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Further Reading
Buchanan, William, “Relationship between the Annans and Karol
Klic.” The PhotoHistorian, no.148 (June 2005):.5.
Cox, Julian, and Ford, Colin, Julia Margaret Cameron. The
complete photographs, Los Angeles CA: Getty Publications,
2003.
Farnham, Roger , and Magee, Harry, “Photogravure & the rep-
resentation of continuous tone in printmaking.” The Photo-
Historian, no.148, (June 2005): 18–21.
Fletcher, Jan, “Faking it: between art photography and advertis-
ing, 1850–1950.” RPS Journal, (December 2004): 454–457.
Ford, Colin, Julia Margaret Cameron. A critical biography, Los
Angeles, CA: J. Paul Getty Museum, 2003.
Goldsmith, Lucien, and Naef, Weston J., The truthful lens. A
survey of the photographically illustrated book, 1844–1914,
New York: The Grolier Club, 1980.
Hammond, Anne Kelsey, “Aesthetic aspects of the photomechani-
cal print” in British photography in the nineteenth century, ed.
Mike Weaver, London, Cambridge University Press, 1989.
Harker, Margaret A., Henry Peach Robinson. Master of photo-
graphic art, Oxford: Basil Blackwell, 1988.
Hiley, Michael, Frank Sutcliffe, photographer of Whitby, London:
Gordon Fraser, 1974.
Frank Meadow Sutcliffe, 1853–1941, London: British Council,
c.1981 (exhibition catalogue).
Horsley Hinton, A. “The infl uence of the half-tone process.” The
Penrose Annual,(1899): pp. 89–93.
Krüger, Gary, Photogravure, historical notes, http://www.gary-
krueger.de/english/helio1.html and helio2.html (Accessed 16
February 2006).
Kolb, Gary P., Photogravure. An illustrated handbook, Southern
Illinois University Press, 1986.
Krüger, Gary, Photogravure, historical notes, http://www.gary-
krueger.de/english/helio1.html and helio2.html (Accessed
16 February 2006)
Moorish, David, Copper plate photogravure. Demystifying the
process, Boston: Focal Press, 2003.
Petersen, Christian A., Camera Work: Process and image, Min-
neapolis: Minneapolis Institute of Arts, 1985 (exhibition
catalogue).
Zoete, Johan de, A manual of photogravure: a comprehensive
working guide to the Fox Talbot Klič dustgrain method,
(translated by Christopher Harrison), Haarlem: Joh Enschedé,
c.1988.
SURVEY PHOTOGRAPHY
As a means of gathering visual evidence of the world,
photography became useful in the 19th century to a num-
ber of activities associated with the idea of the survey.
To survey generally means to ascertain and delineate the
physical scope and specifi c characteristics of an entity
or related entities, usually places or areas relative to
their position on the earth’s surface and often including
people and objects. Though the activity of surveying
can be traced back to antiquity, its signifi cance with
respect to developments in the modern world includ-
ing the adoption of photography in its practice can be
understood in light of scientifi c inquiry and exploration
and the formation of national identities in the previous
century; the geographical and geological survey and
civil engineering were both practical outgrowths of
eighteenth-century scientifi c advancement and politi-
cal ideology. Surveying as a form of engineering and
geographical demarcation emerged in order to articulate
boundaries, topographical contours, and to establish
zones of operation and the structures necessary for
resource development, transportation, and commerce.
It would then seem reasonable for photography to have
joined preexisting representational and symbolic strate-
gies ideal for conceiving geographical space: drawing
and map and model-making procedures.
By the middle of the eighteenth century Britain and
France had become absorbed with the lands and major
features within their own borders, including distinctive
monuments that were thought signifi cant in the con-
struction of a national patrimony. The Ordnance Survey
of Great Britain began in 1747 as a military defensive
measure to map the borders of England, but soon became
an offi cial government department to map the entirety
of the United Kingdom. In the same year, France started
a school in Paris for specialized training in public en-
gineering projects, the École des Ponts et Chaussées
(School of Bridges and Roads). That photography had
come of age in this enterprise is witnessed by its hav-
ing become part of the training of engineers in both of
these rival countries almost concurrently: in 1856 at
the school for Royal Engineers at Chatham, England,
and the following year at the École. This civilian effort
thus served to give momentum to the systematic use of
photographs as a form of documentation of expanding
industrial infrastructures and resource development in
Europe and regions subject to colonialist expansion.
Further, as national institutions took on more responsi-
bility for the improvement of urban conditions, pictures
of older streets or areas in decline became central to the
demonstration that governments were attending to social
need through new construction and civil engineering
projects.
In France, sentiments toward educating the public in
the past glories of its medieval history had been signaled
early in the nineteenth century. Voyage pittoresques et
romantiques dans l’ancienne France (1820–1878), a
multi-volume work illustrated with lithographic plates,
set a precedent for a growing “preservationist” move-
ment that fed the collective imagination of the people.
The Mission Héliographique was commissioned in
1851 by the Commission des Monuments Historiques,
a group of authorities on the culture of France, to survey
the country’s architectural heritage with the camera.
Photographic documentation for the purposes of pres-
ervation and restoration of selected monuments was
the main thrust of the program, but the effort was not
systematic nor did it appear to have the full authority
of government behind it. Several of the photographers
who were affi liated with the Mission Héliographique,