Relevant bibliographies by topics / Photographers Victoria

Academic literature on the topic 'Photographers Victoria'

Author: Grafiati
Published: 10 December 2022
Last updated: 30 January 2023

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Journal articles on the topic "Photographers Victoria"

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Whitehead, Christopher. "Henry Cole’s European Travels and the Building of the South Kensington Museum in the 1850s." Architectural History 48 (2005): 207–34. http://dx.doi.org/10.1017/s0066622x00003786.

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In January 1859, Henry Cole, the first Director of the South Kensington Museum (from 1899 known as the Victoria and Albert Museum) was in Rome, commissioning the photographer Pietro Dovizielli to produce photographs of buildings in the capital which Cole considered ‘suggestive’ and ‘picturesque’.
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Hoffman, Jesse. "ARTHUR HALLAM’S SPIRIT PHOTOGRAPH AND TENNYSON’S ELEGIAC TRACE." Victorian Literature and Culture 42, no. 4 (September 19, 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 credible medium for communication with the dead, their detractors saw them as deliberate acts of deception. Others employed photography's spectral qualities for entertainment, such as the London Stereoscopic Company that had marketed photographs of angels, fairies, and ghosts for their customers’ amusement in the 1860s (Chéroux 45–53). By the time the “shadowy figure of a man” appears beside Arthur Hallam's erstwhile fiancé, Mrs. Jesse, Tennyson's sister, the practice had been subject to public intrigue and scandal as a part of broader and contentious Victorian debates about the status of photography as art or document. The already surreal qualities of Cornish's anecdote are amplified by Tennyson's question, “Is that Arthur?,” which entertains the possibility of Hallam being present in a visible, spectral form while unrecognized by his beloved friend.
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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, Lady Hawarden exemplify this formalist realism, dramatizing the power of the formal logic of photography not only to represent the real but to reveal its fundamentally formal nature.
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Korda, Andrea, and Vanessa Warne. "Introduction: Victorian Photographs." Victorian Review 48, no. 1 (March 2022): 1–2. http://dx.doi.org/10.1353/vcr.2022.0013.

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Mattison, David. "Richard Maynard: Photographer of Victoria, B.C." History of Photography 9, no. 2 (April 1985): 109–29. http://dx.doi.org/10.1080/03087298.1985.10442269.

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Dodds, Douglas, and Ella Ravilious. "The Factory Project: digitisation at the Victoria and Albert Museum." Art Libraries Journal 34, no. 2 (2009): 10–16. http://dx.doi.org/10.1017/s0307472200015820.

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The Victoria and Albert Museum’s Word and Image Department holds an estimated 750,000 prints, drawings, paintings and photographs. Recent acquisitions have been catalogued using the Museum’s Collections Information System, but the vast majority of earlier acquisitions are still only described in a wide range of card indexes and printed catalogues. The indexes have been scanned, but the Museum now needs to complete the transfer of the catalogue records to its online system. The ‘Factory’ digitisation project was established in November 2007, with the intention of digitising the Department’s entire holdings and making them available online. Some 15,000 objects have been photographed in the first year, and cataloguing is also under way. The digital images and catalogue descriptions will be made available online via the Museum’s website as the project proceeds.
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Darragh, Thomas A. "William Blandowski: A frustrated life." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 11. http://dx.doi.org/10.1071/rs09011.

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When Johann Wilhelm Theodor Ludwig von Blandowski (1822-1878), was appointed Government Zoologist on 1 March 1854, Victoria gained a scientist, who had attended Tarnowitz Mining School and science lectures at Berlin University. He had been an assistant manager in part of the Koenigsgrube coal mine at Koenigshütte, but as a consequence of some kind of misdemeanour, resigned from the Prussian Mining Service and joined the Schleswig-Holstein Army in March 1848. After resigning his Lieutenant’s commission and trying unsuccessfully to obtain another appointment in the Prussian Mining Service, he left for Adelaide in May 1849 as a collector of natural history specimens. After some collecting expeditions and earning a living as a surveyor he moved to the Victorian goldfields. He undertook official expeditions in Central Victoria, Mornington Peninsula and Western Port and in December 1856 he was leader of the Murray-Darling Expedition, but control of the Museum passed to Frederick McCoy with Blandowski relegated to the position of Museum Collector. Feted on his return from the Expedition, he fell out with some members of the Royal Society of Victoria over somewhat puerile descriptions of new species of fishes and he also refused to recognise McCoy’s jurisdiction over him. After acrimonious arguments about collections and ownership of drawings made whilst he was a government officer, Blandowski resigned and left for Germany, where he set up as a photographer in Gleiwitz in 1861, but some kind of mental instability saw him committed to the mental asylum at Bunzlau (now Boleslawiec, Poland) in September 1873, where he died on 18 December 1878. Assessments of Blandowki’s scientific and artistic career in Australia have been mixed. The biographical details presented provide the opportunity to judge assessments of Blandowski in Australia against his actions both before and after his arrival there.
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Bell, Amy. "“We were having a lot of fun at the photographers”." Ontario History 107, no. 2 (July 24, 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 importance of school photographs to Canada’s photographic history.
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Denny, Margaret. "Catharine Weed Barnes Ward: Advocate for Victorian Women Photographers." History of Photography 36, no. 2 (May 2012): 156–71. http://dx.doi.org/10.1080/03087298.2012.654938.

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Welford, S. F. W. "B. J. Edwards, Victorian photographer, inventor and entrepreneur." History of Photography 13, no. 2 (April 1989): 157–63. http://dx.doi.org/10.1080/03087298.1989.10442185.

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Dissertations / Theses on the topic "Photographers Victoria"

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Mavor, Carol. "Pleasures taken : performances of sexuality and loss in Victorian photographs /." London ; New York : I. B. Tauris, 1996. http://catalogue.bnf.fr/ark:/12148/cb36996127c.

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Malan, Andre. "The use of historical photographs as source for cultural histor : the Sammy Marks photograph collection." Diss., University of Pretoria, 1996. http://hdl.handle.net/2263/37292.

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During his sojourn on earth man leaves traces behind. Subsequent generations can follow these traces through research in order to find out more about his forebears. The term document can be interpreted much wider than referring to written material so that different types of material can serve as source from which this knowledge can be drawn. Pictorial sources is one subsection underneath which photographic material in turn resorts. This study looks at the use of historical photographs as source from which the cultural historian can draw information .. Historical photographs are often merely seen and used as illustration material while they are sources in own right. It is the only source which captures and eternalises a moment in time visually. Unfortunately it is still a human with all his faults and deficiencies who stands behind the camera. That means that although the photograph as source is generally speaking very reliable and objective, historical criticism still has to be applied. To err is human, over and above wilful misrepresentation. Furthermore there are certain pitfalls and limitations inherent to the photograph. At the Sammy Marks Museum just east of Pretoria, a large collection of photographs has been preserved which shows the everyday life of the Marks family over a long period of time. By examining these photographs a clear picture can be formed of the everyday life of a well-to-do Victorian family in the Transvaal during the period 1890 to 1920. The actual images captured by the camera tell the story of these people's weal and woe like words cannot do. No source can be all-revealing .on its own. The photographs and the information drawn from them, are supported and confirmed by references and quotations from the personal correspondence of the family of which much has also been preserved. It is kept at the University of Cape Town. The biography of Sammy Marks by Richard Mendelsohn (Cape Town, 1991) as well as other literary sources has been studied and applied. The study also contains a broad background sketch of the period and its spirit. By making comparisons between the findings about the lives of Sammy Marks and his family and what is known generally about the people of the time, one can see to what degree they conformed or differed. The development of photography itself is also. briefly discussed. The historical photographs which were preserved by the Marks family, serve as example of how valuable such photographs are for our knowledge and the eventual reconstruction of the past. Without them the task of the physical restoration of the house, outbuildings and garden to their original shape would have been much more difficult. At the same time and even more important, they breathe life into the house through the information they contain about the people who used to inhabit it.
Dissertation (MA)--University of Pretoria, 1996.
gm2014
Historical and Heritage Studies
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Malherbe, Johanna Francina. "Die rol van neentiende-eeuse fotografie in eietydse bewaring : William Roe en Graaff-Reinet." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95870.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This study aims to understand the role that 19th century photography can play in the reconstruction of an era and in the conservation of cultural heritage in the 21st century. The photo collection of William Roe, a photographer from Graaff-Reinet, is used as an example. The origin and development of Graaff-Reinet is used as background information and major events such as the Great Trek, the arrival of the railway, the Anglo-Boer War, the First World War and the Great Flu are touched upon. Aspects such as education, churches, the library and the hospital in Graaff-Reinet complement the study. An overview of the development of photography covers several early photo-making processes. These include the daguerreotype process, Talbot's paper negative process, collotype and the popular carte de visite photographs. Photography specifically in South Africa is also conferred, with particular reference to the first photographers working in the country. Reference is made to the important influences major events like the discovery of diamonds and gold as well as the Anglo-Boer War had on photography. The discussion of William Roe as human being and his legacy as a photographer forms an integral part of the study. The Victorian period is discussed since this was the period in which Roe worked and lived. It had a formative influence on his workmanship. An overview of the Victorian period in England is followed by specific focus on South Africa during this time. The rush to the diamond fields, issues with language and the trends of the times are pointed out. Many of these trends are specifically indicated and discussed as they appear in Roe’s photos. The photos have been categorized to clarify analysis of the different cultural phenomena. The architecture and historical background of Graaff-Reinet’s churches and public buildings are discussed. Streetscapes and images of the town as a whole show the development and daily activities that took place. Photos of clothing represent a reconstruction of the fashions of the concurrent Victorian era and those of public events such as sporting events, celebrations, plays and a gathering during the Anglo-Boer War, display the social life of the community. The role of human memory in the writing of cultural history is compared with the “memory” role of photographs. At the same time the ability of photographs to reflect not only physical culture, but also abstract concepts, receives attention. The use of these abilities of photography in the preservation of culture is a challenge for conservationists of the 21th century.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die rol wat 19de-eeuse fotografie kan vervul in die rekonstruksie van ’n era en in die bewaring van kultuurgoedere vir die 21ste eeu, aan te spreek. Die fotoversameling van William Roe van Graaff-Reinet word as voorbeeld gebruik. Die ontstaan en ontwikkeling van Graaff-Reinet word as agtergrond behandel en belangrike gebeurtenisse soos onder meer Die Groot Trek, die koms van die spoorlyn, die Anglo- Boereoorlog, die Eerste Wêreldoorlog en die Groot Griep word uitgewys. Aspekte soos opvoeding, kerke, die biblioteek en hospitaal is aanvullend bestudeer om ’n volledige beeld van Graaff-Reinet daar te stel. ’n Oorsig oor die ontwikkeling van fotografie dek verskeie vroeë fotoprosesse soos die daguerreoproses, Talbot se papiernegatief, die calotipe-fotoproses en die gewilde carte-devisite- foto's. Fotografie in Suid-Afrika word bespreek met spesifieke verwysing na die eerste fotograwe wat in die land werksaam was. Daar word verwys na die invloed wat belangrike gebeurtenisse soos die ontdekking van diamante en goud, asook die Anglo-Boereoorlog, op fotografie in Suid-Afrika gehad het. Die ondersoek na William Roe as mens sowel as sy nalatenskap as fotograaf vorm ’n belangrike onderdeel van die studie. Die Victoriaanse era word bespreek aangesien dit die tydperk was waarin Roe geleef en gewerk het, en dus ’n vormende invloed op sy werk gehad het. ’n Oorsig oor die Victoriaanse era in Engeland word gevolg deur ’n beskouing van dié era in Suid-Afrika. Die stormloop na die diamantvelde, taalkwessies en heersende modeneigings word uitgewys. Baie van die modeneigings word tydens die ontleding van die kultuurverskynsels op die Roe-foto’s opgemerk en bespreek. Die foto’s vir die ontleding van kultuurverskynsels is in kategorieë ingedeel. Die argitektuur en historiese agtergrond van kerke en openbare geboue word bespreek. Straat- en dorpsbeelde dui die ontwikkeling van en bedrywighede op die dorp aan. Kleredragfoto’s bied ’n rekonstruksie van die modes van die Victoriaanse era terwyl die foto’s van openbare geleenthede soos sportbyeenkomste, feesvieringe, toneelopvoerings asook ’n samekoms tydens die Anglo-Boereoorlog die sosiale lewe van die inwoners van die dorp aandui. Die rol van die menslike geheue in kultuurgeskiedskrywing word vergelyk met die rol van foto’s as “geheue”. Terselfdertyd word die vermoë van foto’s om nie net fisiese kultuur te weerspieël nie, maar ook abstrakte konsepte te verteenwoordig, behandel. Die aanwending van hierdie eienskappe van fotografie in kultuurbewaring is ’n uitdaging vir bewaringskundiges van die 21ste eeu.
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Orain, Hélène. "Pure Photography : la photographie pure en Grande-Bretagne, matière à discours (1860-1917)." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H058.

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Cette étude est une analyse de l’évolution de la notion de photographie pure, dans les discours en Grande-Bretagne, entre 1860 et 1917. Définie comme une image non retouchée ni manipulée, la photographie pure est envisagée en miroir de la retouche et des interventions sur les négatifs et positifs. Une exploration des journaux britanniques a mis en lumière cette préoccupation constante pour la définition et la légitimité des moyens de la photographie. Premièrement, la question des combination printings, de la notion de vérité comme essence de la photographie ainsi que l’aspect des images photographiques sont source de débats. Les discours d’acceptation et de rejet des pratiques de ciels rapportés, de coloriage et de la retouche apportent un éclairage sur la genèse de la retouche. Ces points, corrélés à la présence de la photographie pure dans les expositions, soulignent l’émergence d’une volonté puriste dès les années 1860. Enfin, les discours sur la photographie pure de Peter Henry Emerson et de Frederick H. Evans sont mis en parallèle et contextualisés au sein du pictorialisme, pour mieux en dessiner la définition. Ainsi se relient, dans ces débats sur la pureté, les limites de l’expérimentation et les aspects de la photographie, les figures d'Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn et Alfred Stieglitz. Leurs discours et leurs recherches éclairent un idéal à atteindre, difficilement applicable, un mythe plus qu’une réalité
This study is an analysis of the evolution of the notion of pure photography, in discourses happening in Great Britain between 1860 and 1917. Defined as a photograph that is neither retouched nor manipulated, pure photography is envisaged in regard to retouching and negative and positive interventions. An exploration of British periodicals has brought to light the constant preoccupation for the definition and legitimacy of the photographic tools. First, the question of combination printings, the notion of truth as the essence of photography and the aspect of photographic images are a source of debate. The discourses of acceptance and rejection of practices such as printing-in clouds, colouring and retouching shine light on the genesis of retouching. These aspects, paralleled with the presence of pure photography in exhibitions, highlight the emergence of a purist aspiration as early as 1860. Finally, the discourses of Peter Henry Emerson and Frederick H. Evans on pure photography are confronted and contextualized within pictorialism, to further its definition. Thus, through these debates on purity, the limits of experimentation and the aspects of photography, the figures of Alfred H. Wall, Oscar Gustav Rejlander, Julia Margaret Cameron, Robert Demachy, Alvin Langdon Coburn and Alfred Stieglitz are connecting. Their discourses and research put forth an ideal, out of reach, impractical, a myth more than a reality
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Books on the topic "Photographers Victoria"

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The camera as historian: Amateur photographers and historical imagination, 1885-1918. Durham, NC: Duke University Press, 2012.

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Briggs, Asa. A Victorian portrait: Victorian life and values as seen through the work of studio photographers. New York: Harper & Row, 1989.

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Archie, Miles, ed. A Victorian portrait: Victorian life and values as seen through the work of studio photographers. London: Cassell, 1989.

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Victorian Lakeland photographers. Shrewsbury, England: Swan Hill Press, 1991.

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Francis, Frith. Travels of a Victorian photographer: The photographs of Francis Frith. London: The Folio Society, 2001.

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Victorian photographers at work. Princes Risborough, Buckinghamshire, UK: Shire Publications, 1997.

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Greater Manchester County Record Office., ed. The expert guide to dating Victorian family photographs. [Manchester]: Greater Manchester County Record Office, 2000.

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Cuppleditch, David. Joseph Willey: A Victorian Lincolnshire photographer, 1829-1893. Cheddar, Somerset: C. Skilton, 1987.

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Joe, Johnson, and Larcenet Patrice, eds. Ordinary victories. New York: NBM ComicsLit, 2008.

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Hallett, Michael. Victorian and Edwardian professional photographers in Dorset. [Bath]: Royal Photographic Society Historical Group, 1987.

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Book chapters on the topic "Photographers Victoria"

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Shepherdson, Karen. "Beyond the View: Reframing the Early Commercial Seaside Photograph." In Coastal Cultures of the Long Nineteenth Century, 225–41. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474435734.003.0013.

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This chapter provides insight into an overlooked form of demotic photography, revealing rich seams of imagery and offering fresh perspectives on Victorian coastal representations. Shepherdson examines commercial seaside photographic practice from 1860 to 1920, offering a visual exposition of the British seaside through the refracted lens of the itinerant beach photographer. Despite their humble means of production, the photographs discussed are frequently evocative, drawing the viewer into a nostalgic past shaped by visual half-truths. Photographic half-truths too readily can become amplified from a view to the view and to the experience. This chapter examines the conventions, expectations and mythologisation of what seaside portrait photography of this period should present, and how these inevitably provide a highly mediated view of the actual Victorian seaside experience.
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Smith, Lindsay. "“Colouring Photographs. –No. I.”." In Color and Victorian Photography, 151–55. Routledge, 2020. http://dx.doi.org/10.4324/9781003084976-24.

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"James Tissot’s “Coloured Photographs of Vulgar Society”." In Victorian Vulgarity, 213–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315235035-24.

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"Photographs." In Victorian Sensation: The Extraordinary Publication, Reception, and Secret Authorship of Vestiges of the Natural History of Creation. BERKELEY; LOS ANGELES; LONDON: UNIVERSITY OF CALIFORNIA PRESS, 2007. http://dx.doi.org/10.2307/book4.13.

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Spring, Ian. "Midnight Scenes and Social Photographs: Thomas Annan’s Glasgow." In Victorian Urban Settings, 195–213. Routledge, 2013. http://dx.doi.org/10.4324/9780203054512-ch-10.

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"Photographs, Albums, Women’s Magazines." In Women’s Albums and Photography in Victorian England, 53–76. Routledge, 2017. http://dx.doi.org/10.4324/9781315083889-4.

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"Photographs, Fun and Flirtations." In Women’s Albums and Photography in Victorian England, 107–37. Routledge, 2017. http://dx.doi.org/10.4324/9781315083889-6.

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Simpson, Roddy. "Scots Abroad: The Achievements of Scottish Photographers Around the World." In The Photography of Victorian Scotland, 90–112. Edinburgh University Press, 2012. http://dx.doi.org/10.3366/edinburgh/9780748654611.003.0006.

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Goldhill, Simon. "Coda." In Victorian Culture and Classical Antiquity. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149844.003.0009.

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In the ultra-trendy art magazine, The Studio, a magazine that had run important reviews of Waterhouse’s work, some photographs by Wilhelm von Gloeden were published in 1893. Von Gloeden moved from Germany to Sicily in 1878 for his health, where he lived for the last decades of the nineteenth century. He spent his time there taking naked, posed photographs of the local inhabitants. These were sold partly as anthropological studies of the Mediterranean, but mostly as “classical studies”—the Mediterranean body, in the open air. Like Alma-Tadema, he posed his subjects in classical ...
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"5. Scots Abroad: The Achievements of Scottish Photographers Around the World." In The Photography of Victorian Scotland, 90–114. Edinburgh University Press, 2012. http://dx.doi.org/10.1515/9780748654628-007.

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Conference papers on the topic "Photographers Victoria"

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Marfella, Giorgio. "Seeds of Concrete Progress: Grain Elevators and Technology Transfer between America and Australia." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4000pi5hk.

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Modern concrete silos and grain elevators are a persistent source of interest and fascination for architects, industrial archaeologists, painters, photographers, and artists. The legacy of the Australian examples of the early 1900s is appreciated primarily by a popular culture that allocates value to these structures on aesthetic grounds. Several aspects of construction history associated with this early modern form of civil engineering have been less explored. In the 1920s and 1930s, concrete grain elevator stations blossomed along the railway networks of the Australian Wheat Belts, marking with their vertical presence the landscapes of many rural towns in New South Wales, Queensland, Victoria, and Western Australia. The Australian reception of this industrial building type of American origin reflects the modern nation-building aspirations of State Governments of the early 1900s. The development of fast-tracked, self-climbing methods for constructing concrete silos, a technology also imported from America, illustrates the critical role of concrete in that effort of nation-building. The rural and urban proliferation of concrete silos in Australia also helped establish a confident local concrete industry that began thriving with automatic systems of movable formwork, mastering and ultimately transferring these construction methods to multi-storey buildings after WWII. Although there is an evident link between grain elevators and the historiographical propaganda of heroic modernism, that nexus should not induce to interpret old concrete silos as a vestige of modern aesthetics. As catalysts of technical and economic development in Australia, Australian wheat silos also bear important significance due to the international technology transfer and local repercussions of their fast-tracked concrete construction methods.
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