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Emerson exhibited his photographs from 1882 on-

wards.

His main publications are:

1. Life and Landscape on the Norfolk Broads (1886)
   with T. F. Goodall


2. Pictures from Life in Field and Fen (1887)


3. Idyls of the Norfolk Broads (1887)


4. Pictures of East Anglian Life (1888)


5. Naturalistic Photography for Students of the Art
   (1889/1890/1899)


6. Pictures of East Anglian Life (1890)


7. A portfolio of 10 prints selected from the book of
   the same title Wild Life on a Tidal Water (1890)


8. The Death of Naturalistic Photography (1890)


9. On English Lagoons (1893)


10. Marsh Leaves (1895)

See also: Photographic Exchange Club and

Photographic Society Club, London; Platinum Print;

Photogravure; Robinson, Henry Peach; Helmholtz,

Hermann Ludwig Ferdinand von; Dallmeyer,

John Henry & Thomas Ross; Davison, George;

Impressionistic Photography; Hurter, Ferdinand, and

Driffi eld, Vero Charles; and Stieglitz, Alfred.

Further Reading

Durden, Mark, “Peter Henry Emerson, The Limits of Represen-

tation,” in History of Photography, vol. 18, no. 3 (Autumn

1994), 281–4.

Handy, Ellen, “Art and Science in P. H. Emerson’s Naturalistic

Vision,” in British Photography in the Nineteenth Century

edited by M. Weaver Cambridge: Cambridge University

Press, 1989.

Handy, Ellen Pictorial Effect and Naturalistic Vision The Pho-

tographs and Theories of H.P. Robinson and P.H. Emerson

Norfolk, Virginia: Chrysler Museum, 1994 Exhibition cata-

logue.

Jeffrey, Ian, “Peter Henry Emerson, Art and Solitude,” in The

Golden Age of British Photography 1839–1900, 154–162

Oxford: Phaidon Press, 1984 Exhibition catalogue.

McWilliam, Neil and Sekules, Veronica (eds.), Life and Land-

scape: P. H. Emerson, Art and Photography in East Anglia

1885–1900, Norwich: Sainsbury Centre for the Visual Arts,

1986.

Newhall, Nancy, P. H. Emerson; The Fight for Photography as

a Fine Art, New York: Aperture, 1975.

Turner, Peter and Wood, Richard, P. H. Emerson, Photographer

of Norfolk, London: Gordon Fraser, 1970.

EMPEROR PEDRO II (1825–1891)

Pedro de Alcântara João Carlos Leopoldo Salvador

Bibiano Francisco Xavier de Paula Leocádio Miguel

Gabriel Rafael Gonzaga de Bourbon Habsburgo e Bra-

gança was born in Rio de Janeiro on December 2, 1825.

His father, Emperor Pedro I, abdicated in 1831. Pedro II

purchased a daguerreotype camera in 1840, the year he

was declared an adult and enthroned. He also learned to

use it, thereby becoming the fi rst Brazilian-born photog-

rapher. As a patron, he encouraged the development of

photographic methods, spent vast sums on photographs

and albums, and in 1851 created the post of Imperial

Photographer, an appointment held by Buvelot & Prat

(1851), Insley Pacheco (1855), Christiano Junior (1857),

Klumb (1861), Stahl & Wahnschaffe (1862), Lopes

Cardoso (1864), Ferreira Guimarães (1866) and Guti-

errez de Padilla (1889). Pedro II traveled extensively

and collected European photographs, while ensuring

that Brazilian photography featured prominently in his

country’s pavilions at Universal Exhibitions in London

(1862), Vienna (1867), Philadelphia (1876) and Paris

(1889). Deposed and banished in 1889, he died as Pedro

de Alcântara in Paris on December 5, 1891. His collec-

tions, including albums by Benjamin Mulock and Victor

Frond, are housed at the National Library in Rio and the

Imperial Museum in Petrópolis, Brazil.

Sabrina Gledhill

EMULSIONS

Strictly speaking these are “Suspensions” but the name

has stuck. A true emulsion is a stable mixture of two in-

compatible liquids, salad cream then a familiar example

of oil and vinegar. The original weird and wonderful

concoctions also used egg albumen as a stabiliser and

had a similar appearance and texture. In the course of

time it has changed to mean both the liquid and the dried

material on a negative or paper print.

Today we tend to think only of gelatin emulsions

although in the 19th century it was used for fewer years

than albumen or collodion.

The word was unknown at fi rst, the sensitive matter

being deposited in paper rather than onto it, Talbot’s

original process of dipping then drying. This was used

for both the negative and positive and it was not until

Niépce de St. Victor invented the albumen process in

1848 any real improvement was possible. There were

two crucial inventions here. The fi rst was a rigid base, a

glass plate. The real breakthrough was the prior prepa-

ration of a light sensitive mixture applied to the plate,

then dried, the emulsion. This invention has remained

essentially unchanged.

Niépce opened up the way for major improvements

in associated camera and lens technology because

huge negatives needed them. A positive could only be

made by contact printing and the glass plate solved the

other inherent problem with paper, its opacity. Once

the concept of applying an emulsion as a transparent

sensitised layer to a transparent inert base had been

established, photography as we know it started. Fuzzy

images and long exposures gave way to a faster and

sharper process.

EMERSON, PETER HENRY

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