1507
perience in India between 1884 and 1888. She published
a two volume account of her time in India and also
photographed the Indian people and landscape. Whilst
travelling in Iran in the 1880s, the Frenchwoman Jane
Dieulafoy photographed everyday life and people. The
detailed and informative descriptions which accom-
panied her images reveal a documentary rather than a
tourist agenda.
The technological innovations which heralded the
true popularisation of photography enabled millions
of women to take up photography. George Eastman’s
famous advertising slogan ‘You press the button, we
do the rest’ referred to his roll-fi lm Kodak camera.
From 1888, photographers could return their camera
containing exposed fi lms to Eastman’s factory where
the fi lm would be developed and printed. Advertisers
were quick to recognise that women were a large part
of the market and many campaigns were aimed at the
young mother or the independent young woman who
was free to combine the new hobby of cycling with the
taking of snapshots.
Orla Fitzpatrick
See also: Albums; Amateur Photographers, Camera
Clubs, and Societies; Atkins, Anna; Archaeology;
Blanquart-Evrard, Louis-Désiré; Bonfi ls, Fèlix,
Marie-Lydie Cabanis, and Adrien; Brotherhood of
the Linked Ring; Calotype and Talbotype; History:
- Antecedents and proto-photography up to
1826; Cameron, Julia Margaret; Cartes-de-Visite;
Cyanotype; Daguerreotype; Rigby, Lady Elizabeth
Eastlake; Eastman, George; Emerson, Peter Henry;
Talbot, William Henry Fox; Great Exhibition
of the Works of Industry of All Nations, Crystal
Palace, Hyde Park (1851); Hawarden, Viscountess
Clementina Elphinstone; Herschel, Sir John Frederick
William; Jocelyn, Lady Frances (Fanny); Käsebier,
Gertrude; Kodak; Lumière, Auguste and Louis;
Potographic Exchange Club and Photographic
Society Club, London; Pictorialism; Robinson, Henry
Peach; Royal Photographic Society; Archer, Frederick
Scott; Tintype; and Victoria, Queen and Albert, Prince
Consort.
Further Reading
Apraxine, Pierre and Xavier Demange, “La Divine Comtesse”:
Photographs of the Countess de Castiglione, New Haven, CT:
Yale University Press, 2000.
Batchen, Geoffrey, Each WildIdea: Writing Photography History,
Cambridge, MA: MIT Press, 2002.
Judith Fryer Davidov, Women’s Camera Work: Self, Body, Other
in American Visual Culture, Durham, NC: Duke University
Press, 1998.
Davison, David H., Impressions of an Irish Countess: The Pho-
tography of Mary, Countess of Rosse 1813–1885, Offaly,
Ireland: Birr Scientifi c Heritage Foundation, 1989.
Dodier, Virginia, Clementina, Lady Hawarden: Studies from Life,
1857 to 1864, London: V & A Publications, 1999.
Ford, Colin, and Karl Steinorth, You Press the Button, We Do
the Rest: The Birth of Snapshot Photography, London: Dirk
Nishen Publishing, 1988.
Hirsch, Marianne (ed.), The Familial Gaze, Hanover, NH: Uni-
versity Press of New England, 1999.
Mavor, Carol, Becoming: The Photographs of Clementina, Vis-
countess Hawarden, London: Duke University Press, 1999.
Moutoussany-Ashe, Jeanne, Viewfi nders: Black women pho-
tographers, New York: Writers and Readers Publishing, Inc.
1993.
Olsen, Victoria, From life: Julia Margaret Cameron & Victorian
Photography. London: Aurum Press, 2003.
Palmquist, Peter E. (ed.), Camera Fiends & Kodak Girls: 50
Selections by and about Women in Photography, 1840–1930,
New York: Midmarch Arts Press, 1989.
——, Camera Fiends & Kodak Girls II: 60 Selections by and
about Women in Photography, 1855–1965, New York: Mid-
march Arts Press, 1995.
Rosenblum, Naomi, A History of Women Photographers, London:
Abbeville Press, 1994.
——, A World History of Photography, London: Abbeville
Press, 1997.
Sandler, Martin W., Against the Odds: Women Pioneers in the
First Hundred Years of Photography, New York: Rizzoli
International Publications, 2002.
Seiberling, Grace, Amateurs, Photography, and the Mid-Victorian
Imagination, Chicago: University of Chicago Press, 1986.
Smith, Lindsay, The Politics of Focus: Women, Children and
Nineteenth-century Photography, Manchester: Manchester
University Press, 1998.
Williams, Val, The Other Observers: Women Photographers in
Britain, 1900 to the Present. London: Virago Press, 1994.WOOD, JOHN MUIR (1805–1892)
Scottish pioneer of photography
John Muir Wood was a pianist, music teacher, musi-
cologist, and impresario, who was educated in Paris
and Vienna. Moreover, he had wide interests in recent
developments in science and the visual arts, which he
combined in his photographic experiments. Although
he had no direct access to Talbot and was not an offi cial
member of any photographic societies, he undoubtedly
had connections with British pioneers such as Hugh
Owen, Joseph Cundell, Charles John Burnett and with
scientists dealing with the chemical and optical aspects
of photography. In addition, Wood had close contacts
with artistic circles. Besides his affi liations in the music
world, he was close friends with the painters James
Eckford Lauder and Charles and Henry Cundell. As a
photographer, he remained an amateur throughout his
entire life. This, undoubtedly, gave him a far greater
freedom than most professional photographers, who
often had to specialize in portraits and tourist views
that answered to stereotypical formulas determined by
public demand. Wood’s oeuvre, by contrast, was far-
ranging in subject-matter. It included portraits, fi gure-
compositions, studies of sculpture and architecture,