From casual snapshots on social media to meticulously curated magazine photos, photography finds its way into every facet of life. Modern cameras allow us to capture cherished moments in a matter of seconds. But have you ever wondered when photography was discovered? It takes centuries for the idea of capturing images to evolve into the art of photography. Let’s travel back in time to unravel its origin!
In This Article:
The Birth Of Photography
The origin of photography traces back to a time long before the invention of the typewriter and the telegraph. It’s rooted in an age-old technique known as camera obscura, which translates to “dark room.” It was a primitive projection system that produced images by using natural light passing through a small aperture.
Some historical accounts state that this basic concept emerged as early as the presence of hominids. Meanwhile, others believe it originated in China during the fourth century BCE, as evidenced by the writings of the famous philosopher Mozi. Following that, the Greek philosopher Aristotle further developed this concept in the Corpus Aristotelicum Problems – Book XV.
It was not until nearly 2000 years later, during the Renaissance era, that these theoretical ideas were brought to life. The polymath Leonardo Da Vinci sketched a detailed drawing of the camera obscura in his 1502 Codex Atlanticus.
Despite these early strides, these historical antecedents did not mark the official commencement of photography. All failed to create permanent images as we recognize them today.
The First-Ever Photograph In History
The first picture ever taken in photographic history appeared in 1826/27 (some sources state that it was in 1822 or 1833). Employing the camera obscura technique, Joseph Nicéphore Niépce engraved an image onto a metal plate coated with bitumen and then exposed it to sunlight.
When the plate was exposed to solvents, the oldest photograph, “View from the Window at Le Gras,” was created. The picture captured the scenery beyond the window of his country estate and required 8 hours of exposure. Unfortunately, it quickly faded into obscurity.
In 1829, the founder of photography joined forces with Louis-Jacques-Mandé Daguerre, an esteemed printmaker who shared an artistic ambition to create permanent photos. Niepce passed away in 1833, while the duo was yet to find a practical process to produce a permanent photograph using light and chemicals.
However, it was not until January 1839 that Louis Daguerre succeeded. The daguerreotype process yielded good results on a silver-plated copper plate. He started with the image on the plate, polished it, and coated it with iodine vapors. Once the surface was light-sensitive, it was exposed in the camera box. After a few minutes, it underwent a transformative process involving mercury fumes and saltwater rinses.
His innovation marked a turning point, ushering in a new era of photographic techniques. At that moment, Daguerre promoted his invention as an artistic medium capable of intricate detail.
During this same historical period, Sir John Herschel coined the term “photography.” He took inspiration from two Greek words, ’ fos’ (meaning light) and “grafo” (meaning write or draw).
These two milestones marked the formal beginning of photography. However, detractors blamed contemporary technology for not accurately recording the colors and movements of subjects compared to paintings.
Despite skepticism and criticism, advocates remained steadfast in their belief. They saw photography as a powerful medium capable of portraying the surrounding world without requiring expertise in perspective or color theory.
History Of Photography Timeline From 1840 To Early 1900s: The Birth Of First Genres
The evolution of photography is often associated with the development of camera technology (another interesting topic available on our website). However, in this article, we want to focus on the artistic realm here. Following the invention of photography, a golden era dawned, marking the establishment of various genres and approaches. To learn more about this, walk through the subsequent sections.
Portraits
Portraits were a cornerstone of photography in its infancy, utilizing the daguerreotypes or calotype processes. These artworks necessitated extensive retouching, sometimes involving painters to manually enhance the aesthetics.
Though this approach set the stage for color photography, it was not perceived as an artistic endeavor. Only a few pioneering photographers, such as Hill and Adamson, Southworth and Hawes, ventured into uncharted territory with their portrait work.
The talented successors broke new ground in portrait photography. Two famous Parisian caricaturists, Gaspard-Félix Tournachon (known as Nadar) and Étienne Carjat, showcased a keen eye for detail to capture the distinctive features of notable figures of their era.
Meanwhile, Julia Margaret Cameron distinguished herself by adopting the wet-plate process. Using a telephoto lens, she portrayed the raw beauty of Victorian celebrities through intimate close-ups. Her significant portfolio also included a large array of poignant images of children and women featuring the Bible themes.
Photojournalism
Shortly after the French government acquired the patent from Daguerre, photography gained traction in journalism. Initially, magazines featured lithographs or woodcuts from daguerreotype photographs, as seen in publications like the weekly newspapers Illustrated London News and L’Illustration. However, these copies could not convey the intricate details of the originals.
The true advent of photojournalism did not begin until 1855, when Roger Fenton traveled from London to Crimea to document the conflict between Russia, Britain, and Turkey. Despite the tough working conditions, he took 360 photographs over four months, providing a visual narrative of the war.
Another daguerreotype artist, Mathew B. Brady from New York, undertook the same endeavor. Without government backing, he invested his savings to document the American Civil War. He collaborated with 20 other photographers, such as Timothy H. O’Sullivan or Alexander Gardner, to create a record of casualties at Antietam. They exhibited these photographic images in New York and generated revenue through print sales.
As the late 19th century unfolded, photographers working in the media sought to chronicle the tumultuous wartime in Africa and Asia. Not long after that, the halftone process, introduced in 1888, solidified the quality of photojournalism. The new technology empowered the simultaneous printing of images and types, streamlining production and cutting costs. The process quickly became an indispensable tool for reporting breaking news to the public.
Landscape Documentation Photography
Landscape and architectural photography took root in tandem with the inception of the two genres above. European photographers were motivated by the dominion of Western European powers across North Africa and Asia.
From the mid-1850s to the 1870s, a plethora of remarkable collections recorded the natural splendors and architectural marvels in colonized territories. Noteworthy examples include Francis Frith’s three albums in Egypt, John Thomson’s explorations into China, and Samuel Bourne’s extensive photographic journeys throughout India.
Simultaneously, a wave of French and British photographers, fueled by patriotic fervor, set out to Western European countries and found solace in the wonderful landscapes or historical monuments.
Beyond commercial motives, some photographers undertook projects to provide visual documentation for restoration or conservation purposes. In fact, Philip Henry Delamotte participated in shooting the entire construction process of Crystal Place (London). At the same time, Henri Le Secq, Charles Nègre, and Charles Marville produced large-scale photographs of Notre Dame Cathedral (Paris).
In the United States, photographers were drawn to the exploration of untamed lands. The period from the 1870s to the 1880s witnessed a surge in works depicting the rugged expanses beyond the Great Plains. Notable among these were the works of O’Sullivan in New Mexico and Nevada and that of Carleton Watkins in Oregon and California.
Furthermore, landscape photography transcended borders, expanding its influence beyond Europe and the United States. Notable individuals such as Afong Lai in China and Marc Ferrez in Brazil offered distinctive perspectives on the captivating landscapes and cultural traditions of their homelands through their lens.
Social Documentation Photography
The development of social documentary stretches back to 1851 when Henry Mayhew published his study of London Labour and the London Poor. Though the images were illustrations derived from Richard Beard’s daguerreotypes, they opened the way to a nascent genre. However, it was not until late 1877 that the social documentary truly rose to fame, thanks to the efforts of Adolphe Smith and John Thomson in Street Life in London.
Following this, Thomas John Barnardo continued using this approach to capture the lives of the homeless children in London. He utilized these materials for fundraising, featuring “before” and “after” photographs to prove the impact of social interventions. While this methodology faced some criticism, it still became a standard practice adopted by numerous social photographers, such as Raja Lal Deen Dayal (India), Thomas Annan (Edinburgh), etc.
The introduction of the halftone process further advanced social documentary photography. The pioneer Jacob A. Riis made significant contributions to this field with his 1890 publication “How The Other Half Lives,” which depicted immigrant life in the slums.
In European nations, social photography developed with a distinctive purpose: the preservation of social customs threatened by the encroachment of modernity. For instance, Benjamin Stone managed to document vanishing local traditions in Birmingham, William Carrick captured the essence of daily life in Russia, and Felice Beato depicted the indigenous peoples in China. These efforts laid the foundation for the establishment of National Geographic magazine in 1888, with a mission to celebrate the rich global cultural diversity.
Photography In The Contemporary Era: Evolving Approaches
The Pictorialism
In the mid-19th century, the collodion process emerged, marking a pivotal shift in perceiving photography as an artistic medium. This led to the establishment of photographic societies, such as the Photographic Society (London), the Société Française de Photographie (France), etc. By the era’s close, this trend spread to Eastern Europe, India, and several German-speaking territories.
Under the guidance of Charles Eastlake, the Journal of the Photographic Society championed the statement that true photographers should transform their photographs into artistic creations. This philosophy advocated for combining multiple negative images into a large print, complex composition, and retouching.
However, dissenters like Peter Henry Emerson argued that photography should strive for a subtle illusion effect without resorting to retouching techniques. His perspective later evolved into the concept of “naturalistic photography,” emphasizing the existing tones, light, and textures of the subject.
Despite the conflict about the essence of photography,photographers of this era shared a common aspiration: to develop photography as a legitimate art form. These endeavors coalesced into the Pictorialism movement, which took root in the early 1900s.
As the 20th century approached, this movement reached its peak with the establishment of the Photo-Secession in 1902. This group included pioneering photographers, such as Alfred Stieglitz, Edward Steichen, Gertrude Kasebier, Alvin Langdon Coburn, etc. Together, they launched the renowned Camera Work magazines and countless exhibitions to express their vision of modern art.
Over the next 15 years, Photo Secession evolved in tandem with the broader shifts within Pictorialism. The last two editions of Camera Work spotlighted Paul Strand and his intimate portraits. Post World War I, Pictorialism waned, making way for the emergence of “Precisionism” in 1920.
The Precisionism
The fresh approach exploited the intrinsic beauty of objects separated from their normal context, accentuating their precise lines and textures. Alongside established luminaries like Strand and Steichen, who abandoned their impressionistic style, many young photographers proved their talent during the period of Precisionism.
Notable talents such as Margaret Bourke-White, Edward Weston, Ansel Adams, and Imogen Cunningham demonstrated their prowess by aiming to capture the pure essence of their subjects with the utmost sharpness and depth of field.
In Europe, this new approach came under the name “Neue Sachlichkeit” (translated to “New Objectivity”). Mirroring the American photographers, local artists found allure in the high level of detailing of ordinary targets. Two visionaries, Albert Renger-Patzsch and Karl Blossfeldt, stood as beacons of inspiration for successor photographers such as Piet Zwart, Florence Henri, and Hans Finsler.
Color Photography
In 1907, Auguste and Louis Lumière introduced the Autochrome process, an innovative breakthrough in photography. For the first time, photographs were coated with a transparent, flexible film that exhibited color variations when illuminated by reflected light. Advancements in image quality and materials continued to evolve, providing photographers with a better choice to showcase their personal touches.
In the 1940s, Eliot Porter brought the vivid world of birds to life with his lenses. The highly aesthetic tones captivated the public and underscored the immense potential of color photography. In 1953, Ernst Haas further astonished audiences with his groundbreaking utilization of color in his essay for New York for Life magazine.
The photography realm experienced another surge of creativity in the 1960s with the introduction of Polaroid color film roll. It broke the boundaries of color art and ignited fresh inspiration among photographers. In fact, many artists, such as Nan Goldin, William Eggleston, Richard Misrach, Joel Meyerowitz, Candida Höfer, and Stephen Shore, rose to fame through their masterful exploration of color in photography.
Photography In The 21st Century: Into The Digital Revolution
The transition between film images and digital photographs commenced in the late 1980s. The introduction of digital cameras and the widespread adoption of Adobe Photoshop took the photography game to the next level.
However, it was not until the first decade of the 21st century that the most significant impact of digital technology reverberated. By the end of the decade, almost all magazines and newspapers caught up with this shift. Most journalists were equipped with specially designed digital cameras.
Meanwhile, independent photographers acclimated to this transformation sooner. The first to arrive included Andreas Gursky, Anthony Aziz and Sammy Cucher, Inez van Lamsweerde, and more. On the contrary, other professional photographers, such as Sally Mann, Chris McCaw, Chuck Close, etc., decided to go back to the old-era photographic process.
Despite divergent responses to the digital wave, the growth of the Internet has helped the development of photography reach new heights, opening a new era of visual expression. Beyond being an art form, digital photography has seamlessly integrated into the online media world, solidifying its status as a vital visual medium.
Today, an estimated 5.3 billion photos are captured every day or roughly 61,400 each second. Such an explosive growth results from a century-long development and refinement.
Conclusion
From the oldest black-and-white picture to well-defined color photographs today, the photography invention has changed the way we perceive the world around us. While the techniques, genres, and approaches of modern photography continue to evolve, its core principle remains unchanged. What matters is the ability of images to tell a story and convey the emotions associated with the moment they capture.
