I 44
INDEX
Photographic history (continued)
1850s, 681–687
fi rst photographic associations, 681, 684
photographic exploration of Nile valley,
686
photographic press established, 681, 686
1860s, 688–693
art criticism, 688–689
creating awareness of national identity,
688
gathering of visual evidence on global
scale, 688
golden age, 688
growth in photography of individuals,
689–690
meanings closely aligned with
ideological persuasions of the day, 688
sentiment, 689
superior powers of verisimilitude, 688
traveling photographers, 692
visibility of public fi gures through
media, 689
war photography, 690
wet collodion on glass plates, 688
1870s, 693–697
architectural photography, 695
British amateur photographers, 696
British decade of photography, 693
cabinet cards, 693–694
carte-de-visite, 693–694
enlarging, 694
European political instability, 693
fading of mass produced silver prints,
697
gelatine bromide plates, 693, 696–697
gelatine dry plates, 696–697
landscape photography, 695
New York photographic studios, 693
pivotal period, 693
portraits, 694
retouching, 694
survey photography, 695
1880s, 698–702
domination of prevailing convention, 698
fi rst portable cameras, 698
gelatine dry plates, 698
gelatine silver bromide, 698
halftone method, 702
hand-held camera, 698–699
illustrated weeklies, 698
lighting, 698, 700
newspaper illustrations, 698
photomechanical reproduction, 702
pictorialism, 700–701, 702
study of movement, 701
stylization, 701–702
technical elements developed, 699–700
world’s fi rst photographic interview for
news publication, 700
1890s, 703–707
Actinograph (light meter), 705
anthropological photography, 707
art vs. science, 705, 706
Brownie cameras, 706
color photography, 704, 706
documentary photography, 706–707
explosion in amateur photography, 703
exposure, 705
exposure meter, 705–706
fi lm speed, 705
genres and pictorial traditions of
paintings and printmaking, 703
hand cameras, 703
H&D curve, 705
identity, 706
independent vision, 706
literary themes, 703
most eclectic movement, 703
naturalism, 704–705
nude studies, 707
periodicals, 703
pictorialism, 704
rush to cheapness and quantity, 703
technological advances, 706
antecedents, 668–674
available materials, 670
chemicals, 669, 670
confl uence of social, cultural and
technical developments, 674
modern scientifi c knowledge, 670
representational rather than technical
terms, 671
trial and error, 670
claimants to originating, 668
exposure times, 677
proto-photography up to 1826, 668–674
Photographic jewelry, 1085–1086, 1088,
1443–1444
mourning pieces, 1086
portraits, 1086
Stanhopes, 1086
Photographic Journal, 525
Photographic manufacturers and retailers
ads for, 9
professionals, 9
targeted amateurs, 9
Photographic Manufacturers Association, 1423
Photographic markets, 896–898
baby photography, 898
carte-de-visite, 897
daguerreotypes, 897
expanding tourist market, 897
deathbed portraits, 898
photographically illustrated books, 898
portraits, 897
wedding photography, 897–898
Photographic News, 1086–1087, 1269
amateur photographers, 1087
growing number of professional
practitioners, 1086
historical record of early forms of
photomechanical reproduction, 1087
leading photographic journal, 1086–1087
Pritchard, Henry Baden, 1176
Photographic Notes, 1087–1088, 1365, 1366
Photographic Optics (van Monckhoven, Désiré
Charles Emanuel), 180
Photographic piracy, 1098
Photographic practices, 1088–1092
accumulation of many different views, 1091
anchoring visual messages in textual and
cultural contexts, 1091
carte-de-visite, 1089–1090
daguerreotypes, 1088
exhibitions, 1091
group pictures, 1092
collective or corporate visual identities,
1092
incomplete messages, 1091
institutional practices, 1090–1092
large-scale documentary ventures, 1091
one particular image as icon, 1091
paper prints, 1089
mounting, 1089
objectifi cation, 1089
photographs as objects, 1088
photography collections, 1090–1091
postmortem photography, 1088–1089private practices, 1088–1090
ritualistic uses, 1088–1089
stereographic views, 1089–1090
technical incompleteness, 1091–1092
tintypes, 1088
totalizing depiction, 1091
Photographic press, beginnings, 686–687
The Photographic Primer for the Use of
Beginners in the Collodion Process
(Cundall, Joseph), 179
Photographic production, reproducibility, 38
Photographic products, advertising, 8–9
Photographic retailing, 1092–1094, 1104
advertisements, 1093
of foreign goods, 1093
art dealers, 1094
art reproductions, 1094, 1107–1108
bookshops, 1093–1094
British Museum, 1094
copyright, 1094
early optical instrument makers, 1092
exhibitions, 1094
Fenton, Roger, 1094
France, 1092
Great Britain, 1092–1093
image rights, 1094
outlet for photographs, 1093
photography shop, 1093
postcards, 1094
retailers of photographic images, 1093
Sanderson, Frederick H., 1242
souvenir photographs, 1094
Crystal Palace, London, 1094
Exposition Universelle in Paris, 1094
Niagara Falls, 1094
United States, 1093, 1094
World Fairs, 1094
Photographic revolver, 298
Photographic Salon of Philadelphia, Käsebier,
Gertrude, 790
Photographic societies, 1127–1128, see also
Specifi c type
Asia, 1283–1284
Australia, 101
Austria, 1286–1288
beginnings, 32
Belgium, 1289
Canada
amateur associations, 1291–1293
professional organizations, 1290–1291
China, 1283
conservation, 330
Cuba, 353
domestic photography, 432
exhibitions, 509
France, 1293–1294
Germany, 1296
Great Britain, 608, 1303–1307
British societies situated beyond
England’s borders, 1304–1305
journals, 1305
regional, 1304
subjects, 1305
international artistic photography
movement, 185
internationalization, 1073
Ireland, 1304–1305
Italy, 1297–1298
training, 1298
Japan, 1283–1284
journals, 185–186
meetings, 32
Netherlands, 1302
New Zealand, 1285