1178
Further Reading
Crangle, Richard, Stephen Herbert, David Robinson (eds.),
Encyclopaedia of the Magic Lantern, Ripon: The Magic
Lantern Society 2001.
Crompton, Denis, Richard Franklin, and Stephen Herbert, Ser-
vants of Light: The Book of the Lantern, Ripon: The Magic
Lantern Society 1997
Guerin, Patrice, Du Soleil au Xenon: Les techniques d’éclairage
à travers deux siècles de projection, Paris: Prodiex 1995
Hecht, Hermann (ed. Ann Hecht), Pre-Cinema History: An
Encyclopaedia and Annotated Bibliography of theMoving
Image Before 1896, London: Bowker Saur / British Film
Institute 1993.
Herbert, Stephen (ed.), A History of Pre-Cinema (3 vols), London:
Routledge 2000.
Hrabalek, Ernst, Laterna Magica: Zauberwelt und Faszination
des Optrischen Spielzeugs, Munich: Keyser 1985.
Mannoni, Laurent, Le mouvement continué: Catalogue illustré
de la collection des appareils de la Cinémathèque française,
Milan: Mazzotta 1996.
Mannoni, Laurent (trans. by Richard Crangle), The Great Art
of Light and Shadow: Archaeology of the Cinema, Exeter:
University of Exeter Press 2000.
New Magic Lantern Journal. London/Ripon: April 1978 (ongo-
ing).
Optical Magic Lantern Journal and Photographic, London:
1889–1903
PROUT, VICTOR ALBERT (active
1850s–1860s)
English photographer
Prout was an early professional photographer largely
recognised today for his three distinct early 1860s pub-
lications: The Interior of the Abbey of Westminster: The
Thames, from London to Oxford, in Forty Photographs,
and Mar Lodge, August 1863. A series of photographs
illustrating the visit of their Royal Highnesses the
Prince and Princess of Wales to Mar Lodge, the seat of
the Rigfht Hon.the Earl and Countess of Fife, during
the Braemar Gathering of 1863. The Westminster Ab-
bey folio, published by P.&D. Colnaghi & Co.Ltd. in
1860, contained 23 albumen prints showing the abbey’s
ancient monuments. Prout made good use of the dra-
matic natural light for these early interior views. Later,
photographs from this series were published as stereos
by the publisher James Elliott. The most distinctive
of his works is undoubtably the unique series of 40
panoramic views of the Thames, England’s greatest
river. The publication is not dated but was produced
around 1862 in two parts and published by Virtue &
Co. The tranquil wide-angle views were made with a
special panoramic camera built for Prout by London
opticians Ross & Co.When fi rst published the Thames
river photographs were not credited to Prout but have
been attributed to him since. The Mar Lodge publication
contained 70 studies, ranging in size from carte-de-visite
to whole-plate, were published by Prout in 1864. The
tableaux-style photographs were staged for the cam-
era by the actor and artist the Hon. Lewis Wingfi eld
(1842–1891). All of Prout’s known images are well-
executed, exhibiting good technique and careful use of
daylight to produce his collodion negatives. He exhibited
his architectural studies along with copies of paintings
at London photographic exhibitions between 1856 and
1862 and operated a portrait studio at 15 Baker Street,
Portman Square, London from 1862–1865. Prout was
able to produce a wide range of high-quality work, all
of it artistic in style and content. However, he seems to
have had little commercial success and in the mid 1860’s
moved to Australia and worked as a studio photographer
with Freeman Brothers in Sydney from around 1866. He
is known to have made the only photographic portrait
of the colonial artist Conrad Martens.
Ian SumnerPULITI, TITO (1809–1870)
Italian
Tito Puliti (1809–1870) trained as a pharmacologist
before becoming an assistant in the Royal Museum
of Physics and Natural History in Florence. There,
on 2 September 1839, in the presence of Giovanni
Battista Amici, he made the fi rst daguerreotypes in
Tuscany—and probably the fi rst in Italy—by follow-
ing instructions received the day before. On 7 October,
in the third session of the fi rst meeting of the Society
of Italian Scientists, which was held at Pisa under the
patronage of Archduke Leopoldo II, Puliti exhibited his
daguerreotypes to the delegates, having already shown
them at the Accademia delle Belle Arti in Florence. At
the end of the session he was invited to demonstrate
the process on 10 October by taking a daguerreotype
of the Cathedral buildings from the hospital of Santa
Chiara.
Graham SmithPULMAN, GEORGE (d. 1871)
English-born photographer
George Pulman was originally from Manchester, UK,
and travelled to New Zealand after the Land Wars of the
1860s. In 1867 he commenced business with his wife,
Elizabeth Pulman, as the proprietor of a photographic
studio in Shortland Street, Auckland, specialising in
topological and portrait photography. Upon George’s
death on 17th April 1871, Elizabeth took over the
photographic business, which went on to become one
of New Zealand’s most infl uential studios. In later
years Elizabeth was aided by her son Frederick Pul-
man. Although there is a large archive of surviving
photographs held in museums, particularly of their