385
Working under the infl uence of Hugh Welch Diamond,
Browne believed photographic imagery could help di-
agnose and document various psychological disorders.
He shared many of his photographs with Darwin.
Ultimately disappointed with existing imagery,
Darwin commissioned custom-made photographs
depicting certain expressions. He seems to have begun
by approaching George Charles Wallich (1815–99),
an oceanographer who opened a photographic studio
in South Kensington in the late 1860s, but only one of
Wallich’s photographs was good enough to include in
the book.
In 1871 Darwin met Swedish émigré Oscar Rejland-
er, who became the main photographer on the project.
Rejlander is best known for his artistically experimental
photographs made by composite printing two or more
negatives in a single print, and his propensity for alter-
ing and manipulating photographic imagery is well
documented. However, he was also an adept portraitist,
and at the time of his commission had developed a niche
industry making expressive portraits for painters to use
as studies. It was this latter ability that commended him
to Darwin, although Rejlander did include composites
in the imagery he supplied. Rejlander began by look-
ing for suitable images in his studio inventory. Several
of these made their way into Expression. However, the
vast majority of pictures he provided were made from
1871 to 1872 to illustrate specifi c behaviours requested
by Darwin.
Among these was a photograph of a crying child,
published as Plate 1, Fig. 1 of the book. It was a huge
popular success, prompting Rejlander to sell indepen-
dent carte-de-visite and cabinet card versions. It became
known as Ginx’s Baby after the title of a popular novel
about an orphaned boy by Edward Jenkins. Six of the
photographs in Expression feature Rejlander himself,
posing in a distinctive velvet smoking jacket and en-
acting the expressions of surprise, indignation, and
shrugging the shoulders. Rejlander’s wife Mary prob-
ably assisted in their production, and she also appears
as the subject of a photograph depicting sneering. In
total Rejlander supplied at least nineteen of the thirty
photographs published in Expression. Rejlander also
supplied dozens of photographs which Darwin chose
not to use; many of these are preserved in the Darwin
Archive at Cambridge.
Darwin is the subject of numerous photographic
portraits, including several by Rejlander. Portraits by
Ernest Edwards (1837–1903) and Julia Margaret Cam-
eron (1815–79) are also well known. Darwin lodged at
Cameron’s guesthouse on the Isle of Wight in 1868. Af-
ter Expression was published, Lewis Carroll (1832–98)
wrote to Darwin offering his photographic services, but
Darwin declined.
Phillip Prodger
See also: Instantaneous Photography; London
Stereoscopic Company; Brogi, Giacomo, Carlo and
Alfredo; Duchenne, Guillaume-Benjamin-Amant;
Tournachon, Adrien; Diamond, Hugh Welch;
Rejlander, Oscar Gustav; Cameron, Julia Margaret;
and Dodgson, Charles Lutwidge.Further Reading
Daniel, Malcolm, ‘Darkroom vs. Greenroom: Victorian Art
Photography and Popular Theatrical Entertainment,’ Image
(New York), Vol. 33, Nos. 1–2, 13–19.
Jay, Bill, ‘Charles Darwin, Photography, and Everything Else,’
British Journal of Photography, Vol. 127, No. 45, November
7, 1980, 1116–1118.
Prodger, Phillip, An Annotated Catalogue of the Illustrations of
Human and Animal Expression from the Collection of Charles
Darwin (Lewiston, New York and Lampeter, Wales: Edwin
Mellen Press, 1998).
——, Darwin’s Camera: Art and Photography in the Theory of
Evolution (New York and London: Oxford University Press,
2007).
——, ‘Photography and The Expression of the Emotions,’ in
Charles Darwin, The Expression of the Emotions in Man and
Animals, Paul Ekman, ed. (London: HarperCollins Publish-
ers, 1998; New York: Oxford University Press, 1998; Tokyo:
Kessinger, 2005), 399–423.
——, ‘Rejlander, Darwin, and the Evolution of Ginx’s Baby,’ His-
tory of Photography, vol. 23, no. 3, Autumn 1999, 260–8.DAUTHENDEY, KARL (1819–1896)
German professional photographerDauthendey was a German national, born in a family of
lawyers. In 1839, he studied at Tauberg Optical Institute
in Lindenau, Germany. In 1840 he acquired daguerreo-
type equipment and opened a studio. Dauthendey’s fi rst
show of daguerreotype portraits was in May 1842 in
Leipzig. However his attempt to become established in
any of the German cities failed. In 1843 he created suc-
cessful portraits of the duke and duchess of Dassau and
received from the duke a letter of recommendation to
the Russian Imperial Court. In 1843 Dauthendey arrived
from Magdeburg to St. Petersburg where he opened a
studio in 1844. His studio specialized in taking portraits
and reproducing photography. Dauthendey made at-
tempts to show natural colours on daguerreotypes by
using different methods to paint them. Knowing neither
Russian language, nor local traditions, and having no
friends in Russia Dauthendey very soon felt the lack
of funds. In 1844 to distinguish himself among the
professional photographers of St. Petersburg he made
the fi rst experiments using Talbot’s method. He went
to Leipzig in February 1847 to improve this method.
When he arrived back in St. Petersburg he began to cre-
ate portraits on paper by using Talbot’s method which
helped him improve his fi nances and even become one