Robert A. Sobieszek. British Masters of the Albumen Print: A Selection of Mid-Nineteenth-Century Victorian Photography. International Museum of Photography at George Eastman House & The University of Chicago Press, Chicago & London, 1976
1. Cf. Helmut Gernsheim and Alison Gernsheim, The History of Photography: 1685—1914 (New York, 1969), Pp. 196—97, 401.
2. R. H. [Robert Hunt?], "Photographic Exhibitions," The Art-Journal, 1 February 1856, p. 49.
3. J. E. Mayall, "Albumen Processes on Glass," Journal of the Photo graphic Society 2, no. 26 (22 January 1855): 104—5.
4. See Beaumont Newhall, Latent Image (Garden City, N. Y., 1967), passim.
5. For the popularity of the waxed-paper process in Great Britain, which lasted well into the 1850's, see Gernsheim and Gernsheim, History of Photography, pp. 182-83.
6. See ibid., pp. 187-89; see also Robert Hunt, A Manual of Photography (London, 1853), pp. 276—78.
7. Frederick Scott Archer, "On the Use of Collodion in Photography," The Chemist, n.s. 2 (March 1851): 257.
8. Philip H. Delamotte, The Practice of Photography (2d ed., rev.; London, 1855), p. 58.
9. Cited in John H. Croucher [and Gustave Le Gray], Plain Directions for Obtaining Photographic Pictures (Philadelphia, 1853), p. 121.
11. W. Russell Sedgefield, "Photographic Process: Albuminized Paper," Journal of the Photographic Society 2, no. 38 (21 January 1856): 291-92.
12. "Photographic Society: Committee on Positive Printing," Journal of the Photographic Society 2, no. 30 (21 May 1855): 159; the results were published in vol. 2, no. 36 (21 November 1855): pp. 251—52.
13. Henry Peach Robinson and Capt. Abney, The Art and Practice of Silver Printing (American edition; New York, 1881), preface.
14. See ibid., p. 9; see also Mr. Spencer, "On the Preparation of an Albuminized Paper for Positives," Journal of the Photographic Society 1, no. 17 (20 May 1854): 204; also Croucher, Plain Directions, p. 123.
15. For the history of Talbot's patent problems, see Newhall, Latent Image, pp. 113, 128-38.
16. Delamotte's major work on the Crystal Palace was a set of two volumes of albumen prints accomplished while working for the firm of Negretti & Zamba; this set, unfortunately, is not in the collections of the Inter national Museum of Photography. See Gernsheim and Gernsheim, History of Photography, pp. 266-67.
17. Annan's major work was the series of 40 large carbon prints, Photo graphs of Old Closes, Streets, &c., Taken 1868—18 77 (Glasgow [1878]). He did print a percentage of his smaller work on albumen paper.
18. Adolph Smith and John Thomson, Street Life in London (London, 1877). The work contained 36 photographic reproductions by the woodburytype process.
19. William Lake Price, A Manual of Photographic Manipulation (2d ed.; London, 1858), pp. 1-2.
20. See list of members, hand-inscribed in album: Photographic Exchange Club, June 1857, in the collection of the Royal Photographic Society, London. The two ladies were Lady Caroline Nevill and Lady Augusta Grostyn.
21. See title page to album: "Amateur Photographic Association," in the collection of the Royal Photographic Society, London.
22. Photographers were not beyond trading and selling their negatives to other photographers. For instance, Frith's company acquired some of Fenton's negatives after Fenton gave up photography in 1862. See John Hannavy, Roger Fenton of Crimble Hall (London, 1975), pp.101-7. Frith's firm later printed and published the resulting prints with its own authorship claimed.
23. These four points are outlined in Hume Nisbet, "Camera Lucida-Paletta Obscura: A Study in Light and Shadow," British Journal of Photography 31, no. 1237 (18 January 1884): 40. Similar points are made in most general aesthetic manuals of the period; see Price, A Manual of Photographic Manipulation, passim.
24. "The Photographic Exhibition," Journal of the Photographic Society, 3, no. 50 (21 January 1857): 192.
25. Henry Peach Robinson, The Elements of a Pictorial Photograph (Bradford and London, 1896), p.102.
26. The entire letter to Herschel is reprinted in Early Photographic Images and Related Material, auction catalogue, Sotheby's Belgravia, sale of 18 October 1974, lot 34, p. 14.
27. "The Photographic Exhibition," Journal of the Photographic Society 3, no. 51(21 February 1857): 217.
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