299
stroboscopic projection device for animated loops of
photographs and represented a considerable advance
over Muybridge’s zoopraxiscope.
Best known as a painter, Thomas Eakins is some-
times also identifi ed as a chronophotographer. A direct
associate of Muybridge, Eakins lobbied for him to
move his researches to the University of Pennsylvania
in 1884 and was assigned to supervise him during his
residency. However, Eakins preferred Marey’s more
scientific techniques, and distanced himself from
Muybridge’s laboratory. Eakins was not as prolifi c as
other chronophotographers, and those images that do
exist closely resemble Marey’s. However, Eakins used
fi ne photographic papers including platinum prints to
give his pictures added visual impact.
A number of other photographers who worked
principally at the turn of the twentieth century are of-
ten associated with chronophotography. Peter Salcher
(1848–1928) was an Austrian photographer worked
with the physicist Ernst Mach (1838–1916) to take
photographs of airwaves created by bullets in fl ight.
British photographer Charles Vernon Boys (1855–1944)
made similar photographs of speeding bullets breaking
glass and other objects. In the 1890s John William Strutt
(1842–1919, known as Lord Rayleigh) photographed
a stream of water emerging from a tap and breaking
into drops. Arthur Mason Worthington (1852–1916)
photographed splashes at the Royal Naval Engineering
College, including a drop of water falling into milk.
Phillip Prodger
See Also: Instantaneous Photography; Muybridge,
Eadweard James; Marey, Etienne Jules; Demeny,
Georges; Londe, Albert; Eakins, Thomas; Anschütz,
Ottomar; Waxed Paper Negative Processes; Talbot,
William Henry Fox; Herschel, Sir John Frederick
William; Janssen, Pierre Jules César; Rejlander, Oscar
Gustav; Bull, Lucien George; and Platinum Print.
Further Reading
Bajac, Quentin, ed., Dans le champ des étoiles: les photographes
et le ciel, 1850–2000, Paris: Musee d’Orsay, 2000.
Braun, Marta, Picturing Time: The Work of Etienne-Jules Marey,
Chicago: University of Chicago Press, 1992.
Ceram, C. W., Archaeology of the Cinema, New York: Har-
court, Brace & World, 1965.
Dagognet, François, Etienne-Jules Marey: A Passion for the
Trace, Galeta Robert and Herman, Jeanine trans, Cambridge,
Massachusetts: MIT Press, 1992.
Eder, Josef Maria, La photographie instantanée: Son application
aux arts et aux sciences, Paris: Villars et Fils, 1888.
Edwards, Elizabeth, ed., Anthropology and Photography, 1860–
1920, New Haven and London: Yale University Press, 1992.
Frizot, Michel, ed., E J Marey: 1830/1904, La photographie du
mouvement, Paris: Centre Georges Pompidou, Musée National
d’Art Moderne, 1977.
——, La chronophotographie, avant le cinématographe: Temps,
photographie et mouvement autour de E.-J. Marey, Beaune:
Association des amis de Marey, 1984.
Prodger, Phillip, Time Stands Still: Muybridge and the Instanta-
neous Photography Movement, New York: Oxford University
Press, 2003.
Oscar Rejlander, ‘On Photographing Horses,’ British Journal
Photographic Almanac, 1873, 115.
Rossell, Deac, Living Pictures: The Origins of the Movies, Al-
bany: State University of New York Press, 1998.
——, Ottomar Anschütz and His Electrical Wonder, Hastings:
Projection Box, 1997.
Szoke, Annamária et al., Székely Bertalan: Mozgástanulmányai,
Budapest: Magyar Képzomuvészeti Foiskola, 1992.
La Passion du mouvement au XIXe siècle: Hommage à E.J. Marey,
Beaune: Musée Marey, 1991.
Thomas, Ann, ed., Beauty of Another Order: Photography in
Science, New Haven: Yale University Press, 1997.CHUTE AND BROOKS
Chute and Brooks is the commercial name of an associa-
tion of two American photographers: Charles Wallace
Chute (1846–1923) and Thomas Brooks. Chute arrived
in Montevideo from Boston (Massachusetts) in 1865
and started the company with Brooks in 1868. They had
studios both in Argentina (Buenos Aires and Rosario)
and Uruguay (Montevideo), and become famous for the
quality of their portraits.
They used the standard formats, mostly carte-de-vis-
ite, portrait-cabinet, and also made stereoviews. They
published views of several cities, such as Montevideo,
Rosario, and Buenos Aires. At the beginning of the twen-
tieth century, they installed studios in Rio de Janeiro,
Brazil; New York,USA; and La Havana, Cuba.
In Chile (1875) and France (1878), they received
medals for the quality of their works exhibited in in-
ternational fairs.
Early views from Montevideo in carte-de-visite
by Chute and Brooks are preserved in the Biblioteca
Histórico-Científi ca, Buenos Aires.
Roberto FerrariCIFKA, WENCESLAU (1815–1883)
Born in Prague in 1815 came to Portugal in 1836 when
Ferdinand of Saxe-Coburg-Gotha married the Portu-
guese queen Mary. He became known as a painter,
drawer, potter, collector and patron of the arts. He was
one of the pioneers of Portuguese photography, making
daguerreotypes since the 1840’s. He settled in a perma-
nent studio in Lisbon, in 1848, just after the Portuguese
Civil War, where he portrayed, using the daguerreotype
process, an important part of Portugal’s highest society.
Among his sitters was his friend the King Ferdinand,
photographed in an armor and helmet. He was the of-
fi cial photographer for the King.
The daguerreotype was still in use in Portugal, during