The image dates from the 1850s, when the recent discovery of the wet-plate collodion process allowed for crisp captures of landmark moments to be faithfully documented and easily disseminated.
The first photographic images seen in Italy were botanical prints by Henry Fox Talbot, beginning three decades of experimentation with photography in 19th-century Italy.
An exhibition at the National Gallery of Art highlights the environmental and artistic influence of 19th-century landscape photography in the eastern United States.
The Bodleian Libraries at the University of Oxford launched the first complete, digital catalogue for 19th-century photography pioneer William Henry Fox Talbot.
In the 1880s, William Nicholson Jennings set out to prove the diversity and unpredictability of lightning’s path, capturing the electric light with his plate camera.
In the 19th century, when photography was developing into a mass medium, a few intrepid early adopters pointed their glass plate cameras at one of the most intimidating natural forces on Earth: the tornado.
Algae is graceful and light in the ocean, swaying with the waves like hair in the wind.
Japan’s Meiji period (1868–1912) is commonly described as a time of quick economic and political modernization and self-conscious competition with Western military might and colonial aspirations.
The life of French photographer Charles Marville, the subject of a retrospective currently at the Metropolitan Museum, comes down to us hazy in its contours. Born Charles-François Bossu in 1813 to a family of artisans and tradesmen, Marville rid himself of “Bossu” (hunchback) after being teased about it at school, but the import of his chosen pseudonym is unknown.
Photography was rare in the early days of California urban development, but some pioneer practitioners did get out to the burgeoning bustle of Los Angeles and Santa Monica. Now one collector’s passionate focus on photography of 19th-to-mid-20th-century California has culminated in 4,600 images being acquired by the Huntington Library in San Marino.
The Rubin Museum’s Allegory and Illusion: Early Portrait Photography from South Asia opens an often fantastic, frequently attenuated window to photography’s quick and global sprawl, and the regional and cultural ways it took early root.
Victorian photography studios loved a good illusion, whether it was to accommodate the long exposure time, or play with it.