664
Photography in Oxford. In Henry William Taunt. The millenary
of Oxford—its story for a thousand years. Oxford: Taunt,
(1912), 84.
Anthony Wood, A picture of rural peace. Oxford Mail, April 4,
1979, 8 (on a photo of an unknown house by Hills).
HIME, HUMPHREY LLOYD (1837–1906)
Canadian photographer
Humphrey Lloyd Hime was born on September 17, 1833
in Moy, County Armagh, Ireland. Educated in England
from the age of 15 where he learned textile manufac-
turing, Hime emigrated to Canada in 1854 where he
worked on land survey crews until January 1857 when
he joined the Toronto fi rm Armstrong, Beere & Hime as
a junior partner. He learned photography from William
Armstrong (1822?, Dublin, Ireland–1914, Toronto) and
Daniel Manders Beere (1833, Ireland–1909, Australia).
Hime’s two most signifi cant photographic achievements
were a nearly 360 degree panorama of Toronto taken in
1856 or 1857 with Armstrong from the roof of a hotel,
and his participation as a photographer in the 1858 As-
siniboine and Saskatchewan Exploring Expeditions led
by H.L. Hind, the fi rst such use of photography by an
offi cial Canadian exploration party. Hime had mixed
results with his wet-plate photography on this journey,
achieving the most success under more controlled
conditions at the Red River Colony and Fort Garry in
Manitoba. Some of the photographs were published in
a portfolio in 1860 to accompany a two-volume com-
mercial edition of Hind’s expedition report. After leav-
ing Armstrong, Beere & Hime in June 1861, Hime had
wide-ranging business interests, and served in municipal
politics. He was also a founding member of the Toronto
Stock Exchange, and acted in various offi cial capaci-
ties, including two terms as its president. Hime died in
Toronto, Canada, on October 31, 1903. The largest col-
lections of Hime’s 1858 expedition photographs, none of
which have survived in negative form, are at the Library
and Archives Canada, the Toronto Public Library, and
the Provincial Archives of Manitoba.
Dave Mattison
HINTON, ALFRED HORSLEY
(1863–1908)
Landscape photographer
Trained originally as an artist, after he had met and
was influenced by H. P. Robinson, Alfred Horsley
Hinton took up photography and in 1889 worked at a
photographic suppliers. From 1891-93 he managed H.
P. Robinson’s son, Ralph Robinson’s, and Guilford pho-
tography studio, then turned full time to journalism. He
edited Photographic Art Journal (1887), Photographs of
the Year (1892), and Amateur Photography from 1893
until his early death at 45. He wrote several books and
articles for The Times, Daily Telegraph, Daily Graphic,
and Yorkshire Post. Through writing (with texts also
translated into French and German), curating exhibi-
tions, lecturing, and his own photography, he became
one of the leading advocates of ‘Pictorial Photography’
(Stieglitz published two of his articles). A founding
member Linked Ring Brotherhood (1892–1910), set
up by a group of British photographers who left the
Photographic Society (later Royal Photographic So-
ciety) of Great Britain and held their own salons from
1893–1905, and notable for his romantic depictions
of the Essex fl ats and the Yorkshire moors, J Dudley
Johnston described him as the father of the ‘British
School of Landscape Photography.’ Hinton believed
in photography as an individual form of expression
but fundamentally that also meant that, in order to be
an art form, it had to be capable of the same capacity
for manipulation as painting or printmaking. Using the
platinotype, often with combination negatives, and ad-
ditions in pencil, George Bernard Shaw described him
as a ‘fuzzographer.’ The praise and respect he earned
has evaporated today, perhaps due to the lack of surviv-
ing images in signifi cant numbers and the animosity
which continues towards the ‘Camera Clubs,’ which
still operate, thanks to Hinton et al, in the wake of the
Pictorialist tradition.
Alistair CrawfordHISTORIOGRAPHY OF NINETEENTH-
CENTURY PHOTOGRAPHY
Although the 20th century has defi ned photography
primarily as a medium of visual expression, the 19th-
century experience of photography cannot be under-
stood without giving due credit to its novelty and its
status as invention. That photography was an invention
may seem trivial, but it needs emphasizing because
the novelty and the technicality of photography to the
19th-century mind were effaced by the advent of popu-
lar photography around 1900, and because the ensuing
reevaluation of photography’s visual heritage resulted in
obscuring much of the 19th-century cultural reception
of photography.
The idea that photography was an invention—and not
a method, craft, or art—was decisively embodied in the
1839 French law on the daguerreotype, which awarded
a pension to the inventors in return for the publication
of their process. The bill’s justifi cations paradoxically
stated that the process was too simple to be patented, that
it was more of an idea or discovery than of an industrial
process, and that once it was known, anybody would be
able to use it (and thus to “make drawings as adroitly
as a skilled artist”) without paying a fee. This paradox