Я опоздал на урок истории фотографии, но вот что успел:
TITLE ON OBJECT: Fading Away
albumen print, combination print from five negatives
24.4 x 39.3 cm.
Gift of Alden Scott Boyer
Henry Peach Robinson (July 9, 1830 in Ludlow, Shropshire – February 21, 1901) was an English Pictorialist photographer best known for his pioneering combination printing - joining multiple negatives to form a single image, the precursor to photomontage. Oscar Gustave Rejlander of Wolverhampton was however, the first to establish this art in 1857, a year earlier than Robinson.
А теперь сравните с этой фотографией:
“She Never Told Her Love,” 1857
Henry Peach Robinson (British, 1830–1901)
Albumen silver print from glass negative; 7 1/16 x 9 1/8 in. (18 x 23.2 cm)
Gilman Collection, Purchase, Jennifer and Joseph Duke Gift, 2005 (2005.100.18)
Consumed by the passion of unrequited love, a young woman lies suspended in the dark space of her unrealized dreams in Henry Peach Robinson’s illustration of the Shakespearean verse “She never told her love,/ But let concealment, like a worm i’ the bud,/ Feed on her damask cheek” (Twelfth Night II,iv,111–13). Although this picture was exhibited by Robinson as a discrete work, it also served as a study for the central figure in his most famous photograph, Fading Away, of 1858.
Purportedly showing a young consumptive surrounded by family in her final moments, Fading Away was hotly debated for years. On the one hand, Robinson was criticized for the presumed indelicacy of having invaded the death chamber at the most private of moments. On the other, those who recognized the scene as having been staged and who understood that Robinson had created the picture through combination printing (a technique that utilized several negatives to create a single printed image) accused him of dishonestly using a medium whose chief virtue was its truthfulness.
While addressing the moral and literary themes that Robinson believed crucial if photography were to aspire to high art, this picture makes only restrained use of the cloying sentimentality and showy technical artifice that often characterize this artist’s major exhibition pictures. Perhaps intended to facilitate the process of combination printing, the unnaturally black background serves also to envelop the figure in palpable melancholia.( и вот еще что... )
Сегодня рассказывали про тех, кто работал с коллодиевой печатью. Ну и вообще ее придумал.
Frederick Scott Archer
Philip Henry Delamotte
Statues of the Egyptian pharaoh Rameses II were copied from the temple of Abu Simbel
The Great Exhibition of the Works of Industry of All Nations, the first world’s fair, was held in London in 1851 in a temporary building constructed especially for the event. Named the Crystal Palace, the structure so amazed and impressed the public that after the exhibition ended, the building was dismantled and moved to a permanent site at Sydenham. The major commission of Delamotte’s career was the photographic documentation of the reconstruction of the Crystal Palace—one of the early uses of photography for reportage.
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Philip Henry Delamotte. Tropical Plants in The Egyptian Room Crystal Palace Sydenham 1854
An image of a latticed window in Lacock Abbey in 1835 by Talbot is a print from the oldest photographic negative in existence.
In February 1841, Talbot obtained a patent for the calotype process. At first, he was selling individual patent licences for £20 each, but later he lowered the fee to £4 and waived the payment for those who wished to use the process only as amateurs. Professional photographers, however, had to pay up to £300 annually. In a business climate where many patent holders were attacked for enforcing their rights, Talbot’s behavior was widely criticized, especially after 1851 when Frederick Scott Archer publicized the collodion process he had invented. Talbot declared that anyone using Archer’s process would still be liable to get a license from Talbot for calotype (Archer himself never obtained a patent for collodion).( и вот еще что... )
Architectural Study, oil on canvas by Louis-Jacques-Mandé Daguerre, 19th century. 31.5 × 39.8 cm.
Дагер, оказывается, прекрасно рисовал. Дагер же изобрел и диораму. Собственно, для диорамы он и заинтересовался фотографическими процессами.
( и вот еще что... )
Louis-Jacques-Mandé Daguerre (French, 1787–1851)
The Pavillon de Flore and the Pont-Royal, 1839
Daguerreotype; 16.2 x 21.3 cm (6 3/8 x 8 3/8 in.)
Musée des Arts et Métiers, Paris