I 46
INDEX
Photography (continued)
as intrinsically linked to empirical truth,
415
as invention, 664–665, 665
inventors, 665
inventory of, 122
in jewelry, 953
legal restrictions, 607
magazine reviews, 8
materiality of, 1089, 1090
missionaries, teaching and conversion aid,
17
mounting, 952–955
new compositional structures, 738
new model of photographic history, 666
19th-century cultural reception, 664
19th-century experience of, 664–668
objective vision, 607, 731
obsessive quest, 665
origins, 606
painters
motion in, 1047
relationship, 1043–147, 1045
perceived “truth” of camera images, 9
as philosophic dream, 670–671
pictorial arts, difference between, 456
pictorialism, clamour for prestige, 1128
pictorial modes and locations, 77
place of art and pictures in society, 665
place of art photography in art history, 666
popularization, 666
porcelain photographs, 954, 1199, 1200,
1442
potential applications, 896
potential duplicity, 552–553
precursors of, 667
pricing, 81
production of photographic objects, 1090
as products of industry, 665
public and commercial character of, 1429
reaction against mechanization and
industrialization, 81
relationship of painters to, 667
representation of external reality, 1331
representing motion by, 4
to reproduce maps, 1098
reproduction
botanical photography, 1099
color, 1097
dissemination of knowledge, 1099
industrial photography, 1099
ink on paper printing, 1097
manual transcription, 1099
photographic formats, 1097–1098
photomechanical processes, 1099
photomicrography, 1099
relationship, 1097–1099
science, 1099
technical barriers, 1097
rise of mass photography, 433–434
safety fears, 718
as scientifi c aid, 583
scientifi c and institutional uses of, 667
self-justifying ideology of modernity, 665
separated from fi ne arts, 665
social reception beyond cultural elites, 667
stature, 34
status as technology, 666
strongly emotional response, 665
tax on, 468
technical history, 666
traditional divisions, 667
transformation of images into objects, 1090
truth, 672–673
universally accessible photography,
433–434
universal visual mode of expression, 666
uses, 724
visibility as technology, 1090
women commodifi ed, 432
writing, 665
Photography, A Popular Treatise (Ellis,
Joseph), 178
Photography and the American Scene: A
Social History 1839-1889 (Taft,
Robert), 1375
Photography as a Fine Art (Caffi n, Charles
Henry), 236
Photography as profession, 1100–1102
associations, 1101
era of the professional, 1100
exploitation, 1101
fi rst photographers, 1100
portraits, 1100
skilled vs. ignorant photographers, 1101
specialization, 1101–1102
standards, 1101
Photography books, see also Manuals; Specifi c
title
1840s, 177–178
1850s, 178–179
numbers, 178
1860s, 180–181
genesis of medium, 180
history of photography, 180
relationship of photography with
established art forms, 181
1870s, 181–182
equipment selection, 181
by plate-making industry, 181
1880s, 182–184
fi rst bibliography, 183
journals, 183
publishers, 184
specialized, 182
technological change, 182–183
1890s, 185–187
debate around photography as art, 185
specifi c applications, 186
self or private publishing, 178
Photography collections, 64–69, 309–312
academic collections, 309
Albert, Prince Consort, 1214–1215
anthropology, 68
by architects, 65
architectural photography, 65–66
archives of photographers themselves,
64–65
by artists, 65, 67
art market expansion, 309
art schools and designers, 67
Asser, Eduard Isaac, 86
Baldus, Édouard Denis, 110–111
Belgium, 1290
Bibliothèque Nationale de France, 154–156
Boyer, Alden Scott, 197
Brady, Mathew B., 199, 200
British Library, 215–217
British Museum, 65
British Museum Library, 215–217
Brogi family, 218
civil engineers, 66
collectors, 65, 666
commercial manufacturers, 68–69
conservation, 331–332
criminal justice system, 66
within cultural and heritage institutions, 66
to document national cultural heritage, 67Ecole des Beaux-Arts, Paris, 67
Edward VII, King of England, 1215
environmental conditions, 64
ethnography, 68
European courts, 310
Gernsheim, Alison, 586–588
Gernsheim, Helmut Erich Robert, 586–588
government, 66
Great Britain, 68
national collection of portraits, 1306
historiography, 68
institutional collections, 309
institutionalized, 64
Johnston, John Dudley, architect of Royal
Photographic Society collection, 778,
779
Juhl, Ernst, 784–785
The Library of Congress, 855–856
local history, antiquary, and archaeological
societies, 67–68
major museums and galleries, 66
Matthies-Masuren, Fritz, 904
military, 66
19th century, loss of, 64
photographic practices, 1090–1091
photographic societies, 66–67
Photographic Society of London, 309, 310
photography democratic, available, and
easy to archive, 309
Piot, Eugène, 1131
preservation, 331–332
by private art collectors, 65
Root, Marcus Aurelius, 1208–1209
Royal Academy of Arts, London, 67
Royal Anthropological Institute, 68
Royal Collection, Windsor, 1214–1216
royalty and nobility as collectors, 65
Smithsonian Institution, 68, 1276
acquisitions, 1276
art photography, 1276
Société française de photographie, 309–310
South Kensington Museum, 66
Townshend, Chauncy Hare
bequest to South Kensington Museum,
1403–1404
early photographs, 1403–1404
types of images collected, 309
universities and research institutes, 66
Victoria, Queen of England, 1214–1215
Photography criticism, 345–349
art photography, 346
cyanotypes, 360–361
described, 345–346
Europe in 1930s, 348
exhibitions, 346, 347
photographic societies, 346
Photography studios, , media, 1100
Photogravure printing company, 762
Photogravures, 10, 632, 646, 1080, 1112–1114,
1113, 1113, 1118–1119, 1511–1512
Annan, James Craig, 43
Autotype Fine Art Company, 103–104
Baldus, Édouard Denis, 110
Camera Work, 1112
Curtis, Edward Sheriff, 1112
Davanne, Louis-Alphonse, 386
defi ned, 1112
Emerson, Peter Henry, 80, 483, 1112
Goupil & Cie, 603
Klič, Karl Václav
fi rst widely used mass-production
process, 800
Klič developed process, 800
method, 801