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History and Origins of Photography

‘Fixing the Shadows’ documentary notes + further research;

The medium of photography has been around for much longer than many think, with the first known record of the ‘Camera Obscura’ in a Chinese text called ‘Mozi’ from 500 BCE, however more commonly known to have been invented in 1021. The Camera Obscura consists of a box, tent, or room with a small hole in one side or the top. Light from an external scene passes through the hole and strikes a surface inside, where the scene is reproduced, inverted and reversed – similar to a projector. This invention captured peoples imagination for photography, the ability to manipulate light and project scene onto a surface made people question how they could fix this image to make ‘the photograph’. And Louis Daguerre did exactly that, he created fixed images known as ‘Daguerreotype’s’ where each unique image was printed onto a silvered copper plate, accurate and detailed with a mirror-like quality. A statement on the Daguerreotype medium reads ‘Louis-Jacques-Mandé Daguerre invented the daguerreotype process in France. The invention was announced to the public on August 19, 1839 at a meeting of the French Academy of Sciences in Paris. American photographers quickly capitalized on this new invention, which was capable of capturing a truthful likeness.’ Nevertheless, by 1860 there were several other photographic techniques that were quicker to produce and less expensive than the Daguerreotype, therefore it lost popularity.

William Henry Fox Talbot was an English scientist, inventor and pioneer of photography, best known for his development of the calotype, an early photographic process that was an improvement over the previously mentioned Daguerreotype. In Talbot’s calotype technique, a sheet of paper coated with silver chloride was exposed to light in a camera obscura; those areas hit by light became dark in tone, yielding a negative image. The calotype was invented around the same time as the daguerreotype in 1840, however society was slow to adapt to Talbot’s method as the daguerreotype was still majorly successful, people questioned the authenticity and ability of the calotype. Compared to the daguerreotype, many people saw the calotypes differences as flaws. The process was slower, chemicals weren’t regulated and often impure which lead to inconsistent results and prints often faded over time. Also, depending on the type of paper used, the texture of the paper could interfere with the image. During this time in the world of photography, the Romanticism art movement was prominent, people started to recognise the similarity between Talbot’s technique (when changing the paper to create a softness) and the delicate brush strokes and portrayal of the sublime in Romanticism art works. In the photography documentary ‘Fixing The Shadows’ I watched, the medium of photography is described as ‘the easiest medium in which to be competent, but the hardest to create your vision’ For the first time, people began considering the calotype as artistic; the first half of the process mechanical, but the second half of the process developing the tonality was an art.

American entrepreneur George Eastman is one of the most well known photographic pioneers who helped to bring the photographic use of roll film into the mainstream. Working in a bank, Eastman first became interested in photography when he decided to document one of his family holidays, little did he know this would be the start of one of the biggest photographic revolutions. In 1880, Eastman opened the Eastman Dry Plate and Film Company, his first camera ‘the Kodak’ was sold in 1888 and consisted of a box camera with 100 exposures. The Kodak camera allowed photographers to create images with more ease, as it was smaller and cheaper, giving opportunities for more of society to become photographers as it was accessible for all. The name Kodak was chosen as Eastman believed products should have their own identities, he wanted a name without any prior meanings or links to other products/languages etc. Later, in around 1900, Eastman introduced the Kodak Brownie which was originally intended to be a children’s camera sold for one dollar. Kodak roll film was affordable, it interested late 19th and early 20th century society as the film technique was new and exciting for them, the original Kodak camera and Kodak Brownie revolutionised the way in which photography was viewed, encouraging more people to get involved and create their own masterpieces.

Archives – Essay

Societe Jersiaise is home to a photographic archive holding 100 000 images. It is the primary collection of images in the nineteenth and twentieth century in Jersey. The archive contains images dating back to the mid-1840s. England and France are two nations who were highly innovative in developing the practice of photography from its early stages. Jersey, being sandwiched right between these gave it a rich history of photography that the archive stores away safely. This was also because when photography arrived at the Island 9 months after its discovery in 1840, it was practiced without the worry of patents restricting the medium. The archive came to be in 1873. Included in its creation were a museum and a library. The society immediately realised the importance of recording photographic history as well as buildings, monuments, and ruins. With passion for documenting through the medium of photography consistently developing for over 140 years the archive has resultantly gathered an immense record of Jersey’s history and, consequently, an amazing capsule of the history of the art of photography. By the boom of photography and its technological developments in the 1860s, the number of photography studios in St Helier has increased drastically. The archive is located in St Helier, on Pier Road which is right beside where the bustling Jersey merchant traders used to operate. Merchant trading and ship trading were huge markets in Jersey, this makes the location of Societe Jersiaise quite appropriate. The archive holds works from many photographers that operated in these locations during the boom. Early photographers such as William Collie, Charles Hugo, Thomas Sutton and Henry Mullins. Included as well are later nineteenth century photographers such as Clarence Ouless, Ernest Baudoux and Albert Smith. To follow in the 20th century the archive holds very value images from a rich point in history in Jersey. This being WWII; specifically, images from the German occupation and the liberation of the island. This proves the idea that we can learn about the different people and communities that developed through history by looking at Jerseys past. We get a direct link between what the photographers experienced and the image they took. This correlates with the idea that most people in modern times exercise some form of archiving. Archives such as family albums are common medium found in many homes. Family albums are an example of photos taken over a period and preserved within a family. They hold a special importance for many families. Just by opening it every once in a while, memories are reminisced on, evoking strong emotions and nostalgia. These archives are normally in physical form, normally a little photobook stored away in a cupboard or on the coffee table. These have tangibility about them, and a person can connect with the archive by physically picking up the album and flicking through the pages. However, some everyday archives are kept in digital format. As we move to a more digital age, almost everyone alive has a mobile phone stuck to their hand. This means that almost everyone is some form of archivist. Most of us have vast albums of photos on our mobile devices. Newer phones are always coming out with larger amounts of storage to facilitate these images. This means most of us are carrying around a rich archive of images we have created and preserved on our mobile devices. We carry around affluent history on our phones. Even the text messages we have accumulated over years and years can be seen as a form of an archive. These archives can immediately tell a comprehensive story about one’s personality and history. Detailed insight into a person’s life and their experiences, their relationships, their interests, where they live, their career and everything in between just by looking at their camera album on their phone. This further gives understanding of society and its technological development along with its cultural development and history.

William Collie was a Jersey photographer from the 19th century. Some of Colliers previously unpublished photographs featured in an exhibition at the Musée Dorsay in Paris in 2008. This exhibition boasted some of the first photographs taken on paper in Britain from 1840 to 1860. Below is one of those photographs. It was taken in 1847. It is of Jersey Market women.

This photograph leads onto the next interesting element to note about Williams work. Williams works capturing these portrait style images was one of the earliest signs of tableau photography recorded. Tableau photography is an intentional form of photographing characters who are arranged for picturesque or dramatic effect and appear absorbed and completely unaware of the existence of the photographer/viewer. His work is featured at Societe Jersiaise’s archive. The archive further gives us knowledge of some of the first photos ever taken. William’s contribution is highly valuable. This is not just because he was one of the first to bring photography to the island but because we start to see the contribution of artistic entries into the archive as apposed to just documentative entries. The archive can provide an archaeological view into when photography started to shift from a documentative process to a more artistic one; all due to Williams early tableau works.  

The above photograph is part of Williams ‘Market Women’ collection. The image is of a professionally composed tableau portrait where a young lady is dressed as a Jersey market woman. She is wearing what would be working class clothing of the time. The mise en scene of the image tells the story of a market environment with the hanging basket and what seems to be produced on the ground. The subject has been directed to look away from the lens. This enforces a notion that the subject is absorbed and used to create a dramatic effect; this almost gives the character a sense of elegance but also sovereignty. This sense of emotion the lady is portraying could give us an understanding of the historical context of the image as in the 19th century Jersey saw massive changes in society. A large influx of immigrants from England made Jersey a more connected island than ever before and brought with it cultural changes and the desire for political reform. During this period, the States reformed to become more representative of the population and the Jersey culture became more anglicised and less religious. The island also grew economically, and the built-up areas of the island expanded, especially St Helier, with the development of public transport on the island. This lady could have been represented as a part of this powerful time in St Helier as she is portrayed as a market woman, aiding in the growth of the town. William Collie was probably the first photographer to use the calotype process in Jersey. This is a technique, were a sheet of paper coated with silver chloride was exposed to light in a camera obscura; those areas hit by light became dark in tone, yielding a negative image. The image has an artistic contrast created by the calotype method of photography that Collier was renowned for. The negative light gives a wide tonal range from dark tones in the subject’s hair to a pure white tone just an inch down on her collar. This contrast also gives the background a grainy texture as the shadows on the bricks are accentuated. I believe this allows the viewer to focus on the structure of the image and creates a clear contrast which builds the foundation of the image and shines focus on the features of the character being shot.

In conclusion a lot can be gained from archives in terms of physical, political and social contexts in our society by looking at history in a sensory fashion; looking at images gives us a way to see through the eyes of people living different lives before us. We learn about the different emotions of each social structures at different times by interpreting the photographers’ emotions that get portrayed into an image. This will be the fashion I approach documenting communities in St Helier. I want to be able to capture detailed history of the communities at the time but at the same time interpreting William Collies artistic approach to capture the emotion of the social structures through my images.

Essay – Archives

How do archives function as repositories of knowledge?

An archive is a collection of historical documents/records which provide information about a place, institution, or group of people. An example of an achieve is Jersey Archives, starting from 1993 Jersey Archive has collected over 300,000 archival records and, it is the island’s national repository for holding archival material from public institutions as well as private businesses and individuals. The Jersey Archive can offer guidance, information and documents that relate to all aspects of the Island’s History. Although, the most common reason for using an archive is to settle legal claims, clarify family history, they are also extremely helpful for historians, filmmakers and authors, as it gives them a sense of the way’s things were.

Archives collect primary source materials such as student newspapers, yearbooks, directories, documents related to groups and organizations, photos, and art pieces. Archives are mostly organised into fonds. A fonds is the entire body of records of an organisation, family, or individual that have been created and accumulated as the result of an organic process. Each fond is kept separately from other fonds to prevent the records from becoming disorganized and mixed up with other information, which would mean that they become inaccurate.

Société Jersiaise, is a photographic archive with a collection of 100,000 images dating from the mid-1840s to the present day. It was founded in 1873, for the study of Jersey archaeology, history, natural history, the ancient language and the conservation of the environment. There are approximately 35,000 historical images in the photographic archive are searchable online. Société Jersiaise also have an extensive library with access to may publications and records relating to the island’s history, identity and geography.

William Collie was born in Skene, Aberdeenshire, Scotland in October 1810. He stared his creative career as a professional portrait painter. Later he moved south, to St. Helier, Jersey in 1841, where he had a portrait business. He became one of the earliest photographers working in the Channel Islands, operating from Belmont House, St Helier. In the late 1840’s he made a series of genre calotype; which is an early photographic process in which negatives were made using paper coated with silver iodide, portraits depicting ‘French and Jersey Market Women’ which were well received by the photography critic of the Art Union (1 June 1847) who compared them to the work of David Octavius Hill, who was a Scottish painter, photographer and arts activist. These studies were later exhibited at the London Great Exhibition of 1851.

The Société Jersiaise Photographic Archive lists 157 photographs by William Collie. Although none of them are available to view online, due to copyright. However, you can still see them on some websites. The vast majority of the 157 images listed on the Société Jersiaise website are portraits, but there are four pictures of Jersey scenes which, if the information in their records is accurate, they are of, the church of Scotland (Not Jersey), Mont Orgueil Castle, houses on Queens Road, a granite, thatched cottage. One of his most famous portraits listed on the Societe Jersiaise website is of Elie Jean Filleul, who died aged 102 in 1851. From these images we can gather information about the history of St Helier, by using old images of streets and buildings. Also, we can identity the fashion and lifestyle in the 19th century.

William created his images using a photographic process called calotype, also called talbotype. Calotype comes from the ancient Greek word “beautiful” and “impression”. It is an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide, once its dried it is floated on a solution of silver nitrate in a dark room, which forms a photosensitive silver chloride compound on one side of the paper. This is then dried and ready to be exposed to light. When exposed to light the silver chloride darkens, creating a negative image. Which is made to make multiple positive prints simply by playing the negative onto a sensitised piece of paper and exposed to light.

Elie Filleul - Jerripedia
Elie Jean Filleul

Collie’s image contains a good, high contrast as the highlights are bright and the shadows are dark. This is a good aspect to have in portrait photography as it defines facial features. Collie’s image is very clear and sharp even though it was taken in the 19th century. It contains highly detailed textures and patterns; this is due to the fact that it was processed in a dark room using multiple chemicals. This is why the edge is overexposed and has the fading look. Collie’s has positioned the subject in the centre of the frame to draw attention to them, which is an important aspect in portrait photography. By including props, like walking sticks, bowls in the background and a child, it creates a scene and a story which relates to the person being photography. We can tell by the image that the subject is of age due to a beard and the walking stick. This juxtaposes with the child on their lap.

In conclusion, archives are a good repository of knowledge and historic information, they are a good way to reflect on the past, as the contain historic photos and documents which can be compared to the present day. This shows a comparison of what life was like and how it has changed. The photos from the archives can help develop my project, as it displays different cultures and communities, which I can juxtapose to the current day and show how much they have changed. I can also use the archives to get photos to compare past and present buildings, this creates a comparison which shows a positive outcome.

Archives

Archives

“Everyone today has a story; the world’s an archive.”

― Anne Rice, The Wolf Gift

An archive is a database with records holding the history of humanity. These include, books, certificates, photographs, items and more.

These records actually gives the current and future generations knowledge of previous events, what the world used to look like in the past in comparison to today. They may also provide context which helps us understand why a certain picture was taken, it provides reference points between information sources which improves our knowledge of the world and past.

The reason to looking back into the past is so we learn about various events but most importantly past mistakes so we do not repeat history.

Société Jersiaise Photography archive

Only nine months after it was initially published in the major centres of England and France, photography arrived in Jersey on May 9 of 1840.

It features 19th-century photographs by notable photographers such as William Collie, Charles Hugo, Thomas Sutton, and Henry Mullins. The collection includes collections from late-nineteenth-century studios by Jersey photographers such as Ernest Baudoux, Albert Smith, and Clarence Ouless.

In the 21st century, we have had a major photo-journalist, the Emile Guiton-archive archive, who’s an honorary curator and the founder of the Photo Archive of Société Jersiaise, which contains more than a thousand negative images by Dunham Percival.

Along with this, we got the chance to see Mullins’s portraits of Victorian islanders as preserved on the pages of his photograph albums, which served as a catalogue of clients for his professional
practice at the time.

Henry Mullins

Henry Mullins began his working at 230 regent Street, London in the 1840s. During this time he was part of the circle of photographic pioneers at the Royal Polytechnic Institute, Regent Street, London here the first photographic studio in Europe opened in 1941. Mullins then went to Guernsey in the summer of 1847 and ultimately moved to Jersey in 1848 and set up a studio called the Royal Saloon at the 7 Royal Square in St. Helier.

By 1849 he worked alone and began his work on Cartes de visite which translates to visiting cards. They were daguerreotype photographs which for Mullin, his subjects were people. He would take portraitures of family and their children. By the end of his life, he had created an album of at least 9,000 portraits of islanders between 1852 and 1873, Jersey population at the time was 55.00 therefore he managed to capture at least 16% of the population.

He was one of the most prolific photographers of the first generation of Jersey photographers in the mid-nineteenth century.

He ended up being the photographer of choice for leading members of Jersey society and successful local and immigrant families. It was common for his portraits to be printed on a visiting card which were commercial photographs created using egg whites to glue the photographic graphic chemicals to the paper. This is what a daguerreotype is. These cards were very small normally measuring 54×89 mm and commonly mounted on a piece of card measuring 64 by 100 mm. However, Mullin mounted his shots on an album.


Image analysis

Substance:

This image was taken in the 19th century by Henry Mullins.

Obviously, this is a daguerreotype; as mentioned above, “It was common for his portraits to be printed on a visiting card which were commercial photographs created using egg whites to glue the photographic graphic chemicals to the paper.”

It was taken to document the types of people in Jersey.

Composition:

Considering the image was taken in the 19th century, the composition of this image is quite amazing. For example, Mullins has successfully centred the subject. This suggests he used the rule of thirds to compose the image. This allows enough space for the subject to appear while revealing pieces of the background equally.

Evidently, the focal point of this image is the man. He appears to be important since he is wearing a uniform and uniforms were typical of someone of authority. Considering his dead stare, it may be argued he’s part of the military since they are normally serious. May be argued he’s a soldier since we see no medals.

Mise En Scène:

As mentioned in Composition:

We can successfully see Mullins has captured an image of someone of authority.

He’s dressed in uniform with buttons and a collar which usually suggest military.

His appearance is quite radiant but serious at the same time; having his eyes fixed on a specific point.

He appears to have a bag with him since there is a strap going over his chest.

Techniques:

This daguerreotype is a direct-positive procedure that creates a very detailed picture on a sheet of copper with a thin silver layer without the use of a negative. To fix the picture, the plate has been submerged in sodium thiosulfate or salt solution and subsequently toned with chloride gold.

Atmosphere:

This photograph makes me feel quite intimidated since he looks important.

This image also has me wondering who this man actually is, is he a soldier? Sergeant?

Lighting:

The lighting in this image is quite low due to the quality of the daguerreotype. However, it may be argued that artificial lighting was used since it was taken in a studio and only one part of his face us properly lit.

Obviously, there are dark tones in this image due to the process used.

Conclusion

In summary, I largely agree that we can really learn from prior photos. As noted earlier: “These records actually inform current and future generations of previous events about what the planet used to look like in the past. They can also provide a context which enables us to understand why a certain photograph has been shot, which provides points of reference between data sources that enhance our understanding of the world and the past.” In order to display the difference in classes we learned, for example.

Through his work we have also learned that everyone is human at the end of the day. His role, power and dressing are simply the only distinction between people.

In addition, it’s vital to look back at the past in order not to repeat past errors such as the holocaust but to learn about diverse events that have made humanity to where we are today.

On the other hand, I felt that photos and archives are vital for conveying a tale, for showing how people used to be and how we have thus far evolved.

Henry Mullins has led me to portray people from a range of professions for my own project. And to use film to generate an effect comparable to photographs of Mullins. I’ll take my time on vacations to Madeira (my place of birth), go to museums and possibly archives, and photograph Madeira and Jersey, since they have both shaped my identity.