42
titled Animal Locomotion. An Electro-Photographic
Investigation of Consecutive Phases of Animal Move-
ments, a work that has continued to fascinate artist and
the public ever since.
Photography was also pursued as part of the docu-
mentation of government sponsored natural history and
geographic expeditions starting with the Spanish Pacifi c
Scientifi c Expedition 1862–66 for which Rafael Castro
y Ordóñez (1834–1865) was offi cial zoological photog-
rapher but took mostly views. The British oceanographic
study undertaken in the Challenger in 1872–1876
brought the fi rst photographs of penguins in Antarctica
to a wider audience, and Canadian geologist explorer
J.B. (Joseph Burr) Tyrrell (1858–1957), a geologist
employed by the Geological Survey of Canada, photo-
graphed massive caribou herds at Carely Lake in the
Barren Lands in 1893.
Photography played a key role also in stimulating
conservation campaigns. In Montana in 1879 military
photographer Laton A. Huffman (1854–1931) recorded
the mass extermination of bison in the 1880–1890s. The
lesson of those losses affected former big game hunters
such as the American Judge George Shiras 3rd (1832–
1924) (an amateur naturalist, who urged adoption of the
camera instead of the gun and promoted conservation.
In 1898 Shiras developed a technique for photographing
animals at night using trip-wired fl ash. German hunter
Carl George Schillings (1865–1921) on safaris in East
Africa in the late 1890s became a conservationist. His
later work with fl ash would make him the best-known
modern wildlife photographer.
In the 1890s an industry developed catering to
both amateurs and professionals interest in ‘wildlife’
photography (though few faced predatory animals).
Thomas Dallmeyer made a special naturalist’s cam-
era and introduced the fi rst telephoto lens in 1891. In
1897 the fi rst German natural history book on middle
European game animals by Dr Wurm was marketed on
the basis of its profuse illustration by ‘snapshots from
life’ (some by Anschütz). However, the deluxe albums
and high quality books were overtaken by half-tone
reproduction process which supported an explosion
in naturalist books and magazines. Beginning in 1895
with British Birds’ Nests brothers Richard and Cherry
Keaton showed how they had mastered close-up stud-
ies by their ingeniously camoufl aged hides and other
devices to reach inaccessible places.
From the outset of the development of photography
in the 1840s, the value of applying photography to the
study of creatures, domestic or wild, dead or alive,
their habits and habitats on land, sea and in the air was
predicted and partially fulfi lled by the end of the cen-
tury. The indispensable role of photography in popular
journals such as National Geographic founded in 1898
awaited the new century fast mechanical shutters, rapid
plates, refl ex cameras and telephoto lenses and fl ash-
lights and orthochromatic plates.
Gael Newton
See also: Anschütz, Ottomar; Barker, George;
Bertsch, Adolphe; Bisson Frères; Braun, Adolphe;
Castro, Rafael y Ordóñez; Carbutt, John; Chapman,
James; Cremière, Léon; Chronophotography;
Dallmeyer, Thomas; Delton I, Jean (Louis Jean);
Delton II, Jean; Fenton, Roger; Haes, Frank; Hooper,
Willoughby Wallace; Llewelyn, John Dillwyn; Marey,
Étienne-Jules; Notman, William; Quinet, Achille;
Ross, Horatio; Schillings, Carl George; Tournachon,
Adrien; and Woodburytype.Further Reading
Bendavid-Val, Leah. Stories on Paper and Glass: Pioneering
Photography at National Geographic. Washington, D.C.:
National Geographic, 2001.
Bester, R. ‘James Chapman and the Spatial Politics of the Photo-
graphic Encounter in Colonial Southern Africa,’ in Stevenson,
M., ed., Thomas Baines: an Artist in the Service of Science.
London: Christies, 1999.
Braun, Marta. ‘The Expanded Present: Photographing Move-
ment,’ in Beauty of Another Order: Photography in Science.
New Haven and London: Yale University Press in association
with the National Gallery of Canada, 1999, 150–177.
Bloore, Caroline and Grace Sieberling. A Vision Exchanged:
Amateurs and Photography in Mid-Victorian England. Lon-
don: Victoria and Albert Museum, 1985.
Buckland, Gail. First Photographs: People and Places, & Phe-
nomena as Captured for the First Time. New York: Macmil-
lan, 1980.
Eder, Josef Maria. History of Photography. New York: Dover,
1978.
Chapman, James. Travels in the Interior of South Africa, 1849–
1863: Hunting and Trading Journeys from Natal to Walvis
Bay and Visits to Lake Ngami and Victoria Falls..., edited
from the original manuscripts by Edward C. Tabler... ; with
a map, photographs and illustrations. 2 vols, (1868). Cape
Town: A.A. Balkema, 1971.
Crombie, Isobel. ‘Haes, Frank,’ in Joan Kerr, ed., Dictionary of
Australian Artists: Painters, Sketchers, Photographers and
Engravers to 1870. Melbourne: Oxford University Press,
1993, 336–337.
Eskildesen, Ute ed et alia. Nützliche,süß und museal/ das fotfrafi -
erte Tier/ the photographed animal/useful, cute and collected.
Essen: Museum Folkwang, Essen–Steidel, 2005.
Eskildesen, Ute and Hans Jürgen Lechtreck eds. Nützliche, süß
und museal/ das fotografi erte tier/ Essays. Steidl and Museum
Folkwang Essen, 2005.
Gunther, André. ‘La Conquête de L’instantané. Archéologie de
l’imaginaire Photographique en France (1841–1895) unpub-
lished PhD, Ecole des Hautes Etudes en Sciences Sociales,
1999.
Godby, Michael, University of Cape Town. ‘Some Little Bit of
Effective Representation’: Photography and Painting on the
South West Africa Expedition of James Chapman and Thomas
Baines, 1861–62.’ ms paper Encounters with Photography:
Photographing People in Southern Africa, 1860 to 1999.Con-
ference held in Cape Town, 14 to 17 July 1999, http://www.
museums.org.za/sam/conf/enc/index.htm.