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is worth noting that in Britain the Professional Photog-
raphers Association was formed in March 1901 with
the aim of ‘Improving the status of those who practice
photography in the profession.’ In 1905, it prepared a
scheme for granting certifi cates of competency to opera-
tors and assistants.
Michael Hallett
See also: Dancer, John Benjamin; Delamotte, Philip
Henry; Henneman, Nicolaas; Sutton, Thomas; and
Farmer, Howard.Further Reading
Carter, J.A., “Photographic Education: An Outline History,” Brit-
ish Journal of Photography, 11 March and 18 March 1983.
This is based primarily on three sources; the records of the
Institute of Incorporated Photographers, the City and Guilds
and the original Regent Street Polytechnic.
Dancer, J.B., “Early Photography in Liverpool and Manchester,”
British Journal of Photography, 11 June 1886.
——, Greater London Record Offi ce: Technical Education Board
Document No 36; Polytechnic Sub-committee, 26 September
1894–10 November 1897, item dated July 1895.
Raven, Joseph. “The Photographer of the Future, Imitative or
Creative,” in The British Journal Photographic Almanac,
1873, 143–144.EDWARDS, J. D. (b. 1831)
American photographer
New Orleans photographer J.D. Edwards is best known
for a series of photographs of Confederate forts, guns,
barracks, shipyards, camps and soldiers that he took in
and around Pensacola, Fla., in April 1861.
Born in New Hampshire around 1831, Edwards may
have been the daguerreian artist listed with the rooms at
91½ Fourth Street in St. Louis in 1857. His wife, Mary,
was a Missourian by birth. In 1860, Edwards was 29,
with a wife and young child, working in New Orleans
as an “ambrotype portrait” maker. That year, he also
made a series of photographs for the government show-
ing the construction of the new Custom House and the
Marine Hospital.
In April 1861, with Union forces still occupying Fort
Pickens in Pensacola Bay, Edwards traveled there to
photograph the burgeoning Confederate presence. After
returning to New Orleans, Edwards began selling the
images at $1 a copy on May 15. “They are very large
and taken superbly,” a newspaper advertisement said. A
month later, woodcut engravings of Edwards’s images
appeared in Harper’s Weekly. Edwards reported having
taken 39 views, but 44 different images are known, and
the actual total may reach nearly 70.
All trace of Edwards is lost after 1861; and even the
date of his death remains unknown.
Bob ZellerEGERTON, PHILIP HENRY (1824–1893)
Philip Henry Egerton is believed to have originated from
Wrexham in North Wales, and to have married—for
the fi rst of three times—in 1857 before being posted to
India as a member of the Bengal Civil Service based
initially in Calcutta. He subsequently married again in
1886 and 1890.
It was while he was in India—as Deputy Commis-
sioner for Kangra, North West of Simla in Himachal
Pradesh—that he published his only collection of pho-
tographs. The 1864 book, Journal of a Tour through
Spiti to the Frontier of Chinese Thibet was published
in London by Cundall, Downes & Co. containing thirty
seven tipped in 10" × 8" albumen prints from photo-
graphs taken during a three month expedition though
the mountains of Himachal Pradesh in the summer of- His journey had been a semi-offi cial trip to explore
possible alternative routes for the transport of wool
from mountain farmers, and as part of it he visited and
photographed the town and people of Spiti, and took
the fi rst photographs of the Bara Shigri Glacier a few
miles from the town. His photographs of the spectacular
mountain-top Kee Monastery attest to his ability with
the collodion process.
A complete copy of Journal of a Tour through Spiti to
the Frontier of Chinese Thibet is preserved in the Harry
Ransom Humanities Research Center at the University
of Texas, Austin.
John Hannavy
EGYPT AND PALESTINE
Napoleon’s invasion of Egypt in 1798 ignited a Western
obsession with the Orient—both ancient and mod-
ern—that resonates even today. Much this obsession
was focused on Egypt, with its ancient wonders and
mysteries, and Palestine, the Holy Land, the land of the
Bible. It was manifested by the birth and evolution of
Egyptology as a scholarly and scientifi c discipline, the
rise of a popular appetite for anything relating to Ancient
Egypt (“Egyptomania”) that remains unabated, and in
the emergence of an intellectual and artistic fascination
with Middle Eastern life, thought, culture and customs
included under the broad rubric of Orientalism. Despite
the unwelcoming climate and the rigors of travel there,
Egypt and Palestine became destinations for travelers of
all persuasions—scientists, adventurers, entrepreneurs,
but also tourists—and books describing both the sights
and experiencing of the Middle East found an eager
and steady market. Visual documentation, however,
was less available. When photography was introduced
in 1839 it was logical and inevitable that the camera
would soon be applied to recording the wonders of Egypt
and the holy sites of Palestine, despite the challenges
of working the early photographic processes in evenEGYPT AND PALESTINE
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