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HomeContentsThemes > England

Contents

Daguerreotypes
30.01   Daguerreotypes: London
Photographers
30.02   Benjamin Brecknell Turner: England, Worcesterhire, Bredicot (1852-1854)
30.03   Henry James: Stonehenge
30.04   Henry W. Taunt: The River Thames (1872)
30.05   Frank Meadow Sutcliffe: Whitby
30.06   Peter Henry Emerson: Marsh Leaves (1895)
30.07   J. Payne Jennings: Book covers
30.08   Bill Brandt: North
30.09   Tony Ray-Jones: England
30.10   John Bulmer: The North of England
30.11   Chris Killip: Seacoal
Exhibitions
30.12   A Record of the Photographic Salon of 1895 (London)
This theme includes example sections and will be revised and added to as we proceed. Suggestions for additions, improvements and the correction of factual errors are always appreciated.
 
  
Daguerreotypes 
  
30.01   Europe >  Daguerreotypes: London 
  
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Photographers 
  
30.02   Europe >  Benjamin Brecknell Turner: England, Worcesterhire, Bredicot (1852-1854) 
About this photographer | Photographs by this photographer 
  
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30.03   Europe >  Henry James: Stonehenge 
About this photographer | Photographs by this photographer 
  
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Major-General Sir Henry James[1] was Director-General of the Ordnance Survey in Great Britain between 1854 and 1875 and an active advocate for the use of photography. His book Stonehenge, Turusachan, Cromlechs, and Sculptured Stones (1867) was illustrated with photographic prints.[2] 
  
30.04   Europe >  Henry W. Taunt: The River Thames (1872) 
  
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The book A New Map of the River Thames from Oxford to London (1872) by Henry W. Taunt[3] used tipped-in albumen prints that were added to maps of the River Thames in England showing locations of interest. Taunt (1842-1922)[4] was a professional photographer based in Oxford. 
  
30.05   Europe >  Frank Meadow Sutcliffe: Whitby 
About this photographer | Photographs by this photographer 
  
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30.06   Europe >  Peter Henry Emerson: Marsh Leaves (1895) 
About this photographer | Photographs by this photographer 
  
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In 1895 Peter Henry Emerson produced Marsh Leaves[5], the last of his volumes of photographs to be published. Smaller in format than the early works, it is illustrated with sixteen photogravures. For On English Lagoons and Marsh Leaves Emerson did, as he claimed he would do, make all his own photogravure plates, finally freeing himself from commercial engravers.
 
Many of the photographs in this last book demonstrate that he was no longer exclusively concerned with the direct transcribing of perception. Several are taken with a lens of relatively long focal length, resulting in a distant, two-dimensional view quite different from unaided human vision. He was using, to borrow a phrase from Aaron Scharf[6], ‘the vocabulary and syntax’ of photography. It is possible that, released by his "Renunciation" from the requirement to follow artistic conventions, Emerson at last felt free to discover what photography itself had to offer.
 
It is tempting to see, in Emerson’s last published photographs, the first suggestions that he had begun to adopt an approach and a working practice that were closer to the twentieth century than to the nineteenth, and it is certainly true that he maintained a keen interest in the most recent technology. No photograph he took after the mid-nineties has been identified, however, so as far as posterity is concerned, his career as a photographer ended in 1895.
 
The distinctive characteristics of Emerson's later work have been noted by other writers, notably Ian Jeffrey (1989)[7] and Mark Durden (1994)[8].
 
The 16 photogravures in Marsh Leaves are:
I A Winter's Sunrise
II The Lone Lagoon
III The Fetters of Winter
IV A Waterside Inn
V A Winter Pastoral
VI Marsh Weeds
VII Gnarled Thorn-Trees
VIII The Misty River
IX Bleak Winter
X The Waking River
XI The Bridge
XII The Snow Garden
XIII A Corner of the Farm-Yard
XIV Rime Crystals
XV The Lonely Fisher
XVI The Last Gate
[Courtesy of David Stone] 
  
   Peter Henry  Emerson Marsh Leaves 
View exhibition 
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30.07   Europe >  J. Payne Jennings: Book covers 
About this photographer | Photographs by this photographer 
  
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The rapid growth of an urban middle class in England during the nineteenth century went hand-in-hand with the expansion of a comprehensive railway system providing leisure opportunities. Picturesque regions like the Lake District and the Norfolk Boards in East Anglia were particularly popular and the scenic photographs of J. Payne Jennings were used by the Great Eastern Railway Company to encourage rail travel to rural idylls far removed, and yet accessible, from the major cities. 
  
30.08   Europe >  Bill Brandt: North 
About this photographer | Photographs by this photographer 
  
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The 1930s in Britain was a brutal time as major industries such as shipbuilding were in decline and this lead to high levels of regional unemployment. J.B. Priestley's book An English Journey (1934) captured the poverty and dark stress of polluted dismal towns.[9] The Jarrow Crusade of October 1936 was a march to London highlight a town where unemployment was over 70% as heavy industry had collapsed and was being demolished. This was the bleak period described by George Orwell in The Road to Wigan Pier (1937).[10]
 
Photographer Bill Brandt visited the North of England and documented the coal searchers high on the slag heaps looking for chunks of coal that could be sold or use to heat their houses. Blackened towns with blackened spirits. 
  
30.09   Europe >  Tony Ray-Jones: England 
About this photographer | Photographs by this photographer 
  
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Tony Ray-Jones (1941-1972)[11] died of luekemia three days after flying back from the USA to England in 1971 to avoid mounting medical bills. His death at only 30 was a tragedy in itself as it came at a time when he was not only taking photographs but gaining an interest in cinematography. He studied at the Yale School of Art and it was his years in the USA that made him reflect upon the festivals, leisures activities and pecularities of the everyday in England.
 
It was a heady time in photography with the influences of Henri Cartier-Bresson, Robert Frank, Walker Evans and a host of others and his friendship with Joel Meyerowitz encouraged street photography forays. It would be crass to say that Tony Ray-Jones was the only influence on the [12] of the everyday and the banal within England in the 1960s and early 70s but he has a place in a community that would become popularized by Martin Parr 
  
30.10   Europe >  John Bulmer: The North of England 
About this photographer | Photographs by this photographer 
  
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John Bulmer studied engineering at Cambridge before moving into photography and documentary film. In the 1960s he photographed the North of England in both black and white and in colour during a period when illustrated weekly supplements such as the Sunday Times Magazine were popular, hard-hitting and influential.[13] As he said:
"I wasn’t interested in art photography, I was interested in photography as journalism, the last thing I wanted to do was put my photographs on the walls of galleries; I wanted them in magazines."[14]
Working for magazines such as Sunday Times Magazine, Queen and Town, where Tom Wolsey was art director, John Bulmer was influenced by Henri Cartier-Bresson from France and by the photographs included in LIFE[15] magazine such as the photo-essays of W. Eugene Smith[16] as John Bulmer said in an interview:
“Eugene Smith and [Henri] Cartier-Bresson influenced me, and Bill Brandt to some extent, but I felt the Americans were doing so much more. When you look at Eugene Smith’s Pittsburgh Project it was so prolific. You only had to open Life magazine in the late fifties, early sixties every week and it was sensational.” [17]
It was the North of England that Bill Brandt[18] had documented in the 1930s and that Chris Killip and Martin Parr would return to in the 1980s and 90s. In those days the Great North Road[19] led from the relatively affluent South to a totally different world of industrial landscapes and blackened towns a few hundred miles to the north. The weekly photojournalism in the magazines revealed these stark differences. 
  
30.11   Europe >  Chris Killip: Seacoal 
About this photographer | Photographs by this photographer 
  
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In 1983 and 1984 Chris Killip repeatedly returned to the community of Lynemouth, Northumberland, on the north-eastern coastline of England where fragments from the coal seams eroded by the sea are washed up on the beaches.[20] Men used nets on poles to bring up the chunks of coal that could be tossed into horse drawn carts backed into the waves. The gritty toil and hard work to collect and bag the coal was captured, appropriately, on black and white film giving it an authority that colour would have failed to do. In 1985 a British docudrama was released about live on this harsh industrial environment.[21] 
  
Exhibitions 
  
30.12   Europe >  A Record of the Photographic Salon of 1895 (London) 
  
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This rare portfolio of photogravure images issued in 1895 by The Photographic Salon (London) was the result two years earlier by a decision in 1893 by members of The Linked Ring Brotherhood in England to "form a Salon of Pictorial Photography and that the exhibition should be displayed at the Dudley Gallery, Piccadilly, in the autumn."[22] The Brotherhood "was constituted as a means of bringing together those who are interested in the development of the highest form of Art of which Photography is capable".[23] It embodied the Secession (Aesthetic) Movement in Photography in Britain, having been founded in April 1892 by a small group of distinguished photographers who seceded from the Photographic Society of Great Britain in 1891-2."[24] Significantly, the decision by the Linked Ring to allow no "Preferential treatment" to its‘ own members was made: the result was that photographers submitting work from around the world would compete with those entries by member "Links" of the brotherhood itself - insuring that the best work would be exhibited. This of course gave the Linked Ring itself credibility in the larger world view of pictorial photography that was beginning to become a major movement - a movement that rejected the value of the "old school" ways of photography.
 
This portfolio is the result of a decision made by the the Linked Ring to issue a deluxe portfolio reproducing some of the choice photographs selected for exhibition in the 3rd annual salon. The photographs were printed by Walter L. Colls, a master printer and member of the Linked Ring himself. Significantly, Colls taught the important English photographer Peter Henry Emerson (who championed Naturalistic Photography) how to print his own photogravures in the late 1880s. Colls also etched the printing plates for photogravures that appeared in later issues of the English series "Sun Artists" in 1891. It is known that at least three separate Photographic Salon portfolios were issued for the years 1895, 1896 and 1897.
 
Alfred Stieglitz makes an appearance in this 1895 portfolio for a photograph he took in 1894 known as "Scurrying Home" (also known as "Hour of Prayer") - depicting two Dutch women walking away from the camera on the beach at Katwyk, Holland. The portfolio, according to Sarah Greenough[25] was printed by Colls in three separate editions:
  • a plate paper edition (This portfolio is from this edition - it is not numbered but perhaps no more than 500 copies were printed on plate paper based on other photographic portfolios issued from the period)
     
  • a 2nd edition of 100 on India paper
     
  • and a 3rd edition of 50 on Japanese paper.
The very first issue of Camera Notes, published by The New York Camera Club and edited by Stieglitz in October of 1897 pronounced its‘ approval of the portfolio: Colls photogravures were "capitally done," and the portfolio as a whole "one of which not only the Salon and Mr. Colls, but photography itself may be proud."[26]
 
According to photo-historian Christian A. Peterson:
Most directly related to what would eventually end up in the pages of Camera Notes, however, were the handsome portfolios commemorating the London photographic salons of the 1890‘s, at least three of which Stieglitz owned. Separate from the checklists for the exhibitions, these deluxe publications presented a selection of twenty images from each salon, finely printed in photogravure by Walter L. Colls, the skilled printer who taught the process to P.H. Emerson. With Camera Notes in mind, a careful study of Pictorial Photographs: A Record of the Photographic Salon of 1895 is very instructive.[27]
|person||Peterson continues:
Fully half of the images from this 1895 publication were later duplicated in issues of Camera Notes.[27]
The actual numbers of photogravures for the Salons varied - 1895 included 20 gravures, 1896 contained 18 and the 1897 portfolio 17.[29]
 
The preface and list of plates have been included in this exhibition to provide context to the overall portfolio: 19 large plate photogravures (one plate is printed with two separate images) are presented here making up the entire folio: Each image has been hand printed in the center of individual portfolio sheets measuring 15" by 11". Individual plates are blind-stamp numbered successively in the upper right hand corner .
 
Image size (in centimeters) are as follows: (Height by Width)
  1. At the Rushy Pool: by Dr. Hugo Henneberg: (20 by 12.3)
  2. Rouen: by Roberty Demachy: (17.5 by 12.7)
  3. Figure Decorative: by Rene Le Begue: (19.7 by 12.5)
  4. Old Cronies: by Ralph Winwood Robinson: (18.8 by 11.7)
  5. Fantaisie En Blanc: by Constant Puyo: (20.2 by 14.3)
  6. Michel: by Hans Watzek: (18.6 by 13.4)
  7. In Kilbrennan Sound: by Henry Peach Robinson: (11.5 by 20)
  8. A Dutch Girl: by Philipp Von Schoeller: (17.7 by 13.6)
  9. Winter Evening: by Dr. Julius Strakosch: (17.4 by 13.6)
  10. Returning From Pasture: by Tom Bright: (12.5 by 22.8)
  11. Fog: by Frank Meadow Sutcliffe: (12.2 by 18.7)
  12. A Little Princess: by James Craig Annan: (20 by 10.5)
  13. Study of a Head: by Robert Demachy: (16.9 by 12.6)
  14. Day‘s Decline: by Alfred Horsley Hinton: (19.8 by 11.8)
  15. The Evening Hour: by Henry E. Davis (6.7 by 9.8)
  16. Coal Tiers: by Henry E. Davis: (6.7 by 9.8)
  17. Simplicity: by Walter L. Colls: (13.9 by 8.5)
  18. The Day Was Nearly Done: by John A. Hodges: (13.8 by 18)
  19. Scurrying Home: by Alfred Stieglitz: (18.9 by 13.7)
  20. A Portrait Study: by Hector Colard: (16.1 by 12.5)

 
Further reading
 
Greenough, Sarah (2002) Alfred Stieglitz / The Key Set (National Gallery of Art and Harry N. Abrams) [Two volumes]
 
Harker, Margaret (1979) The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann)
 
Naef, Weston (1978) The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography (The Metropolitan Museum of Art / The Viking Press)
 
Peterson, Christian A. (1983) Alfred Stieglitz‘s Camera Notes (The Minneapolis Institute of Arts in association with W.W. Norton & Company, Inc.)
 
© D. Spencer (2006) - Used with permission
Photoseed 
  
   Pictorialism Photographic Salon London 1895 
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Footnotes 
  
  1. Λ R.H. Vetch, rev. Elizabeth Baigent, "James, Sir Henry (1803-1877) surveyor", Oxford Dictionary of National Biography
     
    W.A. Seymour, (ed.), 1986, A history of the Ordnance Survey, (Folkestone, Kent: Dawson); C. Close, 1926, The early years of the ordnance survey, (Chatham: Institute of Royal Engineers) reprinted with introduction by J. B. Harley, 1969, (Newton Abbot: David & Charles) 
      
  2. Λ Major-General Sir Henry James R.E., F.R.S., 1867, Stonehenge, Turusachan, Cromlechs, and Sculptured Stones, (London: Edward Stanford, 1867). There is a copy in the British Library (Shelfmark: 10351.i.2).
     
    A contemporary advertisement stated that for an additional sum (1s 3d unmounted or 1s 9d mounted) one could purchase an additional photograph of "Stonehenge Restored, showing Druidical Sacrifice by Night". 
      
  3. Λ Malcolm Graham, 1973, Henry Taunt of Oxford: A Victorian Photographer, (Oxford Illustrated Press); Bryan Brown (ed.), England of Henry Taunt: A Victorian Photographer, (Routledge); Susan Read (ed.), Thames of Henry Taunt, (Sutton Publishing); Malcolm Graham and Laurence Waters, 2006, Oxford Then and Now: From the Henry Taunt Collection, (Sutton Publishing); Graham Diprose and Jeff Robins, 2007, The River Thames Revisited: In the Footsteps of Henry Taunt, (Frances Lincoln Publishers) 
      
  4. Λ 14,000 photographs by Henry W. Taunt are held by English Heritage and there are further collections at Oxfordshire County Council: Oxfordshire Studies and the River and Rowing Museum at Henley. 
      
  5. Λ P.H. Emerson, 1895, Marsh Leaves, (London: D. Nutt) 
      
  6. Λ Aaron Scharf, 1986, ‘P. H. Emerson: Naturalist and Iconoclast‘, in Neil McWilliam & Veronica Sekules (eds.), Life and Landscape: P. H. Emerson: Art and Photography in East Anglia, 1885-1900, pp. 21-33 
      
  7. Λ Ian Jeffrey, 1989, ‘Emerson Overturned; On English Lagoons and Marsh Leaves‘, in Weaver, Mike (ed.), British Photography in the Nineteenth Century, (Cambridge University Press) 
      
  8. Λ Mark Durden, 1994, Autumn, ‘Peter Henry Emerson, The Limits of Representation‘, History of Photography, vol. 18, no. 3, pp. 281-284 
      
  9. Λ In 1933 author J.B. Priestley travelled through England and talked to those he met along the way - J.B. Priestley, 1934, An English Journey: Being a Rambling But Truthful Account of what One Man Saw and Heard and Felt and Thought During a Journey Through England During the Autumn of the Year 1933, (Harper & Brothers) 
      
  10. Λ George Orwell, 1937, The Road to Wigan Pier, (London: Victor Gollancz). An edition published in May 1937 included 32 plates of Welsh coal miners and the slums of the East End of London. 
      
  11. Λ For books on Tony Ray-Jones - Tony Ray-Jones, 1974, A Day Off: 120 Photographs, (New York Graphic Society); Richard Ehrlich, 1990, Tony Ray-Jones: A Retrospective View, (Cornerhouse Publications); Russell Roberts, 2005, Tony Ray-Jones, (Chris Boot) 
      
  12. Λ John Bulmer, 2012, The North, (The Bluecoat Press) 
      
  13. Λ 10 August 2010, "John Bulmer Interviewed", Professional Photographer
    (Accessed: 27 December 2013)
    www.professionalphotographer.co.uk/Magazine/Photographer-Profiles/Reportage-Special-The-Not-so-swinging-sixties 
      
  14. Λ For LIFE magazine - Stanley Rayfield, 1957, LIFE photographers: Their Careers and Favorite Pictures, (Doubleday); Constance Sullivan, 1978, Great Photographic Essays from Life, (Boston: New York Graphic Society) 
      
  15. Λ For the classic photo-essays of W. Eugene Smith - William S. Johnson (ed.), 1981, W. Eugene Smith: Master of the Photographic Essay, (Millerton, NY: Aperture) 
      
  16. Λ 10 August 2010, "John Bulmer Interviewed", Professional Photographer
    (Accessed: 27 December 2013)
    www.professionalphotographer.co.uk/Magazine/Photographer-Profiles/Reportage-Special-The-Not-so-swinging-sixties 
      
  17. Λ For the work of Bill Brandt in the 1930s - Bill Brandt, 1936, The English at Home, (London: B. T. Batsford Ltd.); Bill Brandt, 1938, A Night in London: Story of a London Night in Sixty-Four Photographs, (London, Paris & New York); Bill Brandt, 1938, Londres de nuit - London by Night, (Paris, London and New York: Arts et Métiers Graphiques, Country Life, and Charles Scribner's Sons) 
      
  18. Λ The Great North Road was a route in the UK between London, York and Edinburgh. 
      
  19. Λ Chris Killip, 2011, Seacoal, (Steidl and GwinZegal) 
      
  20. Λ Seacoal, 1985, (Amber Films)
    (Accessed: 7 November 2013)
    www.amber-online.com/archives/seacoal
    en.wikipedia.org/wiki/Seacoal_(film) 
      
  21. Λ Margaret Harker, 1979, The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann) 
      
  22. Λ Margaret Harker, 1979, The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann) 
      
  23. Λ Margaret Harker, 1979, The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann) 
      
  24. Λ Sarah Greenough, 2002, Alfred Stieglitz / The Key Set (National Gallery of Art and Harry N. Abrams) [Two volumes] 
      
  25. Λ Sarah Greenough, 2002, Alfred Stieglitz / The Key Set (National Gallery of Art and Harry N. Abrams) [Two volumes], vol. 2, p. 936, footnote 23 
      
  26. Λ Christian A. Peterson, 1983, Alfred Stieglitz‘s Camera Notes, (The Minneapolis Institute of Arts in association with W.W. Norton & Company, Inc.), p. 35 
      
  27. Λ Christian A. Peterson, 1983, Alfred Stieglitz‘s Camera Notes, (The Minneapolis Institute of Arts in association with W.W. Norton & Company, Inc.), p. 35 
      
  28. Λ Weston Naef, 1978, The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography, (The Metropolitan Museum of Art / The Viking Press) 
      

alan@luminous-lint.com

 
  

HomeContents > Further research

 
  
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General reading 
  
1894, The Manchester Ship Canal. A Pictorial Record of its Construction, IIth November, 1887, to Ist January, 1894, (Manchester: Henry Blacklock) [Original Photographs and Notes, 2 vol., 62 gelatin silver plates by G. Herbert Bayley and Horace C. Bayley] [Δ
  
Crawford, James; Whittaker, Katy & Williams, Allan, 2014, Aerofilms: A History of Britain from Above, (English Heritage) isbn-10: 1848022484 isbn-13: 978-1848022485 [Δ
  
Edwards, Elizabeth, 2012, The Camera as Historian: Amateur Photographers and Historical Imagination, 1885–1918, (Duke University Press) isbn-10: 0822351048 isbn-13: 978-0822351047 [Δ
  
Edwards, S., 2006, The Making of English Photography: Allegories, (University Park, Pa.: Pennsylvania State University Press) [Δ
  
Edwards, Steve, 2006, The Making of English Photography: Allegories, (Penn State University Press) isbn-13: 978-0271027135 [Δ
  
Haworth-Booth, Mark, 1984, The Golden Age of British Photography, (Millerton, NY: Aperture in association with the Philadelphia Museum of Art) [Δ
  
Howitt, William, 1865, The Ruined Abbeys of Yorkshire [6 photo illustrations by Sedgfield and Ogle] [Δ
  
Humphries, Steve, 1989, Victorian Britain Through the Magic lantern: Illustrated by Lear's Magical Lantern Slides, (Sidgwick & Jackson) [Δ
  
Macek, Vaclav, 2011, The History of European Photography 1900-2000, (Central European House of Photography) isbn-13: 978-8085739558 [Three volumes] [Δ
  
Makepeace, Chris (ed.), 1986, Manchester and Salford in the 1890s: A Collection of Photographs by Samuel Coulthurst, (Hendon Mill: Hendon Publishing) [Δ
  
Payne, Christiane, 1993, Toil and Plenty: Images of the Agricultural Landscape in England 1780-1890, (New Haven: Yale University Press) [Δ
  
Stamp, Gavin, 1984, The Changing Metropolis: Earliest Photographs of London, 1839-79, (Hammondsworth: Penguin) [Δ
  
Taunt, Henry W., 1878 (ca), A new map of the River Thames, from Thames Head to London, (on a scale of two inches to a mile), from entirely new Surveys finished during the Summer of 1878... Illustrated by one hundred photographs., (Oxford: [Henry W. Taunt & Co.]) [Third edition] [Δ
  
Taylor, John, 1992, ‘Aristocrats of Anthropology: A Study of P. H. Emerson and Other Tourists of the Norfolk Broads‘, Image, vol. 35, no. 1/2, pp. 3-24 [Δ
  
 
  
Readings on, or by, individual photographers 
  
Bill Brandt 
  
Brandt, Bill, 1936, The English at Home, (London: B. T. Batsford Ltd.) [Δ
  
Brandt, Bill, 1938, A Night in London: Story of a London Night in Sixty-Four Photographs, (London, Paris & New York) [Δ
  
Brandt, Bill, 1938, Londres de nuit - London by Night, (Paris, London and New York: Arts et Métiers Graphiques, Country Life, and Charles Scribner's Sons) [Δ
  
Father Browne 
  
O'Donnell, E.E., 1996, Father Browne's England, (Merlin Publishing) isbn-10: 0863274900 isbn-13: 978-0863274909 [Δ
  
John Bulmer 
  
Bulmer, John, 2012, The North, (The Bluecoat Press) isbn-10: 1908457082 isbn-13: 978-1908457080 [Δ
  
Peter Henry Emerson 
  
Durden, Mark, 1994, Autumn, ‘Peter Henry Emerson, The Limits of Representation‘, History of Photography, vol. 18, no. 3, pp. 281-284 [Δ
  
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ
  
Taylor, John, 2006, The Old Order and the New: P.H. Emerson and Photography, 1885-1895, (Prestel) isbn-10: 3791336991 isbn-13: 978-3791336992 [Δ
  
Emerson & Goodall 
  
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ
  
Frederick H. Evans 
  
Newhall, Beaumont, 1973, Frederick Evans: Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France, (Aperture) [Aperture Monograph, Vol 18, No 1] [Δ
  
Francis Frith 
  
Jay, Bill, 1973, Victorian Cameraman, 1850-1858: Francis Frith's Views of Rural England, (Newton Abbot: David and Charles) [Δ
  
Thomas Frederick Goodall 
  
Emerson, PH & Goodall, TF, 1884-1886, Life and Landscape on the Norfolk Broads, (Dundee: Valentine) [Δ
  
Paul Graham 
  
Graham, Paul, 1983, A1: The Great North Road, (Bristol: Grey Editions) [Δ
  
Graham, Paul, 1986, Beyond Caring, (Bristol: Grey Editions) [Δ
  
Izis 
  
Izis & Putney, John, 1953, The Queen's People, (London: The Harvill Press) [Δ
  
Bill Jay 
  
Jay, Bill, 1973, Victorian Cameraman, 1850-1858: Francis Frith's Views of Rural England, (Newton Abbot: David and Charles) [Δ
  
J. Payne Jennings 
  
Cotterell, Constance, 1895, Summer Holidays in North East England. Illustrated with photographs by Payne Jennings, etc., (London: Walter Scott) [Δ
  
Jennings, Payne, 1875, The English Lakes, ([London?]) [Δ
  
Jennings, Payne, 1897, Photo Pictures in East Anglia by Payne Jennings. With descriptive letterpress by A. Berlyn, (Ashtead: Art Photo Works) [Δ
  
Jennings, Payne, 1897, Sun Pictures of the Norfolk Boards: . One Hundred Photographs from Nature of the Rivers and Broads of Norfolk and Suffolk, (Ashtead: Art Photo Works) [With letterpress description by E. R. Suffling] [Δ
  
Don McCullin 
  
McCullin, Don, 2008, In England, (Random House UK) [Δ
  
Beaumont Newhall 
  
Newhall, Beaumont, 1973, Frederick Evans: Photographer of the Majesty, Light and Space of the Medieval Cathedrals of England and France, (Aperture) [Aperture Monograph, Vol 18, No 1] [Δ
  
Martin Parr 
  
Parr, Martin & Parr, Susan, 2013, The Non-Conformists, (New York: Aperture) isbn-10: 1597112453 isbn-13: 978-1597112451 [Δ
  
Frank Meadow Sutcliffe 
  
Hiley, Michael & Sutcliffe, Frank Meadow, 1980, Frank Meadow Sutcliffe, (Aperture) isbn-10: 089381041X isbn-13: 978-0893810412 [Δ
  
Shaw, Bill Eglon, 1974, Frank Meadow Sutcliffe: A Selection of his Work, (Sutcliffe Gallery) isbn-10: 0950317500 isbn-13: 978-0950317502 [Δ
  
Shaw, Bill Eglon, 1978, Frank Meadow Sutcliffe: A Second Selection, (Sutcliffe Gallery) isbn-10: 0950317535 isbn-13: 978-0950317533 [Δ
  
John Thomson 
  
Thomson, John & Smith, Adolphe, 1969, Street Life in London, (New York: Bernard Blom) [Facsimile edition] [Δ
  
White, Stephen, 1985, John Thomson: Life and Photographs, (London: Thames and Hudson) [Δ
  
Benjamin Brecknell Turner 
  
Barnes, Martin, 2002, Benjamin Brecknell Turner: Rural England Through a Victorian Lens, (London: Victoria & Albert Museum) isbn-10: 0810965836 isbn-13: 978-0810965836 [Exhibition catalogue: The Metropolitan Museum of Art, New York Jan. 22-April 21, 2002. With a biography by Mark Haworth-Booth] [Δ
  
 
  
If you feel this list is missing a significant book or article please let me know - Alan - alan@luminous-lint.com 
  
 
  
Resources 
  
Photographers & Photographic Studios in Derbyshire, England 
http://freepages.genealogy.rootsweb.com ... 
This site by Brett Payne is a quite wonderful example of using the internet to create a high quality regional resource. 
  
Brighton Photographers 1841-1910 
http://www.spartacus.schoolnet.co.uk ... 
David Simkin has created an excellent site on the photographers of the seaside resort of Brighton on the English south coast. 
  
Sussex PhotoHistory 
http://www.photohistory-sussex.co.uk ... 
A website by David Simkin collecting together material on the Victorian and Edwardian photographers of Sussex in southern England. 
  
 
  

HomeContentsPhotographers > Photographers worth investigating

 
David Bailey  (1938-) • John Blakemore  (1936-) • Bill Brandt  (1904-1983) • Father Browne  (1880-1960) • William Constable  (1783-1861) • Henry Dixon  (1820-1893) • Peter Henry Emerson  (1856-1936) • Frederick H. Evans  (1853-1943) • Roger Fenton  (1819-1869) • Francis Frith  (1822-1898) • Fay Godwin  (1931-2005) • Thomas Frederick Goodall  (check) • J. Payne Jennings  (check) • Chris Killip  (1946-) • Charles George Hood Kinnear  (1832-1894) • Ian MacDonald  (1946-) • Don McCullin  (1935-) • Daniel Meadows  (1952-) • A.J. Munby  (1828-1910) • Horace A. Murch  (1894-1969) • James Ravilious  (check) • John Benjamin Stone  (1838-1914) • Frank Meadow Sutcliffe  (1853-1941) • Henry Fox Talbot  (1800-1877) • Charlie Waite • Henry White  (1819-1903)
HomeGeographical regionsEuropeUK > England 
 
A wider gazeRelated topics 
  
Lancashire and Cheshire Photographic Union 
Linked Ring Brotherhood 
Society for Photographing Relics 
 
  

HomeContentsOnline exhibitions > England

Please submit suggestions for Online Exhibitions that will enhance this theme.
Alan - alan@luminous-lint.com

 
  
ThumbnailAlvin Langdon Coburn: London 
Title | Lightbox | Checklist
Released (August 18, 2006)
ThumbnailFrederick H. Evans: Cathedrals 
Title | Lightbox | Checklist
Released (October 10, 2011)
ThumbnailHomer Sykes: Once a Year: Some Traditional British Customs 
Title | Lightbox | Checklist
Released (October 8, 2007)
ThumbnailJohn Darwell: An evolving retrospective 
Title | Lightbox | Checklist
Released (September 7, 2007) Contemporary British documentary photography.
ThumbnailJohn Thomson - Street Life in London (1877) 
Title | Lightbox | Checklist
Released (March 4, 2013)
ThumbnailLondon, The Streets, Buildings and Monuments 
Title | Lightbox | Checklist
Released (April 11, 2010)
ThumbnailPeter Henry Emerson - Marsh Leaves 
Title | Lightbox | Checklist
Released (February 6, 2011)
ThumbnailRoger Fenton - Great Britain 
Title | Lightbox | Checklist
Released (November 20, 2010)
ThumbnailRoger Mayne 
Title | Lightbox | Checklist
Released (October 8, 2007)
ThumbnailSouthwell Brothers: Photographers of Victorian London society 
Title | Lightbox | Checklist
Released (July 27, 2006)
 
  

HomeVisual indexes > England

Please submit suggestions for Visual Indexes to enhance this theme.
Alan - alan@luminous-lint.com

 
  
   Photographer 
  
ThumbnailA. Pettitt: Bowder Stone (1868) 
ThumbnailBenjamin Brecknell Turner: England, Worcesterhire, Bredicot 
About this photographer | Photographs by this photographer 
ThumbnailBenjamin Brecknell Turner: Great Britain: Landscapes 
About this photographer | Photographs by this photographer 
ThumbnailBill Brandt: England: Stonehenge 
About this photographer | Photographs by this photographer 
ThumbnailBill Brandt: North 
About this photographer | Photographs by this photographer 
ThumbnailChris Killip: Seacoal 
About this photographer | Photographs by this photographer 
ThumbnailFrancis Bedford: Clifton illustrated 
About this photographer | Photographs by this photographer 
ThumbnailFrank Meadow Sutcliffe: Whitby 
About this photographer | Photographs by this photographer 
ThumbnailFrederick H. Evans: A Sea of Steps, Wells Cathedral 
About this photographer | Photographs by this photographer 
ThumbnailFrederick H. Evans: York Minster 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: Great Britain: England: Cambridge 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: Great Britain: England: Laycock Abbey 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: Great Britain: England: London: Hungerford Bridge 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: Great Britain: England: London: Nelson's Column under construction 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: Great Britain: England: Oxford 
About this photographer | Photographs by this photographer 
ThumbnailHenry Fox Talbot: The Oriel Window, South Gallery, Lacock Abbey 
About this photographer | Photographs by this photographer 
ThumbnailHenry James: Stonehenge 
About this photographer | Photographs by this photographer 
ThumbnailHenry W. Taunt: The River Thames 
ThumbnailJ. Payne Jennings: Book covers 
About this photographer | Photographs by this photographer 
ThumbnailJohn Bulmer: The North of England 
About this photographer | Photographs by this photographer 
ThumbnailJohn Thomson: Street Life in London 
About this photographer | Photographs by this photographer 
ThumbnailPaul Hill: White Peak Dark Peak (1978-1990) 
About this photographer | Photographs by this photographer 
ThumbnailRoger Mayne: Leeds, slum clearance 
About this photographer | Photographs by this photographer 
ThumbnailRoger Mayne: Wapping 
About this photographer | Photographs by this photographer 
ThumbnailRoger Mayne: Youth 
About this photographer | Photographs by this photographer 
ThumbnailTony Ray-Jones: England 
About this photographer | Photographs by this photographer 
ThumbnailUnidentified photographer: The Needles, Isle of Wight 
ThumbnailWilliam A. Pumphrey: City Walls between Walmgate Bar and the Red Tower - York 
About this photographer | Photographs by this photographer 
ThumbnailWilliam A. Pumphrey: England - York 
About this photographer | Photographs by this photographer 
ThumbnailWilliam A. Pumphrey: York Cathedral 
About this photographer | Photographs by this photographer 
ThumbnailWilliam Howitt: Books 
ThumbnailWilliam Strudwick: London 
About this photographer | Photographs by this photographer 
 
  
   Connections 
  
ThumbnailBill Brandt - John Bulmer 
ThumbnailWilliam A. Pumphrey - Roger Fenton 
 
  
   Themes 
  
ThumbnailDocumentary: Floods: Sheffield (1864) 
 
 
  
   Geography 
  
ThumbnailUK: England: Bolton Abbey 
ThumbnailUK: England: Bristol 
ThumbnailUK: England: Cambridge 
ThumbnailUK: England: Canterbury 
ThumbnailUK: England: Derwentwater 
ThumbnailUK: England: Ely Cathedral 
ThumbnailUK: England: Furness Abbey 
ThumbnailUK: England: Gloucester 
ThumbnailUK: England: Hereford Cathedral 
ThumbnailUK: England: Lincoln Cathedral 
ThumbnailUK: England: Lindisfarne 
ThumbnailUK: England: London: Big Ben and the Houses of Parliament 
ThumbnailUK: England: London: Crystal Palace, Hyde Park 
ThumbnailUK: England: London: Crystal Palace, Sydenham 
ThumbnailUK: England: London: St. Pauls Cathedral 
ThumbnailUK: England: London: Trafalgar Square 
ThumbnailUK: England: London: Views 
ThumbnailUK: England: London: Westminster Abbey 
ThumbnailUK: England: Oxford 
ThumbnailUK: England: Salisbury Cathedral 
ThumbnailUK: England: Stonehenge 
ThumbnailUK: England: Wells Cathedral 
ThumbnailUK: England: Whitby 
ThumbnailUK: England: Winchester Cathedral 
ThumbnailUK: England: York Minster 
 
 
  
   Photobooks 
  
ThumbnailBritish photobooks 
 
 
  
Refreshed: 04 August 2014, 15:30
 
  
 
  
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