|Lewis Carroll. Fine Art Photography. Xie Kitchin. 1874|
January 27, 2015 /Photography News/ Born 183 years ago on 27 January 1832, Charles Lutwidge Dodgson was an English writer, mathematician, logician, Anglican deacon and photographer.
From today’s perspective, his most notable career is that of writing, as it cemented his pen name in pop culture: Lewis Carroll. But only acknowledging his literary accomplishments would do him a grave injustice.
In the days when photography was just starting to establish itself as an art form, Dodgson took notice of the extremely precise and mathematical aspects of it. Influenced by his uncle Skeffington Lutwidge and his friend Reginald Southey, he picked up the hobby and - as with just about everything he tried in his life - he excelled almost immediately.
Throughout his 24-year career as a photographer he became a master of the medium, boasting a portfolio of roughly 3,000 images and his very own studio. His subjects were most often people, although he also photographed landscapes, dolls, dogs, statues, paintings, trees and even skeletons, as seen above.
From the 3000+ photographs taken by Dodgson, only 1000 have survived due to the passage of time and deliberate destruction, of which just over half are of children (mostly young girls) - 30 of whom are depicted nude or semi-nude.
|Beatrice Hatch, 30 July 1873. Photograph taken by Lewis Carroll, then colored by Anne Lydia Bond on Carroll's instructions|
|Evelyn Hatch, 29 July 1879.Photograph taken by Lewis Carroll, then colored by Anne Lydia Bond on Carroll's instructions|
His affection for younger girls, many of whom inspired the stories he wrote, has led many to conclude that Dodgson may very well have been paedophilic in nature, including Morton N. Cohen in his Lewis Carroll: A Biography (1995), Donald Thomas in his Lewis Carroll: A Portrait with Background (1995), and Michael Bakewell in his Lewis Carroll: A Biography (1996).
Most famously, Carroll obsessively photographed the young Alice Liddell, daughter of family friend Henry George Liddell and inspiration for Carroll’s most famous fictional character.
|Lewis Carroll. Fine Art Photography. Alice. 1858|
|Lewis Carroll. Fine Art Photography. Alice. 1859|
Carroll’s carefully staged child photographs are very much like those of other photographers of the period like Mary Cowden Clarke and Julia Margaret Cameron, who also photographed Alice Liddell, even into her adulthood.
Below are a few more photographs from Lewis Carroll's collection:
|Lewis Carroll. Fine Art Photography. Amy Hughes|
|Lewis Carroll. Fine Art Photography. Annie Coates. 1857|
|Lewis Carroll. Fine Art Photography. Ella Chlora Faithful Monier-Williams. 1866|
|Lewis Carroll. Fine Art Photography. Liddell-Sisters (Alice right). 1858|
|Lewis Carroll. Fine Art Photography. Xie Kitchin. 1876|
January 26, 2015 /Photography News/ Celebrated annually on 26 January, Australia Day (previously known as Anniversary Day, Foundation Day, and ANA Day) commemorates the arrival of the First Fleet at Sydney Cove in 1788 and the proclamation at that time of British sovereignty over the eastern seaboard of New Holland.
The collection below is a photographic record of the people, places and events of Sydney after 1870, highlighting the history and changing nature of Sydney, Australia's first and largest metropolis.
Courtesy of the State Library of New South Wales.
|The Gap, Sydney, 188- / photographer unknown. Note: Sydney's most notorious suicide spot, the cliff in front of the buildings, right. On 20 September 1857, the Dunbar was trying to enter Sydney Heads at night in a blinding storm and was smashed on the rocks, lower right. Only one survivor was found the next day. The Dunbar was less than a mile from safety after her more than 10,000 mile journey from Britain. Children still marvel to the story as they view the anchor now on display on the clifftop walk.|
|Advertising hoarding for McLean, Rigg from Sydney, ca. 1885-1890 / photographed by Arthur K. Syer.|
|King and Elizabeth Street corner from Sydney, 1890 / photographed by Arthur K. Syer.|
|Arrival of Governor Sir Robert Duff, Circular Quay, Sydney, June 1893 / photographer unknown. Note: the sailing ship called the "Convict Hulk Success", a commercial exhibit, upper right, and the bald-faced building with two towers which is a fire station, upper left.|
|Horsedrawn ambulance outside Civil Ambulance & Transport Brigade headquarters, corner of George & Pitt Sts opposite the Benevolent Asylum, now Central Square, c. 1900, by unknown photographer.|
|[Pedestrians on George St], ca. 1900, from Frederick Danvers Power : photonegatives, 1898-1926 / Frederick Danvers. Power Notes: Amateur photographer Frederick Danvers Power had a concealed detective camera, which he used to snap these women crossing Martin Place at George Street, with the Post Office behind them. This image gives us a more accurate idea of what women actually wore, than formal studio photographs or magazine illustrations. People wore their best outfit to the portrait studio and parasols and hats, which shaded the face, were not permitted. On the other hand, the idealised renditions of fashion published in magazines show neither creased clothes nor worn shoes.|
|Society of Artists' Selection Committee, Sydney, 1907 / photographer Henry King. (l to r) Julian Ashton, Mrs Norman Lindsay, Harry Weston, Will Dyson, Norman Lindsay, young Souter, Sidney Long & D.H. Souter. Norman Lindsay is perhaps the best known of these young bohemian artists having a picnic in their rooms. He is looking pensive, fifth from the left.|
|Sydney markets, by Rex Hazlewood, c. 1911-1916.|
|New gas-masks for the NSW Fire Brigade, Castlereagh Street headquarters, Sydney, 1927 / Sam Hood. Firemen display their latest gasmask at the Fire Brigade's Castlereagh Street headquarters, where popular demonstrations for the public were given on Wednesday afternoons.|
|Twenty four pigs being driven along Day Street, Sydney, by a truck, ca. 1929 / Sam Hood. Notes: As odd as it may seem today, Sydney regularly had livestock in its streets. However, this example of a truck driving a herd of pigs along the Day Street waterfront towards Market Street is an anachronism, as the area for penning animals had become the City Council depot and the city livestock markets had moved 20km out of the city to Homebush.|
|View from pulley-wheels of north side creeper-crane (jibbed right out) looking into box section of south side arch, Sydney Harbour Bridge, May 1930 / Ted Hood (hanging upside down 130 metres - 420 feet - above the Harbour)|
|[Artillery fire the salute at the opening of the Harbour Bridge], 19 March 1932, by Sam Hood|
|Views in Sydney and New South Wales, 1930-40 / by Charles F. Walton. Notes: No title, thought to have been taken 1935 between Kent and High Streets, Sydney.|
|Tram and taxi smash in Pitt Street, 25/6/1937 / Sam Hood. Notes: Trams and their operation were blamed for many accidents in Sydney’s narrow streets. In this case, traffic in Pitt Street was held up when a taxi pulled out from the curb and was struck by one of Sydney’s notorious ‘toast rack’ trams. Pedestrians have added to the confusion, creating a bottleneck. In 1921 regulations were passed which required motorists to signal their intention to stop or turn, but hand signals were not always given or seen.|
January 25, 2015 /Photography News/ Send your suggestions for inclusion in our next weekly roundup:
January 23, 2015 /Photography News/ Macro photography can be one of the more difficult photography forms. It requires a good grasp of focus and depth of field to make sure that all elements of the subject are properly in focus.
Macro photography can be especially useful when photographing products, food, or wildlife. A well composed macro image can both show off a subject in the best light for sales purposes, but also wow the viewer.
On the 5th of February, Photoion Photography school will be running a Macro Photography Course; allowing photographers of all skills to learn how to properly take macro photographs.
Our macro photography workshop will help you to create clear, and sharp images, as well as giving you some wider skills you can apply to other photography.
The course will begin with a short introduction to macro photography, as well as in depth descriptions of the tools and equipment you will be using to achieve stunning results.
You’ll also learn about lighting, and what lighting set-ups work best for macro photography; as well as how to set up your lights to achieve the best results.
All you need is a basic understanding of camera lenses and settings; such as shutter speed, ISO, and exposure. You’ll also need a digital DSLR, but don’t worry if you don’t have one; just let us know beforehand and you can use one of our semi-professional models.
This course will give you lasting skills to take excellent macro photographs, as well as a host of other tips and tricks that will help to improve your photography in general.
You will be tutored by a professional photographer, whose skills and experience will help you to improve your images.
About Photoion Photography School
Photoion is a Photography school based in central London. Our location gives us access to some of the most interesting photography locations in the world, and allows us to draw upon the talents of the best people in the industry.
Each one of our tutors is a professional photographer with years of experience, and they have all worked with hundreds of students, helping them learn and improve their photography skills.
If you would like to learn macro photography, you can book a place on one of our photography courses, or if you’re interested in improving your skills in another area, or learning the basics of photography to help you take the beautiful images you’ve always dreamed of, you can visit our website: http://www.photoion.co.uk.
January 18, 2015 /Photography News/ Send your suggestions for inclusion in our next weekly roundup:
Churches burned in Niger, photographer shot in the chest in Pakistan and violent clashes in Jordan: Muslim world reacts angrily to Charlie Hebdo's 'survivor' edition
January 15, 2015 /Photography News/ Born 151 years ago, on 15 January 1864, Frances Benjamin Johnston was one of the earliest American female photographers and photojournalists.
She received her first camera from George Eastman - the inventor of the Eastman Kodak cameras - and was trained by Thomas William Smillie, the director of photography at the Smithsonian Institute.
Johnston began her professional life as an artist-reporter. Sensing a changing trend in journalistic illustration while working as the Washington correspondent for a New York newspaper, she turned to photography.
She made her name as a photographer in the 1890s, taking portraits of the political elite in Washington, D.C. - she was the official White House photographer during the Harrison, Cleveland, McKinley, Roosvelt, and Taft administrations.
The Ladies Home Journal published in 1897 Johnston's article What a Woman Can Do With a Camera, urging women to consider photography as a means of supporting themselves. She co-curated (with Zaida Ben-Yusuf) an exhibition of photographs by twenty-eight women photographers at the 1900 Exposition Universelle, which afterwards travelled to Saint Petersburg, Moscow, and Washington, DC.
Johnston photographed events such as world's fairs and peace-treaty signings and took the last portrait of President William McKinley, at the Pan American Exposition of 1901 just before his assassination.
In 1904 Johnston joined the Photo-Secession.
In the 1920s she became increasingly interested in photographing architecture, being one of the first contributors to the Pictorial Archives of Early American Architecture. Her photographs remain an important resource for modern architects, historians and conservationists.
She was a juror for the second Philadelphia Salon of Photography, received four consecutive Carnegie Foundation grants to document historic gardens and architecture of the South, and was made an honorary member of the American Institute of Architects in 1945.
Johnston continued to photograph until her death in May 1952 at age 88.
|Frances Benjamin Johnston, full-length self-portrait dressed as a man with false moustache, posed with penny-farthing bicycle, facing left. Between 1880 and 1900.|
|A picture of Isadora Duncan's student's, including Isadorable dancers. Caption card tracings: BI; Dance--Modern; Shelf. Duncan, Isadora, 1878-1927. Frances Benjamin Johnston Collection, Library of Congress.|
|Frances Benjamin Johnston, full-length [self-]portrait, seated in front of fireplace, facing left, holding cigarette in one hand and a beer stein in the other, in her Washington, D.C. studio, 1896.|
|Frances Benjamin Johnston (right) poses with two cross-dressing friends, the "lady" is identified by Johnston as the illustrator Mills Thompson, 1890.|
|"Salon jury, Philadelphia," photographic print, by the American photographer and photojournalist Frances Benjamin Johnston, dated 1899. The portrait shows photographic salon jury members in profile, including, from left, Clarence H. White, Gertrude Käsebier, Henry Troth, F. Holland Day, and Frances Benjamin Johnston. This image forms part of the Frances Benjamin Johnston Collection at the Library of Congress.|
|Two girls from a Washington, D.C., school on a class visit to the Library of Congress, looking at an exhibit of relief or wood engravings, one with her chin on shoulder of the other, 1899.|
|A Kodak creates a sensation," photographic print by the American photographer and photojournalist Frances Benjamin Johnston, image from 1890-1910. The photograph forms part of the Frances Benjamin Johnston Collection at the Library of Congress, Prints and Photographs Division, Washington, D.C.|