Camera Victorian Eyewitness A History of Photography: 1826-1913

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Ray-Jones’ work sits within a larger tradition of photographs of Britons at leisure, starting with Sir Benjamin Stone in the 19th century and later including Paul Martin and Homer Sykes among others. His unique compositions have in turn influenced a later generation of photographers that most notably includes Chris Killip and Martin Parr. The first color photograph was created in 1961 by Thomas Sutton (the inventor of the single-lens reflex camera). He made the photograph by using three separate monochrome plates. Sutton created this photo specifically to use in the lectures of James Maxwell, the man who discovered that we could make any visible color as a combination of Red, Green, and Blue. Whilst portraiture remained a popular and commercially viable subject during the early twentieth century, a small number of women photographers sought more socially engaged subjects. Edis and Christina Broom (1862–1939) created photographs that spoke of the contemporary social condition and documented notable aspects of the First World War. Their pioneering work paved the way for renowned female documentary photographers including Lee Miller (1907–77) and Toni Frissell (1907–88). Anna Atkins (1799–1871) was one of the first female photographers and is known for having produced the first photographically illustrated book in Britain. Entitled British Algae: Cyanotype Impressions, the three-volume publication appeared in instalments over a ten-year period from 1843 onwards. The completed work contained over 400 photographs of British algae. Sir John Herschel had invented the cyanotype process in 1842, and Atkins used it to make her images. The Royal Collection contains a significant body of work by women photographers, dating from the nineteenth century to the present day. These photographs illustrate key moments in photographic history, including early experiments in the medium, the development of accessible camera technologies and the advent of colour photography. They also reveal the historical and contemporary importance of women to the creation, study and dissemination of photographs.

The Library's buildings remain fully open but some services are limited, including access to collection items. We're Before 1978, a camera lens would need to be manipulated so that the clearest picture would reach the plate or film. The photographer would do this by making slight movements to change the distance between the lens and the film, usually by turning the lens mechanism. Field cameras were a development of Kinnear's 1857 design. The rear standard was made much thinner and permanently attached to the baseboard. The tapered bellows were retained, and the hinged front standard with bellows that could be un-clipped was used on some cameras.Several proposals were made for Monorail cameras but came to nothing. Wood was not the best material for this design and metal would have resulted in a heavy camera. Sizes

Lewis Hine (1874–1940) was a seminal American photographer, best remembered for the contribution he made to the reform of American child labour laws. He is also known for the work he undertook on behalf of the National Child Labour Committee, which aimed to help protect children from exploitation and danger in the workplace. Originally trained as a sociologist, Hine’s first photographic project documented European immigrants as they arrived at Ellis Island, New York. Hine always imbued his subjects with dignity, communicating a sense of the immigrants’ individuality and challenging the prejudice they faced. In 1861, James Clerk Maxwell produced the first colour photograph. He captured an image of some tartan ribbon. His technique involved photographing the ribbon through red, yellow and blue filters, then combining those separate images into one. This photograph, The Steerage, was a turning point for Stieglitz in his move towards a modern aesthetic. His work started to become more closely aligned with photography’s inherent qualities: sharp focus, good contrast and full range of tones became important to him, and replaced the fuzzy lines and dappled surfaces favoured by the Pictorialists. This change of emphasis became known as ‘straight photography’.

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Above: This tintype of a woman has been heavily tinted. From the Howarth-Loomes Collection at National Museums Scotland.

To these can be added the less common larger sizes 20" x 16" and 24" x 20". Post-card - 5 ½" x 3 ½" - was a common print size from the early 1900s but few cameras were made specifically for this format. British cameras were also produced in metric sizes especially 9 x 12 cm and 13 x 18 cm. This pattern is characterised by large front and rear standards fitting onto a baseboard and joined by parallel bellows. The front standard is usually rigidly fixed to the front of the baseboard but on some models the front standard is attached to an inner frame giving front focus. On single extension models the rear standard is moveable along the length of the baseboard (fig. 51), on double extension models it is attached to an inner frame that slides out from the baseboard (fig 50). Because he records the effects of industrialisation on the landscape, Davies has often been described as a political photographer. Incongruous elements are often present in his work: industrial buildings in rural settings or ancient buildings flanked by flyovers. These contrasts emphasise the effects of development and how these structures are put to different uses over time. In this photograph, the landscape is dominated by the colliery and its close neighbour the power station, whose four huge cooling towers occupy the middle distance. Behind the towers, pylons stand as evidence of the transition from coal to electricity.Deception isn’t new to the internet, but what’s noteworthy about the user’s false claim about the UK’s speed camera sign isn’t the misunderstanding itself but how many people agreed with them and the traction the claim got among the press.