1307
thousands of images. Despite their divergent aesthetic
approaches, Pictorialists and the survey groups pursued
a largely anti-urban vision.
Steve Edwards
See also: Talbot, William Henry Fox; Notes and
Queries; Photographic News (1858–1908); Edinburgh
Calotype Club; Hunt, Robert; Société héliographique;
Victoria, Queen and Albert, Prince Consort;
Photographic Exchange Club and Photographic
Society Club, London; Delamotte, Philip Henry;
Rejlander, Oscar Gustav; Royal Photographic
Society; Fenton, Roger; Great Exhibition 1851;
Cundall, Joseph; Royal Society, London; Brotherhood
of the Linked Ring; Photographic Salon, London;
Wall, A.H.; South Kensinginton Museum.
Further Reading
Anon., “Anniversary Meeting.” Journal of the Photographic
Society (February 21, 1854): 165–166.
Anon., “Photographic Societies, Papers, and Discussions.” The
Photographic News (March 29, 1867): 146–147.
Barton, Ruth,, ‘“Men of Science”: Language, Identity and Profes-
sionalization in the Mid-Victorian Scientifi c Community.,”
History of Science, vol. 41, part 1, no. 131,( March 2003):
73–81
Berman, Morris, ‘“Hegemony” and the Amateur Tradition in
British Science.,” Journal of Social History vol. VIII (Winter,
1975):.30–50.
Chandler, Edward, Photography in Ireland: The Nineteenth
Century, Dublin: Edmund Burke, 2001.
Cooper, Harry. The Centenary of the Royal Photographic Society
of Great Britain 1853–1953: a Brief History of its Formation,
Activities and Achievements, Royal Photographic Society,
1953.
Diamond, Dr Hugh. “Report of Jurors.” The Photographic Jour-
nal (August 15, 1863): 339–346.
Eastlake, Lady Elizabeth, “Photography.” In Photography: Essays
and Images, edited by Beaumont Newhall, 81–95, Secker and
Warburg, 1981.
Edwards, Steve. The Making of English Photography, Allegories,
University Park: Penn State University Press, 2006.
Fenton, Roger, “Proposal for the Formation of a Photographical
Society,” 1852, Pam Roberts, ‘“The Exertions of Mr. Fenton”:
Roger Fenton and the Founding of the Photographic Society,’
Gordon Baldwin, Malcolm Daniel & Sarah Greenaugh, with
contributions by Richard Pare, Pam Roberts, and Roger
Taylor, All the Mighty World: The Photographs of Roger
Fenton, 1852–1860, New York: The Metropolitan Museum
of Art, 2004, 214.
——, “Upon the Mode in which it is advisable the Society should
conduct its Labours.” Journal of the Photographic Society
(March, 3, 1853): 8.
Gernsheim, Helmut. Incunabula of British Photographic Litera-
ture 1839–1875, John X. Berger ed., London & Berkeley:
Scolar Press, 1984.
Hamber, Anthony J., “A Higher Branch of the Art”: Photograph-
ing the Fine Arts in England, 1839–1880, Documenting the
Image, vol. 4, Amsterdam: Gordon and Breach Publishers,
1996.
Harker, Margaret, The Linked Ring: The Secession Movement
in Photography in Britain 1892–1910, London: Heinemann,
1979.
James, Peter. “Evolution of the Photographic Record and Survey
Movement, c.1890–1910.” History of Photography, vol.12
no 3 (1988):.205–218.
Morrell, Jack, and Arnold Thackerey, Gentlemen of Science: The
Early Years of the British Association for the Advancement of
Science, Oxford University Press, 1981.
Pritchard, H. Baden, Photography and Photographers: A Se-
ries of Essays for the Studio and Study, (1885), Arno Press
reprint, 1973.
Roberts, Pam, ‘“The Exertions of Mr. Fenton”: Roger Fenton and
the Founding of the Photographic Society,’ Gordon Baldwin,
Malcolm Daniel & Sarah Greenaugh, with contributions by
Richard Pare, Pam Roberts, and Roger Taylor, All the Mighty
World: The Photographs of Roger Fenton, 1852–1860, New
York: The Metropolitan Museum of Art, 2004, pp.211–220
Seiberling. Grace, and Carolyn Bloore, Amateurs, Photography
and the Mid-Victorian Imagination, Chicago: The University
of Chicago Press, 1986,
Sekula, Allan, “The Body and the Archive.” October no. 39
(1986): 3–64.
Silver, Henry, “Fair Play for Photography.” Punch, Or The London
Charivari no. 1038 (June 1, 1861): .221.
[George Wharton Simpson], “A Photographers’ Relief Fund.”
Photographic News (December 11, 1863): 589.
Tagg, Joh,. The Burden of Representation: Essays on Photogra-
phies and Histories, Houndmills: Macmillan, 1988.
Taylor, Roger, Photographs Exhibited in Britain 1839–1865,
Ottawa: National Galleries of Canada, 2002.
Thomas, G., “The Madras Photographic Society 1856–61.” His-
tory of Photography, vol. 16, no. 4 (1992): 299–301.
Wall, Alfred H., “A Few Thoughts about Photographic Societies.”
Photographic News (October 9, 1863): 486–489.
Website
http://www.edinphoto.org.SOCIETIES, GROUPS, INSTITUTIONS,
AND EXHIBITIONS IN THE UNITED
STATES
The development of photography in the United States
has often been described as a “pell-mell rush,” to quote
Albert Sands Southworth’s 1871 evocation of the
beginnings of American photography: a spontaneous
competition, in which academic institutions and formal
organizations played little role. Although this character-
ization is to some extent true, the organizational history
of American photography deserves attention, especially
since it reveals, throughout the 19th century, a consistent
ambition to elevate the status of photography.
During the 1840s, the development of the daguerreo-
type was largely autonomous and uncontrolled, as trade
organizations did not yet exist and academic institutions
played only a limited role. In the United States, the fi rst
announcement of Daguerre’s invention was not carried
by a scholarly publication, but rather by dozens of
newspaper reprints of a letter by Samuel F.B. Morse,
describing from Paris the “results” of the daguerreotype.
The decentralized structure of the United States was