The British Empire, that famous empire where the sun never set, as the British in the 19th and early 20th centuries liked to describe it - here we see some of its many facets. The mysterious art of photography originally came from France, the country of the arch-enemy, but a significant improvement was achieved in 1840 by William Henry Fox Talbot, a scientifically gifted son of a distinguished family of the English upper class. As the scion of a wealthy family, the young Talbot was in the fortunate position of being able to devote himself entirely to his private studies of chemistry and physics. With success! The photographic pioneer finally succeeded in developing a process that made it possible to reproduce the image by making prints from the negative. This negative-positive process became the fundamental photographic technique. For a long time, it had been overshadowed by the daguerreotype, which had been known since 1839. This technically more complex process produced very beautiful, detailed images, but forced the photographer to handle highly toxic mercury and cyanide vapors.
But no danger could stop the triumph of the new art of photography through the world.
In the category "English photographers" are the photographs of famous people such as Queen Victoria or Empress Frederick-celebrities of their time-but also unknown people, solemn occasions, cathedrals, palaces, pyramids, as well as the slums of London with their oppressive poverty or pictures from the Boer War. The invention of photography made it possible for the first time that not only the rich could leave a picture of themselves to posterity. Poorer people could now also afford to have a portrait taken of themselves or their family. In those early years, being photographed was still a serious matter and the pictures we have kept from that time reflect that seriousness, that solemnity. It is what makes the photographs so peculiarly appealing to many. A portrait photograph in the 19th century was always something undertaken with an eye to the future absence of the sitter; absence through death. These were years of high infant mortality, the horrors of tuberculosis and other incurable diseases. That is why only a few people were granted to reach a stately old age. People longed for something lasting, and photography now provided that for everyone. But the new art also offered the possibility of documenting what had previously been reserved for those who could draw or paint well. The eye of the camera, however, was incorruptible and relentless, and therefore sometimes feared. Many a painter had gained fame and loyal customers by flattering his clients and depicting them more beautifully than they really were. The sensory organ of flesh and blood was corruptible, the artificial eye of the camera was not. But in the end, it's the same here as with everything else: beauty is in the eye of the beholder, and beautiful is everything that is looked at with love.
The British Empire, that famous empire where the sun never set, as the British in the 19th and early 20th centuries liked to describe it - here we see some of its many facets. The mysterious art of photography originally came from France, the country of the arch-enemy, but a significant improvement was achieved in 1840 by William Henry Fox Talbot, a scientifically gifted son of a distinguished family of the English upper class. As the scion of a wealthy family, the young Talbot was in the fortunate position of being able to devote himself entirely to his private studies of chemistry and physics. With success! The photographic pioneer finally succeeded in developing a process that made it possible to reproduce the image by making prints from the negative. This negative-positive process became the fundamental photographic technique. For a long time, it had been overshadowed by the daguerreotype, which had been known since 1839. This technically more complex process produced very beautiful, detailed images, but forced the photographer to handle highly toxic mercury and cyanide vapors.
But no danger could stop the triumph of the new art of photography through the world.
In the category "English photographers" are the photographs of famous people such as Queen Victoria or Empress Frederick-celebrities of their time-but also unknown people, solemn occasions, cathedrals, palaces, pyramids, as well as the slums of London with their oppressive poverty or pictures from the Boer War. The invention of photography made it possible for the first time that not only the rich could leave a picture of themselves to posterity. Poorer people could now also afford to have a portrait taken of themselves or their family. In those early years, being photographed was still a serious matter and the pictures we have kept from that time reflect that seriousness, that solemnity. It is what makes the photographs so peculiarly appealing to many. A portrait photograph in the 19th century was always something undertaken with an eye to the future absence of the sitter; absence through death. These were years of high infant mortality, the horrors of tuberculosis and other incurable diseases. That is why only a few people were granted to reach a stately old age. People longed for something lasting, and photography now provided that for everyone. But the new art also offered the possibility of documenting what had previously been reserved for those who could draw or paint well. The eye of the camera, however, was incorruptible and relentless, and therefore sometimes feared. Many a painter had gained fame and loyal customers by flattering his clients and depicting them more beautifully than they really were. The sensory organ of flesh and blood was corruptible, the artificial eye of the camera was not. But in the end, it's the same here as with everything else: beauty is in the eye of the beholder, and beautiful is everything that is looked at with love.
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