v23i3.5513.
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From its invention in the middle of the 19th century to the present date, photography has generally been considered as a highly reliable means for capturing data about a wide range of objects and for a huge variety of purposes. Though debated, photography’s relationship with reality is specific and powerful. Because of its long and rich history, photography has encountered many problems and challenges observation methods and practices in management studies. Taking photography as a metaphor for observation in general, this article explores the successive steps of a research project relying on observation. Taking photographs is capturing data; reading photographs is analyzing and interpreting data; and showing photographs is presenting the findings in publications. For each stage of the process, various issues are discussed, drawing on the scientific, forensic, artistic, or vernacular uses of photography. Particular attention is accorded to key examples in the history of photography. This article is an invitation to reflect on observational methods and practices in a non-demonstrative, heuristic manner.
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박상우. "Photography and Psychiatry in the 19th Century." Misulsahakbo(Reviews on the Art History) ll, no. 37 (2011): 79–116. http://dx.doi.org/10.15819/rah.2011..37.79.
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