1095
Jabez Edwin; Moulin, Félix-Jacques-Antoine; Scovill
and Adams; Sebah, J. Pascal and Joaillier; Talbot,
William Henry Fox; and Zangaki Brothers.
Further Reading
Arnold, H.J.P., William Henry Fox Talbot Pioneer of photography
and man of science, London: Hutchinson Benham, 1977.
Delamotte, Philip H., The Practice of Photography London:
Photographic Institution, 1855, reprint New York: Arno Press
1973.
Gernsheim, Helmut, The Origins of Photography, London:
Thames & Hudson, 1982.
McCauley, Elizabeth Anne, A.A.E.Disdéri and the Carte de
Visite Portrait Photograph, New Haven and London: Yale
University Press, 1985.
Towler, J., The Silver Sunbeam: A Practical and Theoretical
Text-Book, New York: Joseph H. Ladd 1864, reprint New
York: Morgan & Morgan, 1969.
Zanier, Italo, Le Grand Tour, Venice & Paris: Canal & Stamperia
Editrice, 1997.
PHOTOGRAPHISCHE CORRESPONDENZ
Between 1888 and 1938, the Photographische Corre-
spondenz undoubtedly was the most renowned magazine
in photographic sciences. Any invention or scien-
tifi c photographic progress mentioned in this magazine
meant that it was a validated device or process. This
was due in part because of its behind the scenes editor
Joseph Maria Eder, then the foremost source and teacher
in photographic sciences to the degree that the quality
of this paper’s articles had a canonic character. Before
publication, any method offered, process introduced,
or industrial operation presented was tested by Eder in
his laboratories at the Viennese Hoehere Graphische
Lehr- und Versuchsanstalt [Higher Institute of Graphic
Arts and Reproduction Technology] which he founded
in 1888. The shift of the magazine into photographic
science was not only due to his infl uence but to the com-
petition of a number of other magazines, too, which also
concentrated on the publication of Fine Art imagery.
Photographische Correspondenz started in 1864
as a periodical from practitioners to practitioners. The
fi rst editor, Ludwig Schrank organized exhibitions and
wrote papers for an equally sound practice in economy
and arts. Fixed to ideals of craftmenship, the magazine
focused on composition, lighting, posing, and the dif-
ferent genres of photography. Fine Art was discussed
in its practical aspects, from the discussion of printing
processes to questions of the copyright for photographs.
From 1888 on, not only the contents of the papers
changed but the illustrations and photographers as well.
Any important scientist in the German speaking world
who something to contribute about photography did it in
Photographische Correspondenz, from the archeologist
Heinrich Schliemann to the physicist Ernst Mach, and
a number of other unnamed astronomists. The quality
of these articles culminated in the fi rst decade of the
20th century when Theodor Scheimpfl ug and others
published their researches for the fi rst time in Photog-
raphische Correspondenz.
Portrait photography in the studio was the main in-
terest of the editors and authors in the fi rst decades of
Photographische Correspondenz. Printing technology
seemed to be the main concern in the years to follow
mirroring itself in the prints accompanying the periodi-
cal itself: After 1888, most of the images were produced
in Eder’s school, and often new technologies of both
lithographic and autotype processes were used for one
issue or another. The experimental characteristic of
the print preparation allowed for artistic experiments
o, and therefore a number of important Fine Art pho-
tographers published their works in Photographische
Correspondenz like Hugo Henneberg, Wilhelm von
Gloeden, Heinrich Bachmann, Robert Demachy, Hugo
Erfurth, Hermann Clemens Kosel, and Fred Boissonas.
The contrast of the scientifi c approach in the articles, a
bourgeois habitus in the news, and a slow approval of
aesthetic developments mark the overall appearance of
this magazine.
Undoubtedly too, Photographische Correspondenz
had a number of strong competitors in the world, and in
German language as well: The Photographische Rund-
schau, under direction of Richard Neuhauss, mostly
managed to publish international articles in German
translation earlier than Photographische Correspon-
denz, and from 1900 onwards there were a number
of good periodicals exclusively devoted to Fine Art
Photography, which surpassed Photographische Cor-
respondenz in aesthetic quality by far. But there was no
other magazine in German language that had the earliest
news of scientifi c developments, than Photographische
Correspondenz.
Rolf Sachsse
See also: Eder, Joseph Maria; Schrank, Ludwig;
Mach, Ernst; von Gloeden, Baron Wilhelm; Demachy,
(Léon) Robert; Photographische Rundschau; and
Neuhauss, Richard.Further Reading
Photographische Correspondenz. Technische, artistische und
commerzielle Mittheilungen aus dem Gebiete der Photogra-
phie, redigiert und herausgegeben von Ludwig Schrank, Wien
Vol. 1, 1864 (July)—Vol. 107, 1971.
Photographische Correspondenz, from vol. 7, 1870; Organ der
photographischen Gesellschaft in Wien; from vol.8, 1871,
edited by E. Hornig; from vol. 11, 1873, in Verlag der Pho-
tographischen Correspondenz; from vol. 25, 1888 in special
cooperation with Josef Maria Eder edited by Ludwig Schrank;
from vol. 40, 1903, as Photographische Korrespondenz, edit-
ing committee: Josef Maria Eder, Artur Freiherr von Hübl etc.,