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Osborne, Peter D., Travelling Light: Photography, Travel, and
Visual Culture, Manchester and New York: Manchester Uni-
versity Press, 2000.
Ryan, James, Picturing Empire: Photography and the Visualiza-
tion of the British Empire, Chicago: University of Chicago
Press, 1997.
Schwartz, Joan, “The Geography Lesson: Photographs and the
Construction of Imaginative Geographies.” Journal of Histori-
cal Geography, 22, 1 (1996): 16–45.
——, Light Impressions: Travel, Writing, and Photography
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Schwartz, Joan, and James Ryan (eds.), Picturing Place:
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Taylor, John. A Dream of England: Landscape, Photography, and
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TRÉMAUX, PIERRE (ACTIVE 1853–1868)
French, photographer, architect, architectural
historian
The architect Trémaux was a member of the Académie
des Beaux-Arts and Société de Géographie, and winner
of a second place Prix de Rome in 1845. He was born in
1818, and is known for a extensive, profusely illustrated,
three-part publication on the architecture of Africa and
Asia Minor: Voyage au Soudan oriental et dans l’Afrique
septentrionale exécutés de 1847 a 1854 (1852–1854);
Une parallèle des édifi ces anciens et modernes du conti-
nent africain (1861); Exploration archéologique en Asia
mineur (1862–1868). Trémaux explored the use of pho-
tography for illustration, initially using photographs, as
well as drawings, as source documents for lithographic
plates. In 1853–54, he made calotypes in Egypt which
were bound into volumes in addition to lithographs. The
photographic prints deteriorated rapidly and he replaced
them with lithographs. For the third part of the series, he
turned to Poitevin’s photolithographic process. Despite
the technical shortcomings of his photographic work,
Trémaux’s calotypes are recognized as some of the
earliest photographs of the people of Egypt.
Kathleen Howe
TRIPE, LINNAEUS (1822–1902)
Working in India and the East in the mid 1850s the
photographs of Linnaeus Tripe, along with those of his
contemporaries John Murray and Samuel Bourne, rank
amongst the fi nest of the period. Tripe, an accomplished
amateur, was amongst several army offi cers seconded
from military duties to record antiquities, architecture
and ethnography of the continent and created a body of
work which, though highly regarded by his contempo-
raries, has until recently been sadly overlooked.
Born in 1822 in Devonport, England, Linnaeus Tripe
was the ninth of Cornelius and Mary Tripe’s twelve
children, his siblings including Theophilus, Octavius,
Lorenzo, Septimus and Algernon. Tripe studied math-
ematics and the classics and at seventeen he joined
the East India Company as an ensign. By the early
nineteenth century, the East India Company itself had
evolved from a small trading company to control much
of India, employing both political and military rule to
protect its commercial interests. The ‘Government’ was
organised into three Presidencies of Bombay, Madras
and Bengal respectively. Tripe was stationed with the
Madras Establishment, rising from humble ensign in
1839 to honourary Major General by his retirement in
1875.
Tripe’s fi rst known photographs were taken between
1853 and 54 around his hometown of Devonport towards
the end of a three and a half-year furlough. On his return
to India he continued with his new hobby and while on
leave in December 1854 took a series of photographs
around Halebid and Belur. These prints were greatly
admired when shown at the Madras Exhibition of 1855
and Tripe was awarded the fi rst class medal. At this time
the Government of India was already showing interest
in photography as a more cost and time effi cient method
to document and record antiquities than commissioning
traditional artists. In 1855 they sent a mission to Ava
to persuade the King of Burma to recognise the Brit-
ish annexation of Lower Burma following the Second
Anglo-Burmese War of 1852. Captain Tripe, probably
as a result of his success in the Madras Exhibition, was
appointed offi cial photographer and during the three and
a half-month trip he produced nearly 220 calotype nega-
tives. In truth, due to sickness and bad weather, Tripe
had only 36 working days in which to photograph the
region. This was indicative of the problems of the 19th
century photographer in India: heat, dust, and fl ies in
summer, damp humid conditions and sickness during the
monsoon months, the rapid deterioration of chemicals,
and diffi culties procuring and transporting the bulky
equipment were regular complaints. For many of these
reasons Tripe preferred the calotype, modifying Le
Gray’s waxed paper process to suit his needs. However
even this method was not without its diffi culties and
Tripe complained that the wax often melted in the heat
leaving spots on the fi rst prints “so as to spoil them.”
On his return to the photographic department in
Bangalore Tripe began the labourious task of printing 50
boxed sets from 120 negatives selected from the trip for
The Government of India—a total of over 6,000 prints.
The skies of these Burmese views have a pronounced
granular texture and lack of defi nition, a fault typical of
early negatives since different exposures were needed
to record sky and solid objects. Tripe blacked out the
sky on his negatives completely so it printed white,