377
Their publicity also claims Julia Margaret Cameron as
among the users of their lenses.
Under J.H. Dallmeyer, the company also began to
supply cameras, concerned that their lenses should be fi t-
ted to well-made and accurately-registered instruments.
A range of studio and fi eld cameras was made available,
mainly manufactured by George Hare. Subsequently,
folding hand cameras were also supplied.
After 1900 the company continued to design and
produce lenses for still and cine use, including projec-
tion and enlarging lenses. During both World Wars
production was given over to gun-sights and other
military equipment. The company was formally dis-
solved in 1993.
David Stone
See also: Ross, Andrew; Herschel, Sir John Frederick
William; Petzval, Josef Maximilian; Emerson, Peter
Henry; Cameron, Julia Margaret; and Zeiss, Carl.
Further Reading
On the Choice and Use of Photographic Lenses (1892), written
by J.H. Dallmeyer as ‘Photographic Lenses: On Their Choice
and Use,’ re-issued 1892 by T.R. Dallmeyer.
The Early History of the House of Dallmeyer (c. 1926), An un-
published document in the Dallmeyer Archive, Cricklewood,
London.
DALLY, FREDERICK (1838–1914)
English architectural photographer
Frederick Dally professional portrait and landscape
photographer (born Southwark, England 29 July 1838;
died Wolverhampton, England 28 July 1914). Educated
at Christ’s Hospital, London, Dally arrived in Victoria,
Vancouver Island, in 1862 at the height of the Cariboo
gold rush and began business as a general merchant. In
June of 1866, he opened a photography gallery on Fort
Street, where he produced carte-de-visites of prominent
citizens, and sold albums and views of public buildings,
local scenes, and special events. He documented the
buildings of the colonial government in Victoria and
New Westminster and of the Royal Navy at Esquimalt.
As a keen observer and amateur anthropologist, he
produced an extensive record of the native peoples of
British Columbia and also collected native artifacts.
Best known are his 1867–68 photographs of the
Cariboo Wagon Road and the goldfields. Many of
these views were later used to produce engravings for
publication.
In response to 1869 circulars Dally supplied photo-
graphs of prominent buildings and scenery and of native
peoples to the Colonial Offi ce. In September 1870, he
sold up and left Victoria to study at the Philadelphia
Dental College, returning to England in 1872 where he
set up practice as a dental surgeon, briefl y in London
and subsequently in Wolverhampton. He maintained
an interest in British Columbia, and eventually sent his
photographs and papers to the Provincial Archives in
Victoria just before his death.
Joan M. SchwartzDAMMANN, CARL VICTOR (1819–1874)
AND FRIEDRICH WILHELM (1834–1894)
Carl Victor Dammann was born at Muess, Schwerin,
northern Germany; Friedrich Wilhelm Dammann, born
at Ludwigslust, is described as his brother although they
were half-brothers or possibly cousins. Carl trained ini-
tially as an architect. It is not known when he took up
photography or who taught him. However by January
1869 he is listed as having a photographic business at
Grosse Johannisstrasse 4, Hamburg. He is remembered
solely for one work, Anthropologisch-Ethnologiches
Album in Photographien, a massive project undertaken
in the 1870s with the Berliner Gesellschaft für Anthro-
pologie, Ethnologie und Urgeschichte (BGAEU), and
with which Friedrich also became involved.
How Dammann came to work in ethnological photog-
raphy is not known. He appears to have been a portrait
photographer, so the production of ethnological ‘types’
might be seen as a broadly related practice and aesthetic.
As a major port, Hamburg offered ample opportunities.
In 1870–1 Dammann made a series of photographs of
African and Arab seamen from Zanzibar. Taken against
a plain background, in full face and profi le aspects, they
were in the accepted scientifi c aesthetic. These photo-
graphs were followed by a similar series of a group of
Japanese acrobats. They received unanimous approval
from members of the German anthropological establish-
ment, the BGAEU—Adolf Bastian, Robert Hartmann
and Rudolph Virchow. Recommended in Zeitschrift für
Ethnologie, they formed the basis of the collaboration
between Dammann and the BGAEU from which the
Album emerged.
Anthropologisch-Ethnologiches Album in Photog-
raphien was published through 1873 and 1874 in ten
sections of fi ve folios each, containing 642 photographs
in all. Edited by Dammann and published by Wiegandt,
Hemel und Parey (Berlin), conceptually it is not dissimi-
lar from Etienne Serres’ call in 1845 for a photographic
‘museum’ of the races of mankind for scientifi c purposes.
Between 6 and 18 tipped-in albumen prints are grouped
geographically and culturally, and arranged in a grid
within a printed boarder on the folios measuring 48 x 64
cm. Ethnic group is given in a letterpress caption beneath
each photograph and each folio carries a short ethnologi-
cal caption and, in most cases, an acknowledgement of
the donor of Berlin’s photographs. It was an expensive
production, aimed at learned and scientifi c societies and