183
numbering 46 volumes. The volumes of this set offered
practical and scientifi c information on photography and
now documented every major advancement of the era.
Eder also published Jahrbuch für Photographie und
Reproduktionstechnik (Halle: Wilhelm Knapp) in 1887,
which summarized photographic progress during the
previous year.
Dr. Hermann Vogel, another established photo scien-
tist, teacher, author, and editor of the German periodi-
cal Photographische Mitteilungen (Berlin: Verein der
Förderung der Photographie im Berlin, 1864–1911),
contributed a survey, Die Fortschritte der Photographie
seit dem Jahre 1879 (Berlin, R. Oppenheim, 1883),
translated into English as Progress of Photography
Since 1879 (New York: Wilson, 1883). The book was
heralded as very thorough, scientifi c, well-written, and
included chapters on recent developments in emulsion
photography and amateur photography. Vogel’s research
was as wide-ranging as Eder’s and his work on dye
sensitization led to his taking part in the development
of the fi rst orthochromatic dry plate, which allowed
photographs to represent colors at the appropriate degree
of intensity. His Die Photographie Farbiger Gegen-
stände in den Richtigen Tonverhältnissen : Handbuch
der Farbenempfi ndlichen (Isochromatischen oder Or-
thochromatischen) Verfahren. (Berlin: R. Oppenheim,
1885), is currently considered the fi rst handbook of
orthochromatic photography.
A broader look at progress in the fi eld was contributed
by the Englishman William Jerome Harrison, whose A
History of Photography; Written as a Practical Guide
and an Introduction to its Latest Developments (New
York, Scovill, 1887) chronicled in detail every devel-
opment to date. Harrison, very interested in preserving
the history of photography in libraries and museums,
also compiled what may be the fi rst bibliography of
photographic literature, published as a series of articles
in 1886 and 1887 in the periodical Photographic News
(London: Cassell, 1858–1908).
Another prolifi c author, Léon Vidal, educator, photo-
chemist, and editor of the French journal Le Moniteur
de la Photographie (Paris: Leiber, 1861–1905), also
contributed several key texts. His research in photo-
mechanical processes and permanent printing methods
resulted in several books on the subject in the 1880s:
Traité pratique de photoglyptie (Paris: Gauthier-Villars,
1881), La Photographie appliquée aux arts de repro-
duction (Paris: Gauthier-Villars, 1880) and Cours de
reproductions industrielles (Paris, Delgrave, 1880). He
also revised and updated Alphonse Poitevin’s important
1863 book on photomechanical processes: Traité des
impressions photographiques sans sel d’argent (Paris:
Gauthier-Villars, 1883) and wrote two books for the
new amateurs: Manuel du touriste photographe (Paris:
Gauthier- Villars, 1885) and La photographie des débu-
tants: procédé négatif et positif (Paris: Gauthier-Villars,
1886).
By 1880 the process of making photographs had
reached a point where a scientifi c background wasn’t
necessary. Manufactured dry-plates freed photographers
from mixing chemicals and coating the plates them-
selves. Amateurs entered the fi eld in greater numbers
and publications came out which catered to their need
for straightforward, not-too-technical information on the
photographic process. Manuals for these new photogra-
phers were numerous, and only a few need be mentioned.
Indicative of this new class of amateurs was the title of
the book The New Recreation. Amateur Photography: A
Practical Instructor, by D. J. Tapley. (New York, S. W.
Green’s son, 1884). The text provided information on
taking, developing and printing photographs from dry-
plate negatives. Books with the most basic instruction as
well as cheaper books came available, such as the 10¢
How to Make Photographs and Descriptive Price List
(New York: Scovill Manufacturing Company, 1883),
which appeared in numerous editions during the 1880s
and was basically a short, simple manual attached to a
manufacturer’s catalog. Appealing to more sophisticated
practitioners were manuals like William de Wiveleslie
Abney’s exhaustive Photography with Emulsions: A
Treatise on the Theory and Practical Working of Gela-
tine and Emulsion Processes. (New York, Scovill, 1882),
and Paul E. Liesegang’s Die Bromsilber-Gelatine : ihre
Bereitung und Anwendung zu photographischen Aufnah-
men, zu Abdrücken und zu Vergrösserungen (Düsseldorf:
Ed. Liesegangs Verlag, 1882).
Several new journals marketed only to amateurs
appeared for the fi rst time in the 1880s, including the
British Amateur Photographer (London: Hazell, Wat-
son and Viney, 1884–present), the American Amateur
Photographer (New York: American Photographic
Publishing Company, 1889–1907), and the German
Der Amateur-Photograph (Düsseldorf: E. Liesegang,
1886?–?). These periodicals were written for the person
without a scientifi c background, who saw photography
as a hobby and a pastime. Their tone was upbeat and they
offered practical advice through articles and answers to
reader’s letters, discussed artistic and aesthetic issues,
critiqued readers work, sponsored contests and featured
articles on subjects appealing to the new amateur such
as vacation and family photography.
The fi rst Kodak came on to the market in 1888, start-
ing another revolution in photography. With the camera
came The Kodak Manual (Rochester, N.Y.: Eastman Dry
Plate and Film Co., 1888) containing complete instruc-
tions on taking photographs and packing the camera to
send back to the factory for development and fi lm re-
loading. George Eastman wrote the text for the pamphlet
The Kodak Primer himself, emphasizing the simplicity
and ease of the system, writing that the Kodak systemBOOKS AND MANUALS ABOUT PHOTOGRAPHY: 1880s