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Journal articles on the topic 'Victorian photography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (2014): 611–36. http://dx.doi.org/10.1017/s1060150314000229.

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Blanche Warre Cornish's 1921–22tripartite memoir, “Memories of Tennyson,” begins in 1869 when she meets the poet by way of her parents’ friendship with Tennyson's neighbor, the photographer Julia Margaret Cameron (145) (Figure 1). The photograph that Cornish recalls as “psychophotography” is one instance of a trend in Victorian England of spirit photography that was first practiced around 1872 after it was imported from America, where William Mumler had developed it (Tucker 68; Doyle 2: 128). Reactions to these spirit photographs took various forms: while some viewers regarded them as a credib

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2

Bell, Amy. "“We were having a lot of fun at the photographers”." Ontario History 107, no. 2 (2018): 240–61. http://dx.doi.org/10.7202/1050637ar.

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This article uses the photographic examples from a small female college to explore the use of photography as a social practice in late Victorian female colleges. It argues that photographs of students worked as both frames and surfaces: framing the visual details of their daily lives, while simultaneously allowing them a surface on which to fashion self-portraits. The photographs of Hellmuth Ladies’ College demonstrate the multiple arenas of late Victorian educational experience, the idealistic and aesthetic links between female educational institutions in the circum-Atlantic World, and the im

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Paradis, James G. "PHOTOGRAPHY AND IRONY: THE SAMUEL BUTLER PHOTOGRAPHY EXHIBITION AT THE TATE BRITAIN." Victorian Literature and Culture 33, no. 1 (2005): 318–22. http://dx.doi.org/10.1017/s1060150305230863.

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AN EXHIBITION of Samuel Butler's photography in Gallery Sixteen, an elegant rotunda room just off the entrance to the Tate Britain, offered a rare opportunity to see some of the photography of the author of Erewhon and to contemplate how Victorian photographic realism fares in the setting of a modern museum. The exhibition, celebrating the centenary of Butler's death, ran from November 2002 to May 2003 and was made up of thirty-five framed photographs, some of them digitally touched up by Dudley Simons, and an assortment of photobooks and editions of Butler's self-illustrated volumes. It was d

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4

Prasch, Thomas. "Rethinking Victorian Photography." Nineteenth Century Studies 13, no. 1 (1999): 177–94. http://dx.doi.org/10.2307/45196826.

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5

Prasch, Thomas. "Rethinking Victorian Photography." Nineteenth Century Studies 13, no. 1 (1999): 177–94. http://dx.doi.org/10.2307/ninecentstud.13.1999.0177.

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6

Henderson, Andrea. "Magic Mirrors: Formalist Realism in Victorian Physics and Photography." Representations 117, no. 1 (2012): 120–50. http://dx.doi.org/10.1525/rep.2012.117.1.120.

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This essay argues that British photography of the 1850s and ’60s wedded realism—understood as a commitment to descriptive truthfulness—with formalism, or a belief in the defining power of structural relationships. Photographers at midcentury understood the realistic character of photography to be grounded in more than fidelity to detail; the technical properties of the medium accorded perfectly with the claims of contemporary physicists that reality itself was constituted by spatial arrangements and polar forces rather than essential categorical distinctions. The photographs of Clementina, Lad

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7

Sidorova, Olga G., and Tatiana A. Poluektova. "Reconstruction of Photographic Images in the Novel Sixty Lights by Gail Jones." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 30, no. 3 (2024): 85–96. http://dx.doi.org/10.15826/izv1.2024.30.3.050.

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The article is devoted to the analysis of the neoVictorian novel “Sixty Lights” (2004) by the modern Australian writer Gail Jones. The purpose of the study is to identify the role of photographic images presented in the form of photographic ekphrasis and further substantiate the genre status of the novel. The plot centers on the history of the formation and development of photography in the second half of the XIXth century, the history intertwined with the life of the main character, Lucy Strange, who became a professional photographer. With the help of photography, or “writing of light” (Jea

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8

Vallone, Lynne. "Reading Girlhood in Victorian Photography." Lion and the Unicorn 29, no. 2 (2005): 190–210. http://dx.doi.org/10.1353/uni.2005.0035.

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9

Groth, Helen. "Photography, Novelty, and Victorian Poetry." Victorian Poetry 61, no. 4 (2024): 493–505. http://dx.doi.org/10.1353/vp.2024.a933700.

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10

Banerjee, Sandeep. "“NOT ALTOGETHER UNPICTURESQUE”: SAMUEL BOURNE AND THE LANDSCAPING OF THE VICTORIAN HIMALAYA." Victorian Literature and Culture 42, no. 3 (2014): 351–68. http://dx.doi.org/10.1017/s1060150314000035.

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During his third expedition into the higher Himalaya in 1866, the most ambitious of his three journeys into the mountains, Samuel Bourne trekked to the Gangotri glacier, the source of the Ganges. At that site he took “two or three negatives of this holy and not altogether unpicturesque object,” the first photographs ever made of the glacier and the ice cave called Gomukh, meaning the cow's mouth, from which the river emerges (Bourne 96). These words of Victorian India's pre-eminent landscape photographer, importantly, highlight the coming together of the picturesque mode and the landscape form

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11

Green-Lewis, Jennifer. "Victorian Photography and Literary Nostalgia (review)." Victorian Studies 46, no. 4 (2004): 714–15. http://dx.doi.org/10.1353/vic.2005.0013.

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12

Borgo, Melania, Marta Licata, and Silvia Iorio. "Post-mortem Photography: the Edge Where Life Meets Death?" Human and Social Studies 5, no. 2 (2016): 103–15. http://dx.doi.org/10.1515/hssr-2016-0016.

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AbstractWhy would we ever take a picture of a dead person? This practice began as a way to perpetuate the image of the deceased, rendering their memory eternal – Victorians thought that it could be useful to have portraits of their dead loved ones. Certainly, subjects inpost-mortemphotos will be remembered forever. However, we must ask two more questions. Are they people portrayed as if they were still alive? Or on the other hand, are they bodies that represent death? Our paper takes an in-depth look at different iconographical styles as well as photographic techniques and religious and ethica

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13

Poluektova, Tatiana A. "‘An Imaginative Woman’ by Thomas Hardy as a Photoekphrastic Short Story." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 125–35. http://dx.doi.org/10.17072/2073-6681-2022-3-125-135.

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The article deals with the short story by the English writer Thomas Hardy An Imaginative Woman (1894), which has not been translated into Russian. The author of the article analyzes this work from the point of view of genre features and classifies it as a piece of photoekphrastic prose. The argument in favor of this categorization is photographic ekphrasis, penetrating into such poetological levels of the story as plot-and-composition, character-related, spatiotemporal, narrative, motive-thematic. The perception of photography had a particular impact on the poetics of ekphrasis in the works of

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14

Nadel, Ira B., Grace Seiberling, and Carolyn Bloore. "Amateurs, Photography, and the Mid-Victorian Imagination." American Historical Review 94, no. 3 (1989): 771. http://dx.doi.org/10.2307/1873838.

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15

Jäger, Jens. "Discourses on photography in mid-Victorian Britain." History of Photography 19, no. 4 (1995): 316–21. http://dx.doi.org/10.1080/03087298.1995.10443586.

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16

Edwards, Elizabeth. "Nature Exposed: Photography as Eyewitness in Victorian Science." Annals of Science 66, no. 3 (2009): 436–39. http://dx.doi.org/10.1080/00033790701652429.

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17

Ellenbogen, Josh. "Authority, objectivity, evidence: scientific photography in Victorian Britain." Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 39, no. 1 (2008): 171–75. http://dx.doi.org/10.1016/j.shpsc.2007.12.004.

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18

Green-Lewis, Jennifer. "Teaching Victorian Literature in the Context of Photography." Victorian Review 34, no. 2 (2008): 33–41. http://dx.doi.org/10.1353/vcr.2008.0040.

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19

Ørum, Emilie Bolding. "Performance for Dinner." Culture and History: Student Research Papers 8, no. 2 (2024): 33–53. https://doi.org/10.7146/chku.v8i2.151770.

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When photography arrived in the Dutch East Indies in the middle of the 19th century, European colonists embraced the medium to immortalise impressions of colonial life. By studying photographs produced by European colonists in the Dutch East Indies, this article examines dining culture as an arena of colonist regulation, construction and maintenance of colonist identity through visual and material performances and practices from approximately 1880 to 1920. The article argues that colonists upheld clear cultural and social separation from the colonised through dining practices which highlighted

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20

Poluektova, Tatiana A. "Afterimage by H. Humphreys as a Photoreconstruction Novel: Genre Peculiarities." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 69–81. http://dx.doi.org/10.15826/izv2.2022.24.2.025.

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This article is devoted to the study of the peculiar genre features of Afterimage (2000), a novel by the English-born Canadian writer Helen Humphreys. The author of the article introduces the definition of the concept of photographic ekphrasis, i.e. a description in the text of a photograph that is the subject of a character’s reflection or the result of a collaboration of the photographer and the model. The photographic discourse penetrates the plot-compositional, character, space-time, and narrative levels of the poetics of the novel. Starting with the analysis of the title of the novel, the

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21

Green-Lewis, Jennifer. "“Already the past”: The Backward Glance of Victorian Photography." English Language Notes 44, no. 2 (2006): 25–43. http://dx.doi.org/10.1215/00138282-44.2.25.

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22

Daniel A. Novak. "Caught in the Act: Photography on the Victorian Stage." Victorian Studies 59, no. 1 (2016): 35. http://dx.doi.org/10.2979/victorianstudies.59.1.02.

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23

Grove, Allen W. "Rontgen's Ghosts: Photography, X-Rays, and the Victorian Imagination." Literature and Medicine 16, no. 2 (1997): 141–73. http://dx.doi.org/10.1353/lm.1997.0016.

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24

Popple, Simon. "Photography, vice and the moral dilemma in Victorian Britain." Early Popular Visual Culture 3, no. 2 (2005): 113–33. http://dx.doi.org/10.1080/17460650500197479.

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25

Robertson, Frances. "Nature Exposed: Photography as Eyewitness in Victorian Science (review)." Technology and Culture 47, no. 4 (2006): 837–39. http://dx.doi.org/10.1353/tech.2006.0249.

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26

Groth, Helen. "From Life: Julia Margaret Cameron and Victorian Photography (review)." Victorian Studies 48, no. 1 (2005): 197–98. http://dx.doi.org/10.1353/vic.2006.0034.

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27

Di Bello, Patrizia. "Nature Exposed: Photography as Eyewitness in Victorian Science (review)." Bulletin of the History of Medicine 81, no. 4 (2007): 884–86. http://dx.doi.org/10.1353/bhm.2007.0118.

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28

Hamrat, Fatima Zohra. "Photography and the Imperial Propaganda: Egypt under Gaze." Cultural Intertexts 11, no. 1 (2021): 84–99. https://doi.org/10.5281/zenodo.5795437.

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The mid-Victorian era and the Edwardian period witnessed important advances in graphic arts leading to the invention of photography. The eastward imperial expansion of Britain during this period resulted in the emergence of different representations of the Orient. After the role played by paintings in conveying a rather fantasist and imaginative vision based on an orientalist background, photography, in its capacity to reproduce reality, promised a more accurate image. Thus, the aim of this paper is to show that the earliest photographs of the Orient and mainly of Egypt unveiled the role of ph

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29

Arias, Rosario. "(Spirit) Photography and the Past in the Neo-Victorian Novel." Lit: Literature Interpretation Theory 20, no. 1-2 (2009): 92–107. http://dx.doi.org/10.1080/10436920802690596.

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30

Pichel, Beatriz. "Disillusioned: Victorian Photography and the Discerning Subject, by Jordan Bear." Visual Resources 33, no. 3-4 (2017): 430–34. http://dx.doi.org/10.1080/01973762.2017.1333786.

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31

Dingley, Robert. "The Unreliable Camera: Photography as Evidence in Mid-Victorian Fiction." Victorian Review 27, no. 2 (2001): 42–55. http://dx.doi.org/10.1353/vcr.2001.0017.

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32

Clayton, Owen. "Barthes for Barthes' Sake? Victorian Literature and Photography beyond Poststructuralism." Literature Compass 13, no. 4 (2016): 245–57. http://dx.doi.org/10.1111/lic3.12327.

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33

Tange, Andrea Kaston. "Gestures of Connection: Victorian Technologies of Photography and Visible Mothering." Victorian Studies 65, no. 2 (2023): 193–225. http://dx.doi.org/10.2979/victorianstudies.65.2.01.

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Abstract: Victorian "hidden mother" photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, orotherwise (often ineffectively) obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growingsentimental ideals of middle-class motherhood, and the ways that carework and its cultu

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34

Tange, Andrea Kaston. "Gestures of Connection: Victorian Technologies of Photography and Visible Mothering." Victorian Studies 65, no. 2 (2023): 193–225. http://dx.doi.org/10.2979/vic.2023.a911106.

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Abstract: Victorian "hidden mother" photographs are portraits of babies in which adult figures are draped with textiles, blocked with furniture, tucked behind a mat, orotherwise (often ineffectively) obscured. Fascination with them habitually turns on their presumed erasure of nineteenth-century women's labor; however, modern assumptions about the production of these photos have shaped consumption of them. This essay locates these images within multiple contexts: the technologies of their production, growingsentimental ideals of middle-class motherhood, and the ways that carework and its cultu

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35

Aguirre, Robert D. "Wide Angle: Eadweard Muybridge, the Pacific Coast, and Trans-Indigenous Representation." Victorian Literature and Culture 49, no. 1 (2021): 55–72. http://dx.doi.org/10.1017/s1060150319000597.

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Eadweard Muybridge's Pacific Coast photographs provide an important site for investigating Victorian visual practices of the “wide.” They do not simply expand a referential frame to encompass novel subjects; they also, and more critically, register powerful narratives of temporality and modernity. This essay's analysis of the “wide” as an incipient concept of critical spatiality is not set against the more familiar temporal dimension of the long nineteenth century (a false and ultimately unproductive opposition). Rather, it places these two concerns in some tension with each other, though the

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36

Ugalde, Sharon Keefe. "Photographing Ophelia: Myth and Concept in Eugènia Balcells’s Ophelia (variacions sobre una imatge)." Letras Femeninas 41, no. 2 (2015): 35–45. http://dx.doi.org/10.2307/44735028.

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Abstract This essay examines the groundbreaking work of Catalan art photographer Eugènia Balcells’s 1979 black and white series, Ophelia (variacions sobre una imatge) as an act of feminist re-appropriation of one of the most popular subjects of Victorian painting and early photography. Baleei Is reclaims the canonical literary character by reproducing John Everett Millais’s famous Ophelia (1852) in 37 black-and-white photocopies, then manipulating each of the images in ways that both reveal and resist the patriarchal constructs that informed earlier artists’ view of Shakespeare’s heroine as su

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37

Armstrong, Nancy. "Emily's Ghost: The Cultural Politics of Victorian Fiction, Folklore, and Photography." NOVEL: A Forum on Fiction 25, no. 3 (1992): 245. http://dx.doi.org/10.2307/1345887.

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38

Braun, Marta. "Nature Exposed: Photography as Eyewitness in Victorian Science, by Jennifer Tucker." Victorian Studies 49, no. 4 (2007): 716–18. http://dx.doi.org/10.2979/vic.2007.49.4.716.

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39

Tinkler, Penny. "Women’s Albums and Photography in Victorian England: ladies, mothers and flirts." Women's History Review 19, no. 5 (2010): 803–5. http://dx.doi.org/10.1080/09612025.2010.524027.

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40

Gallagher, Kevin Thomas, Michael W. Russell, and George Smith. "Robert Burns: Reflections in The Victorian Lantern." Burns Chronicle 133, no. 1 (2024): 36–60. http://dx.doi.org/10.3366/burns.2024.0100.

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This article discusses a collection of Victorian ‘Magic Lantern’ slides and supporting paraphernalia concerning the poet Robert Burns. Utilising newly uncovered source materials, it investigates individuals concerned with the creation and ownership of the slides on Burns, including the firm of George Washington Wilson, and also examines the history of their presentation through the example of C. J. Parker, exploring their significance, determining what type of Burns was being propagated to Parker's audiences, and analysing how publically presented readings of Burns therein were constrained by

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41

Groth, Helen. "BOOK REVIEW: Victoria Olsen.FROM LIFE: JULIA MARGARET CAMERON AND VICTORIAN PHOTOGRAPHY. Basingstoke and New York: Palgrave Macmillan, 2003." Victorian Studies 48, no. 1 (2005): 197–98. http://dx.doi.org/10.2979/vic.2005.48.1.197.

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42

Ioan, Daria. "Spectral Bodies and Superimposition in Photography and Film." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (2023): 43–70. http://dx.doi.org/10.24193/subbdrama.2023.1.02.

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"During the Victorian age, post-mortem and spirit photography became increasingly popular so that those who had lost dear people were offered an extended mourning ground. These types of images were produced in great number in order to prove the existence of the other world. It is natural that many of these dead people portraits deal with transparency, blur and diffusion, as the result of superimposing reality and spectrality. Later on, ectoplasms were caught on photosensitive materials by a great number of spirit hunters, aiming at the same purpose of demonstrating the physicality of the invis

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43

Godbey, Margaret J. "Nature's Truth: Photography, Painting, and Science in Victorian Britain by Anne Helmreich." Victorian Periodicals Review 50, no. 2 (2017): 430–34. http://dx.doi.org/10.1353/vpr.2017.0031.

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44

Smith, Lindsay. "The shoe‐black to the crossing sweeper: Victorian street Arabs and photography." Textual Practice 10, no. 1 (1996): 29–55. http://dx.doi.org/10.1080/09502369608582238.

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45

Green-Lewis, Jennifer. "From Life: The Story of Julia Margaret Cameron and Victorian Photography (review)." Biography 27, no. 3 (2004): 613–17. http://dx.doi.org/10.1353/bio.2004.0065.

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46

Orain Pascali, Hélène. "Rosen, Jeff. 2024. Julia Margaret Cameron : The Colonial Shadows of Victorian Photography." Photographica 10 (2025): 184–85. https://doi.org/10.4000/13wte.

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47

Reid, Norman H. "A.D. Morrison-Low, Photography: A Victorian Sensation Sara Stevenson and A.D. Morrison-Low, Scottish Photography: The First Thirty Years." Journal of Scottish Historical Studies 37, no. 2 (2017): 201–3. http://dx.doi.org/10.3366/jshs.2017.0222.

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48

Poluektova, Tatyana Anatolievna. "The trickster in the paradigm of the photographic discourse of English-language prose of the second half of the 19th – early 21st century." Philology. Theory & Practice 18, no. 2 (2025): 731–37. https://doi.org/10.30853/phil20250103.

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The aim of the study is to demonstrate the way the trickster features in the images of photographers created by English-speaking writers of the second half of the 19th century and the early 21st century were changing. The author of the article implements a historical and literary review that allows capturing the prerequisites for the formation of trickster traits in the first images of photographer characters as well as the laws of their further development. The originality of the research lies in the fact that the article examines the images of trickster photographers for the first time in Ru

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49

Budge, Gavin. "Review of Andrea Henderson’s “Magic Mirrors: Formalist Realism in Victorian Physics and Photography”." Journal of Literature and Science 5, no. 2 (2012): 83–84. http://dx.doi.org/10.12929/jls.05.2.11.

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50

Petzold, Jochen. "Victorian Gendered Photography in the Boy's Own Paper and the Girl's Own Paper." Victorian Periodicals Review 52, no. 1 (2019): 57–79. http://dx.doi.org/10.1353/vpr.2019.0002.

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