{"id":52,"date":"2009-02-06T11:59:49","date_gmt":"2009-02-06T19:59:49","guid":{"rendered":"http:\/\/www.photohistorytimeline.com\/?page_id=52"},"modified":"2009-03-10T14:06:48","modified_gmt":"2009-03-10T22:06:48","slug":"timeline","status":"publish","type":"page","link":"http:\/\/www.photohistorytimeline.com\/?page_id=52","title":{"rendered":"Timeline"},"content":{"rendered":"\n<\/col>\n<\/col>\n<\/col>\n<\/col>\n<\/col>\n<\/col>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/strong><\/td>\nIN THE PHOTO HISTORY TIMELINE COLLECTION<\/strong><\/td>\n<\/strong><\/td>\n<\/tr>\n
YEAR<\/strong><\/td>\nTIMELINE<\/strong><\/td>\n<\/strong><\/td>\nARTIST<\/strong><\/td>\nTITLE<\/strong><\/td>\nYEAR<\/strong><\/td>\n<\/tr>\n
1725<\/strong><\/td>\nJohann Schulze <\/span>discovered the darkening of silver salts by the action of light <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1790<\/strong><\/td>\nThomas Wedgewood, in England, makes photograms by placing objects on leather sensitized with silver nitrate.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1800<\/strong><\/td>\nA device used by artists in the 17th and 18th centuries in aid in drawing, by the beginning of the 19th century the camera obscura was ready with little or no modification to accept a sheet of light sensitive material to become the photographic camera.<\/td>\n<\/td>\nunknown<\/td>\nCamera Obscura<\/td>\n1860<\/td>\n<\/tr>\n
1806<\/strong><\/td>\nPatented in 1806 by William Hyde Wollaston, the camera lucida (actually <\/span>a reinvention of a device clearly described 200 years earlier by Johannes Kepler in his Dioptrice (1611)) performs an optical superimposition of the subject being viewed on the surface on which the artist is drawing<\/td>\n<\/td>\nunknown<\/td>\nCamera Lucida<\/td>\n1840<\/td>\n<\/tr>\n
1816<\/strong><\/td>\nIn France the Niepce brothers initiate experiments to create images using light-sensitive materials<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1826<\/strong><\/td>\nNic\u00e9phore Ni\u00e9pce (1765-1833) a French doctor, produces the world’s first photograph using pewter plates in a camera obscura. Exposure was around eight hours.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1829<\/strong><\/td>\nJacques Louis Mande Daguerre and Nicephore Niepce sign partnership agreement to work on perfecting photography<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1833<\/strong><\/td>\nOn a visit to Lake Como, William Henry Fox Talbot, an English amateur scientist, is frustrated by his inability to draw, even when using a camera lucida.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1834<\/strong><\/td>\nBack in England, Talbot <\/span>develops a “photogenic drawing process”, by creating a negative image on paper using sodium chloride and silver nitrate.<\/p>\n

<\/span><\/td>\n

<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1837<\/strong><\/td>\nFollowing experiments on his own (Niepce died in 1933) Daguerre evolves a workable process which he calls the Daguerreotype. Silver iodide coated copper plate is exposed and developed by mercury to give a single direct positive. Removing the remaining silver iodide with a warm solution of cooking salt, the images develop in 30 minutes.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nJanuary 7 – Daguerre’s new process is
\nannounced to the French Academy of Sciences, without revealing the details
\nand Daguerre seeks to have the French government buy the rights to his discovery.<\/td>\n		<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nJanuary 31 – After hearing about Daguerre’s experiments, Talbot hurriedly prepares and presents papers at the Royal Institution and the Royal Society. Unlike the Daguerre process the image is recorded as a “negative” and has to be printed via a similar process to produce the final “positive”. Many positive prints can be made from a single negative.<\/td>\n<\/td>\n<\/td>\nSaturday Magazine<\/td>\n1839<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nMarch – Sir John Frederick William Herschel (1792-1871) presents his paper Note on the art of Photography, or The Application of the Chemical Rays of Light to the Purpose of Pictorial Representation to the Royal Society and this is the first time the word photography is used<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nMarch – American Samuel F. B. Morse, in Paris to promote his telegraph, meets with Daguerre and later returns to New York to establish the process in America. Announcements of the new process appears in American publications<\/td>\n<\/td>\nHorace Greeley<\/td>\nThe New Yorker April 20, 1839<\/td>\n1839<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nJune – Francis West, a London optician, advertises the first camera on sale to the public. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nJune 24 – A French civil servant Hippolyte Bayard exhibits 30 photos in Paris (using his self devised direct positive process of silver chloride paper, light, potassium iodide, and camera exposure) but his efforts are ignored by the French scientific establishment who had already decided to back Daguerre<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nAugust 19 – The Daguerreotype process is announced to the public and released for general use in France in return for state pensions given to Daguerre and <\/span>Niepce., but is patented in England. <\/span><\/td>\n<\/td>\nLouis-Jacques-Mand\u00e9 Daguerre<\/td>\nHistorique et Description des Proc\u00e9d\u00e9s du Daguerreeotype et du Diorama<\/td>\n1839<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nSeptember 14 – the first demonstrations of the daguerreotype are held in London<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1839<\/strong><\/td>\nSeptember – the first daguerreotype to be taken in America, a view of St. Paul’s Church, is shown in a drugstore at 263 Broadway by D.W. Seager.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1840<\/strong><\/td>\nMarch – New York opticians Alexander Wolcott and John Johnson open a daguerreotype portrait studio in New York City, the first anywhere in the world, and develop a mirrored camera which produces correctly oriented images and faster exposure times.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1840<\/strong><\/td>\nAustria – Hungarian-born J\u00f3zeph Petzval designs the first lens specifically for photographic purposes.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1840<\/strong><\/td>\nJohn Herschel successfully fixes sensitized paper using his 1819 discovery of hyposulphite of soda dissolved in silver salts still used today called hypo.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1840<\/strong><\/td>\nSeptember – Talbot realizes an improvement in his photogenic drawing process: the Calotype (beautiful picture), which develops a latent image (instead of waiting for the image to appear on the sensitized surface during exposure). He patented this on Feb 8 1841 and later changed the name to Talbotype<\/td>\n<\/td>\nWilliam Henry Fox Talbot<\/td>\nNelson’s Column under Construction, Trafalgar Square, London, April 1844<\/td>\n1844<\/td>\n<\/tr>\n
1841<\/strong><\/td>\nN\u00f6el-Marie Paymal Lerebours published the first part of his ‘Excursions Daguerriennes’ the first book to be published using etchings engraved from daguerreotypes<\/td>\n<\/td>\nChamouin<\/td>\nCollection de 26 Vues de Paris Prise au Daguerreotype<\/td>\n1845<\/td>\n<\/tr>\n
1841<\/strong><\/td>\nMarch 23 – Richard Beard opens his public portrait studio for Daguerreotypes on the roof of the Royal Polytechnic Institution in London.<\/td>\n<\/td>\nRichard Beard<\/td>\nSeated Gentleman<\/td>\n1840<\/td>\n<\/tr>\n
1841<\/strong><\/td>\nAugust – English miniaturist Henry Collen purchases a license from Talbot and opens a studio to make calotype portraits but has difficulty competing with the much sharper daguerreotypes<\/td>\n<\/td>\nunknown<\/td>\nPortrait of a Man<\/td>\n1850<\/td>\n<\/tr>\n
1841<\/strong><\/td>\nSpring – Lerebours opens first professional photographic studio in France<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1841-42<\/strong><\/td>\nWilliam and Frederick Langenheim opened a daguerreotype studio in Philadelphia.<\/td>\n<\/td>\nLangenheim Bros<\/td>\nunknown<\/td>\n1850<\/td>\n<\/tr>\n
1842<\/strong><\/td>\nThe Cyanotype is invented by Sir John Herschel <\/span>A sheet of paper is brushed with iron salt solutions and dried in the dark. An object is then placed on the sheet in direct sunlight. After about 15 minutes a white impression of the subject formed on a blue background. The paper is then washed in water and oxidation produces the brilliant blue – or cyan – that gave the process its name. <\/span><\/td>\n<\/td>\nBertha Jacques<\/td>\nUntitled<\/td>\n1900<\/td>\n<\/tr>\n
1843<\/strong><\/td>\nFrench scientist Arman-Hippolyte-Louis Fizeau patents a technique for reproducing daguerreotypes by etching them and then printing on paper. The silver plates prove to be too soft for multiple impressions<\/td>\n<\/td>\nHippolyte Fizeau (circle of)<\/td>\nFacade of the Seminary, Place Saint-Sulpice<\/td>\n1843<\/td>\n<\/tr>\n
1843<\/strong><\/td>\nDavid Octavious Hill and Robert Adamson begin to use calotypes for portrait photography in Edinburgh. They take photographs of the nearly 500 ministers gathered for their mass resignation from the Church of Scotland and the subsequent formation of the Free Church. These photographic studies were used as the basis of a <\/span>famous painting by Hill: The Signing of the Deed of Demission<\/td>\n<\/td>\nHill, David Octavius and Adamson, Robert<\/td>\nDumbarton Presbytery<\/td>\n1845<\/td>\n<\/tr>\n
1843<\/strong><\/td>\nTalbot opens a workshop in Reading run by his former valet Nicholas Henneman to make prints from calotype negatives for himself and others<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1844<\/strong><\/td>\nMathew Brady <\/span>establishes a photographic studio in Washington, D.C.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1844<\/strong><\/td>\nTalbot begins publication of The Pencil of Nature, the first major book illustrated with photographs, to indicate the range and possibilities of photography<\/td>\n<\/td>\nWilliam Henry Fox Talbot<\/td>\nThe Pencil of Nature<\/td>\n1844<\/td>\n<\/tr>\n
1845<\/strong><\/td>\nTalbot publishes Sun Pictures in Scotland that includes locations associated with the novelist Sir Walter Scott <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1845<\/strong><\/td>\nFizeau <\/span>working with L\u00e9on Foucault <\/span>takes the first photograph of the sun<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1846<\/strong><\/td>\nRev. G.W. Bridges, Rev. Calvert Jones and Kit Talbot (Fox Talbot’s nephew) travel to Rome, Pompei and Naples, making calotypes. Bridges continues through Greece, Egypt and the Holy Land, producing 1700 negatives in all.<\/td>\n<\/td>\nRev. George Bridges <\/span><\/td>\nJerusalem, Zaouia de Sidy Mohammed el Aid a Temacin<\/td>\n1850<\/td>\n<\/tr>\n
1847<\/strong><\/td>\nTalbot patents his calotype process in America<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1847<\/strong><\/td>\nThe Calotype Club (renamed the Photographic Club in 1848) is formed in London. Members included Robert Hunt, Frederick Scott Archer, and Hugh Diamond<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1847<\/strong><\/td>\nLouis D\u00e9sir\u00e9 Blanquart-Evrard studies the calotype process and <\/span>becomes the first to publish it in France. He develops a method of bathing the paper in solutions of potassium iodide and silver nitrate rather than brushing these chemical baths on the surface<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1847<\/strong><\/td>\nNiepce De St. Victor discovers the use of albumen to bind silver salts on glass base. Albumen process requires only 10 minutes exposure. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1848<\/strong><\/td>\nA French directory of commercial enterprises lists thirteen commercial photographic studios in Paris<\/td>\n<\/td>\nunknown<\/td>\nunknown<\/td>\n1840<\/td>\n<\/tr>\n
1849<\/strong><\/td>\nWilliam and Frederick Langenheim acquire the American rights to Talbot’s calotype process.<\/td>\n<\/td>\nunknown<\/td>\nAmerican Farm Scene<\/td>\n1850<\/td>\n<\/tr>\n
1849<\/strong><\/td>\nSir David Brewster perfects a stereoscope viewer<\/td>\n<\/td>\nHenry J. Noe<\/td>\nFrench Folding Brewster Style Stereo Viewer<\/td>\n1870<\/td>\n<\/tr>\n
1849<\/strong><\/td>\nMaxime du Camp travels to Egypt with Gustave Flaubert and photographs extensively. On his return he gives his <\/span>negatives to Blanquart-Evrard to be printed and published.<\/td>\n<\/td>\nMaxime Du Camp<\/td>\nSyrie – Baalbeck Colonnade du Temple du Soleil<\/td>\n1850<\/td>\n<\/tr>\n
1849<\/strong><\/td>\nScottish-born Dr John Murray is introduced to photography <\/span>while in the Medical Service of the British Army of the East India Company. Stationed near the Taj Mahal in Agra, he develops a considerable interest in the Mughal architecture of the region. Throughout the forty-year period that Murray lived and worked in India, he systematically records many famous buildings in and around Agra and the northern state of Uttar Pradesh.<\/td>\n<\/td>\nDr John Murray<\/td>\nView of Taj Mahal<\/td>\n1856<\/td>\n<\/tr>\n
1850<\/strong><\/td>\nNovember – The first issue of The Daguerreian Journal: devoted to the Daguerreian and Photogenic Arts is published in New York. It is the world’s first photographic journal. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1850<\/strong><\/td>\nBlanquart-Evrard <\/span>proposes use of albumen for printing paper. Albumen paper was never patented and was popularly used for 40 years. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nMay – The first French book illustrated with photographs commences publication – it is Italie Monumentale by Eugene Piot. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nBlanquart-Evrard opens factory in Lille to mass produce prints made from paper negatives. Many photographers give him their negatives to print so they can be published in books<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nThe Great Exhibition of Arts and Industry <\/span>in London’s Crystal Palace exposes the general public to prints, daguerreotypes, and equipment from England, America and Europe furthering the expansion of photography and sowing the seeds for its eventual commecialization. It also shows how advanced French calotypists had become vs English who were hampered by Talbot’s patents<\/td>\n<\/td>\nClaude-Marie Ferrier<\/td>\nIndia Rubber Boat<\/td>\n1851<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nGustave Le Gray improves on Talbot’s paper negatives by waxing them before sensitizing. He teaches the process to Charles Negre, henri Le Secq, Nadar, John Beasley Greene and others<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nFrederick Scott Archer introduces the <\/span>the ‘wet plate’ negative process offering greater sharpness than the calotype, <\/span>replicability not possible with the daguerrotype, and exposures of a only few seconds. After pouring a mixture of collodion and potassium iodide over a glass plate, and immersing it in a solution of silver nitrate, the wet plate was then exposed, immediately developed, fixed, and allowed to dry out<\/td>\n<\/td>\n<\/td>\nFull Plate Camera for Wet Collodian <\/span>Process<\/td>\n1860<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nCharles Negre designs a special lens that makes near instantaneous photographs possible<\/td>\n<\/td>\nCharles Negre<\/td>\nHenri Le Secq and a Child Giving Alms to an Organ Grinder<\/td>\n1853<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nThe Societ\u00e9 H\u00e9liographique is founded in Paris. Headed by Baron Jean-Baptiste-Louis Gros, the society includes Gustave Le Gray, Henri-Victor Regnault, Henri Le Secq and the painter Delacroix. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nStereo daguerrotypes by Jules Duboscq are shown at the Great Exhibition. These excited enormous interest; in the following three months 250,000 stereo instruments are sold in London and Paris.<\/td>\n<\/td>\nunknown<\/td>\nunknown statue<\/td>\n1850<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nFelix Teynard, a French civil engineer, begins an extensive photographic survey of Egypt, making more than 160 calotype negatives along the Nile from Cairo to the level of the Second Cataract.<\/td>\n<\/td>\nFelix Teynard<\/td>\nLouksor, Dattiers et Jardin de L’Expedition du Louksor<\/td>\n1852<\/td>\n<\/tr>\n
1851<\/strong><\/td>\nMissions H\u00e9liographiques established in France with Eduoard Baldus, Hippolyte Bayard, Gustave Le Gray, Henri Le Secq and Auguste Mestral recording the architectural patrimony of France.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1852<\/strong><\/td>\nAlbumen coated printing paper begins to be widely used<\/td>\n<\/td>\nLouis-Auguste and Auguste-Rosalie Bisson<\/td>\nTympan de la Porte Saint Marcel, Notre Dame, Paris<\/td>\n1853<\/td>\n<\/tr>\n
1852<\/strong><\/td>\nTalbot is pressured into abandoning his
\ncalotype patents in England, except for commercial portraiture, opening the way for French improvements to be applied by <\/span>amateur photographers working in the UK.<\/td>\n		<\/td>\nunknown<\/td>\nGentleman by the Window<\/td>\n1850<\/td>\n<\/tr>\n
1852<\/strong><\/td>\n <\/span>In 1852, Thomas Henry Hennah, a young London artist, and William Henry Kent, a photographic artist from the Isle of Wight, purchased a license from William Fox Talbot to make portraits using the calotype process. . By 1854, Hennah and Kent <\/span>had established a Talbotype Portrait Gallery in William Henry Mason’s Repository of Arts at 108 King’s Road, Brighton<\/td>\n<\/td>\nThomas Hennah & William Kent<\/td>\nPortrait of a Man<\/td>\n1854<\/td>\n<\/tr>\n
1852<\/strong><\/td>\nThe first exhibition ever devoted exclusively to photography is held in London. Called “Recent Specimens of Photography” it contained over 760 images by 76 photographers <\/span>from Britain and France<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1852<\/strong><\/td>\nRoger Fenton travels to Russia with engineer Charles Vignoles to photograph suspension bridge Vignoles is building and returns with
\nphotographs taken in St Petersberg, Kiev and Moscow<\/td>\n		<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1852<\/strong><\/td>\nTalbot patents photoglyphy. a prototype of photoengraving. Various experiments by others to find a way to cheaply reproduce photos follow.<\/td>\n<\/td>\nWilliam Henry Fox Talbot<\/td>\n‘The Tuileries’<\/td>\n1859<\/td>\n<\/tr>\n
1853<\/strong><\/td>\nPreliminary meetings are held with a view to forming the Photographic Society of London. The first public meeting takes place on 20th January 1854. Roger Fenton is the Honorary Secretary for the group and Charles Eastlake the first President.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1853<\/strong><\/td>\nFrench-born artist Victor Prevost <\/span>undertook a speculative project to create a photographic catalogue of the changing shape of New York City<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1853<\/strong><\/td>\nA Group of French artists which includes
\nCorot, Millet, Daubigny and Rosseau
\nbegin creating cliche-verres, which are drawings scratched on glass covered with an opaque coating which is then used as a negative and printed on photographic paper<\/td>\n		<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1853<\/strong><\/td>\nNadar (G.F. Tournachon) begins photographing in Paris, and soon gains a reputation for portraits of celebrities<\/td>\n<\/td>\nNadar (Gaspard-Felix Tournachon<\/td>\nHector Berlioz<\/td>\n1856<\/td>\n<\/tr>\n
1853<\/strong><\/td>\nThe New York Daily Tribune estimates that in the USA three million daguerreotypes are being produced annually.<\/td>\n<\/td>\nE.S. Hayden<\/td>\nSplendid Daguerreotype Miniatures<\/td>\n1850<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nHomes of American Statesman is published and is the first American book containing a photograph. The photograph is a tipped in salt print frontispiece of John Hancock’s Boston house.<\/td>\n<\/td>\nJ.A. Whipple<\/td>\nHancock House, Boston<\/td>\n1854<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nAmbrotypes (collodion positives) make their first appearance having being invented by Frederick Scott Archer with the assistance of Peter Fry. Being a negative on a glass base they were cheaper than the Daguerreotype but retained the clarity of detail..<\/td>\n<\/td>\nunknown<\/td>\nVolcano<\/td>\n1850<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nAn Austrian, Paul Pretsch, patents a process he called Photog-galvanography and in 1856 forms a company in London with Roger Fenton to publish albums of commercial printed photographs called “Photographic Art Treasures”<\/td>\n<\/td>\nPaul Pretsch<\/td>\nPorch of St. Laurent’s Church, Nuremberg<\/td>\n1856<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nAdolphe Disderi develops carte-de-visite photography in Paris, dealing a death blow to daguerreotype images and leading to worldwide boom in portrait studios for the next decade. Eight poses were made on a single sheet and then they could be cut down to 2 1\/4 x 3 1\/2 inches and mounted on a 2 1\/2 x 4 inch card.<\/td>\n<\/td>\nAdolphe Disderi<\/td>\nMme. Sitso and son<\/td>\n1860<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nEven though collodian on glass negatives and albumen prints are taking over, many amateurs photographers, especially in the UK, continue to make calotypes because of the artistic qualities of the process<\/td>\n<\/td>\nJohn Dillwyn-Llewelyn<\/td>\nKenneth Howard, May 24th 1854 in Brandy Cove<\/td>\n1854<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nW. & F. Langenheim make the first American stereographs.<\/td>\n<\/td>\nFriedrich & Wilhelm Langenheim <\/span><\/td>\nRR Track Over Niagara Suspension Bridge<\/td>\n1854<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nDuring 1854-1857 Edouard Baldus created 1,500 photographs of a new wing of the Louvre in Paris<\/td>\n<\/td>\nEdouard-Denis Baldus<\/td>\nPavillon Mollien<\/td>\n1857<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nRoger Fenton is hired by the British Museum to make a photographic record of many of their artifacts<\/td>\n<\/td>\nRoger Fenton<\/td>\nGroup of Muses in the British Museum<\/td>\n1854<\/td>\n<\/tr>\n
1854<\/strong><\/td>\nGeorge Swan Nottage founds the London Stereoscopic Company with William England as his principal photographer<\/td>\n<\/td>\nWilliam England<\/td>\n10. Palais de la Bourse a Paris\u2019<\/td>\n1861<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nSociete Francaise de Photographique founded in Paris<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nPhotographic Exchange Club formed in the U.K.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nOliver Wendell Holmes designs a very popular type of stereo viewer<\/td>\n<\/td>\nOliver Wendell Holmes<\/td>\nHolmes Stereo Viewer<\/td>\n1855<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nBlanquard-Evrard closes his factory in Lille<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nThe “Circolo del Caffe Greco”, a loosely organized group of amateur photographers working in Rome from around 1947, winds down. Included in the group were Count Frederic Flacheron, Eugene Constant, Giacomo Caneva, James Anderson, and Robert MacPherson.<\/td>\n<\/td>\nJames Anderson (Isaac Atkinson)<\/td>\nArch of the Silversmiths<\/td>\n1855<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nAlphonse Poitevin, patented the carbon print offering a permanent image without grain. <\/span>Negatives were printed onto a “tissue” containing carbon and other pigments in a gelatin base. The gelatin had been made light-sensitive by a bath of potassium bichromate. After washing, the image on the tissue was transferred to a paper base and the backing of the tissue was stripped off<\/td>\n<\/td>\nEtienne Carjat<\/td>\nCharles Baudelaire<\/td>\n1860<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nPoitevin also patents photolithography using dichromated albumen exposed to light on a lithographic stone<\/td>\n<\/td>\nPierre Tremaux<\/td>\nDeuxieme Regard du Syphon du Gd. Aqueduc<\/td>\n1850<\/td>\n<\/tr>\n
1855<\/strong><\/td>\nRoger Fenton makes photographs of the Crimean War using a specially constructed caravan with a portable darkroom.<\/td>\n<\/td>\nRoger Fenton<\/td>\nBalaklava Looking Seawards<\/td>\n1855<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nJohn Benjamin Dancer applies for a patent for a stereoscopic camera <\/span>allowing both images to be taken at the same time<\/td>\n<\/td>\n<\/td>\n<\/td>\n1900<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nAt the request of Queen Victoria, Joseph Cundall and Robert Howlett create a series of photographs at Aldershot Camp of Crimean war heroes after their return to England<\/td>\n<\/td>\nJoseph Cundall and Robert Howlett<\/td>\nHeroes of the Crimean War<\/td>\n1856<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nFrancis Frith makes his first trip to Egypt to photograph antiquities<\/td>\n<\/td>\nFrancis Frith<\/td>\nThe Statues of Memon, Plain of Thebes<\/td>\n1857<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nLewis Carroll (the Rev. Charles Dodgson) begins photographing. Though mostly known for his images of young girls, scholars later determine that this represents less than 50%
\nof his output. He gave up photography entirely in 1880<\/td>\n		<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nIntroduced by Adolphe Alexandre Martin, the tintype, also known as a ferrotype, is a variation of the ambrotype, but produced on metallic sheet (not, actually, tin) instead of glass. <\/span><\/td>\n<\/td>\nunknown<\/td>\nunknown<\/td>\n1880<\/td>\n<\/tr>\n
1856<\/strong><\/td>\nCharles Negre receives a patent for
\nimprovements on the heliogravure process<\/td>\n		<\/td>\nCharles Negre<\/td>\nCathedrale de Chartres, Moulages Pourtout du Choeur, 16th siecle<\/td>\n1857<\/td>\n<\/tr>\n
1857<\/strong><\/td>\nO.G. Rejlander produces Two Ways Of Life, an allegorical composite photograph combining 30 negatives<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1858<\/strong><\/td>\nNadar takes the first aerial photograph from a balloon over Paris.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1858<\/strong><\/td>\nThe first book book illustrated with original stereographs is published in London. The book by the astronomer Charles Piazzi Smyth is Teneriffe, an Astronomer\u00b4s experiment: or, specialities of a residence above the clouds.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1858<\/strong><\/td>\nAlphonse Poitevin, patented the carbon print offering a permanent image without grain. <\/span>Negatives were printed onto a “tissue” containing carbon and other pigments in a gelatin base. The gelatin had been made light-sensitive by a bath of potassium bichromate. After washing, the image on the tissue was transferred to a paper base and the backing of the tissue was stripped off<\/td>\n<\/td>\nLouis De Clerq<\/td>\nDenderah (Facade du midi)<\/td>\n1858<\/td>\n<\/tr>\n
1858<\/strong><\/td>\nHenry Peach Robinson makes Fading Away, a story telling genre print combining five negatives. He becomes very influential in establishing rules for photographic “art”<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1859<\/strong><\/td>\nA group of artists and photographers, including Eug\u00e8ne Delacroix, Francis Wey and Gustave Le Gray succeed in getting photography included in the 1859 Paris Salon but the photography section has a separate entrance.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1859<\/strong><\/td>\nThe Sunbeam: Photographs from Nature is published<\/td>\n<\/td>\nPhilip Henry Delamotte<\/td>\nMagdalen College, Oxford, from the Cherwell<\/td>\n1859<\/td>\n<\/tr>\n
1859<\/strong><\/td>\nNadar makes photographs underground in Paris using battery-powered arc lamps.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1859<\/strong><\/td>\nAmerican Photographic Society formed<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1860<\/strong><\/td>\nThe British royal family is photographed by John Mayall, launching the carte-de-viste craze in England<\/td>\n<\/td>\nJohn Mayall<\/td>\nPrince Arthur<\/td>\n1861<\/td>\n<\/tr>\n
1861<\/strong><\/td>\nFelice Beato arrives in Japan to produce photos of “native types”.<\/td>\n<\/td>\nFelice Beato<\/td>\nBuddhist Temple and Cemetary, Nagasaki<\/td>\n1864<\/td>\n<\/tr>\n
1861<\/strong><\/td>\nMathew Brady, Alexander Gardner, and colleagues begin providing a searchingly honest photographic record of the American Civil War.<\/td>\n<\/td>\nA.J. Russell<\/td>\nOffices of Orange & Alexandria Railroad, View From Round House. Fort Lyon in Distance<\/td>\n1863<\/td>\n<\/tr>\n
1861<\/strong><\/td>\nCarlton Watkins makes his first photographic expedition into the Yosemite Valley<\/td>\n<\/td>\nCarleton Watkins<\/td>\nYosemite Valley From Inspiration Point<\/td>\n1866<\/td>\n<\/tr>\n
1861<\/strong><\/td>\nAmerican Photographic Exchange Club formed<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1862<\/strong><\/td>\nD\u00e9sir\u00e9 Charnay <\/span>after returning to France from his travels in Central America (1857 and 1860) publishes Cit\u00e9s et ruines am\u00e9ricaines. The book is published in two volumes (1862\/1863) and includes forty-nine original photographs<\/td>\n<\/td>\nD\u00e9sir\u00e9 Charnay<\/td>\nMitla: Southern facade of the Fourth Palace<\/td>\n1859<\/td>\n<\/tr>\n
1862<\/strong><\/td>\nInternational Exhibition of 1862<\/td>\n<\/td>\nLondon Stereoscopic Co<\/td>\nNo. 4 Machinery, Western Annex.<\/td>\n1862<\/td>\n<\/tr>\n
1863<\/strong><\/td>\nJulia Margaret Cameron takes up photography after she is given a camera as a present.<\/td>\n<\/td>\nJulia Margaret Cameron<\/td>\nAlfred Lord Tennyson, June 3, 1870<\/td>\n1870<\/td>\n<\/tr>\n
1863<\/strong><\/td>\nSamuel Bourne arrives in Calcutta. He becomes one of the preminent photographers of British India and the Himalayas until his departure in 1870 or 1871. He has partnerships with Robertson and Howard but the most enduring was his work with Charles Shepherd and the company they created Bourne and Shepherd still continues today in Calcutta making it one of the longest established photography companies in the world<\/td>\n<\/td>\nSamuel Bourne<\/td>\nKashmir, Up The Jhelum, From Below the Island<\/td>\n1864<\/td>\n<\/tr>\n
1865<\/strong><\/td>\nIt is not yet possible to print books with photographs, so views of foreign life and historical sites continue to be popular in Europe, particularly in England, for their entertainment and educational value<\/td>\n<\/td>\nFrank Mason Good <\/span><\/td>\nWild Palms in the Wilderness of Tranan”<\/td>\n1870<\/td>\n<\/tr>\n
1865<\/strong><\/td>\nJohn Thomson leaves England to photograph China and other parts of the Far East<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1866<\/strong><\/td>\nWalter Bentley Woodbury <\/span>patented his Woodburytype process as a means of mass producing prints. <\/span>This photo-mechanical process <\/span>produced prints that did not fade because the images, made up entirely of stable pigment suspended in gelatin, did not rely on light-sensitive materials. <\/span><\/td>\n<\/td>\nFrank Mason Good<\/td>\nEgypt – Pharaoh’s Bed from the River<\/td>\n1864<\/td>\n<\/tr>\n
1866<\/strong><\/td>\nThomas Annan begins documenting slum areas of Glasgow<\/td>\n<\/td>\nThomas Annan<\/td>\nClose, No. 136 Saltmarket<\/td>\n1868<\/td>\n<\/tr>\n
1867<\/strong><\/td>\nMajor photographic documentation of the western U.S. is underway. Timothy O’Sullivan with Clarence King’s geological exploration of the 40th parallel; Alexander Gardner along Union Pacific Railroad route to Kansas; Edweard Muybridge in Yosemite. Such images influence Congress to create national parks<\/td>\n<\/td>\nTimothy O’Sullivan<\/td>\nSnake River Ca\u00f1on, Idaho (View from above Shoshone Falls, 1874<\/td>\n1874<\/td>\n<\/tr>\n
1869<\/strong><\/td>\nHenry Peach Robinson publishes Pictorial Effect in Photography, trying to acquaint fellow photographers with aesthetic concepts.<\/td>\n<\/td>\nHenry Peach Robinson<\/td>\nA Trespass Notice<\/td>\n1880<\/td>\n<\/tr>\n
1870 <\/span><\/strong><\/td>\nHenri Le Secq publishes architectural view photolithographs made from his paper negatives created in the early 1850’s<\/td>\n<\/td>\nHenri Le Secq<\/td>\nEbrasement de gauche. Reims Cathedral Notre Dane, Saint Thierry, Saint Remy et Saint<\/td>\n1870<\/td>\n<\/tr>\n
1870<\/strong><\/td>\nAllan Pinkerton creates a collection of
\nphotographs of known criminals to aid in the work of his detective agency. <\/span><\/td>\n		<\/td>\nunknown<\/td>\nTopeka Mugshots<\/td>\n1933<\/td>\n<\/tr>\n
1871<\/strong><\/td>\nDr. Richard Leach Maddox <\/span>writing in the \u2018British Journal Of Photography\u2019 he suggested gelatin, derived from a protein found in animal bones, as a collodion substitute. <\/span>Exposure times of 1\/25th second could be achieved <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1877<\/strong><\/td>\nJohn Thompson teams up with the journalist Adolphe Smith to investigate and show the day to day conditions of the London poor. The series of pamphlets resulting from this, Street Life in London, is the first photographically illustrated work to deal with social life<\/td>\n<\/td>\nJohn Thomson<\/td>\nThe Dramatic Shoe Black<\/td>\n1877<\/td>\n<\/tr>\n
1877<\/strong><\/td>\nThe first electrically-lit photographic studio is opened in Regent Street, London.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1878<\/strong><\/td>\nDry plates become available commercially, freeing photographers from having to develop their images immediately. Tripods were also no longer necessary due to fast exposure time.<\/td>\n<\/td>\n<\/td>\n<\/td>\n1890<\/td>\n<\/tr>\n
1878<\/strong><\/td>\nEadweard Muybridge analyses the movement of animals using a series of cameras and trip devices. He produces the first evidence that a horse in full gallop does at a particular point have all four hooves off the ground. From 1884 he begins work to produce a massive collection of photographs of animals in motion, ultimately to be published as Animal Locomotion<\/td>\n<\/td>\nEadweard Muybridge<\/td>\nAnimal Locomotion Series, Plate 59<\/td>\n1887<\/td>\n<\/tr>\n
1878<\/strong><\/td>\nKarl Kl\u00edc invents the dust grain gravure, the most precise, economical and beautiful method of photogravure printing, which is still used today.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1880<\/strong><\/td>\nA craze for photographs made on the sly took hold in the 1880s, leading to ever-smaller “detective” cameras and more ingenious disguises for cameras<\/td>\n<\/td>\nAnonymous<\/td>\nCircular Glass Plate Negative <\/span><\/td>\n1890<\/td>\n<\/tr>\n
1880<\/strong><\/td>\nThe first halftone photographic reproductions appear in a daily newspaper, the New York Daily Graphic, although it took another ten years before the process was fully adopted. Halftones are created by using a camera containing a ruled glass screen with a grid pattern to break up the image into tiny dots of different sizes. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1881<\/strong><\/td>\nFrederick E. Ives invents a process for making reproductions in colour: the trichromatic half-tone plate<\/td>\n<\/td>\nEduard Steichen<\/td>\nOn The House Boat – The Log Cabin”<\/td>\n1908<\/td>\n<\/tr>\n
1883<\/strong><\/td>\nPhysiologist Etienne-Jules Marey designs a fixed plate chronophotograph camera that was capable of turning sequential images of a single movement on a single photographic plate.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1885<\/strong><\/td>\nWilson “Snowflake” Bentley, an amatuer photographer from Vermont, devises a way to photograph snowflakes, eventually making 5000 unique images<\/td>\n<\/td>\nWilson Bentley<\/td>\nSnowflakes<\/td>\n1902<\/td>\n<\/tr>\n
1886<\/strong><\/td>\nPeter Henry Emerson produces a limited edition portfolio of images called Life and Landscapes on the Norfolk Broads. The images were innovative in showing unposed ordinary people going about their daily routines. <\/span><\/td>\n<\/td>\nPeter Henry Emerson<\/td>\nAn Eel-Catcher’s Home<\/td>\n1886<\/td>\n<\/tr>\n
1888<\/strong><\/td>\nEugene Atget begins photographing Paris<\/td>\n<\/td>\nJean-Eugene-Auguste Atget<\/td>\nLagny (Seine et Marne) Hotel de Ville<\/td>\n1900<\/td>\n<\/tr>\n
1888<\/strong><\/td>\nFrench astronomer P.J.C. Janssen declares at a meeting of the Societe Francaise de la Photographie “The sensitive photographic film is the true retina of the scientist”<\/td>\n<\/td>\nIsaiah W Taber<\/td>\nMoon, August 18, 1888<\/td>\n1888<\/td>\n<\/tr>\n
1888<\/strong><\/td>\nEastman Dry Plate and Film Company in the USA produces The Kodak <\/span>Camera and roll film, thus taking a big step toward universal hand-held snapshots. <\/span><\/td>\n<\/td>\nUnknown<\/td>\nAlgerian Nomads<\/td>\n1890<\/td>\n<\/tr>\n
1889<\/strong><\/td>\nEastman Kodak introduced the No 2 Kodak, which took larger 3 1\/2 in diameter pictures<\/td>\n<\/td>\nunknown<\/td>\n<\/td>\n1890<\/td>\n<\/tr>\n
1889<\/strong><\/td>\nJournalist Jacob Riis is one of the first Americans to use flash powder <\/span>to photograph the hardships faced by the poor and criminal along his police beats. Scribner’s Magazine published his photographic essay on city life, which Riis later expanded to create his magnum opus How the Other Half Lives.<\/td>\n<\/td>\nJacob Riis<\/td>\nThe Short-Tail Gang, Corlears Hook<\/td>\n1887<\/td>\n<\/tr>\n
1890<\/strong><\/td>\nGeorge Davison exhibits The Onion Field in the royal Photographic Society’s Annual Exhibition. This image taken with a pin-hole camera and printed on rough paper heralded the beginning of impressionistic photography. <\/span><\/td>\n<\/td>\nGEORGE DAVISON<\/td>\nVillage Under the Southdowns<\/td>\n1905<\/td>\n<\/tr>\n
1892<\/strong><\/td>\nThe Linked Ring is formed. A society dedicated to the furthering of artistic photography. The members sought impressionistic images, often by using various manipulated printing and other techniques. Soft visual effects were often preferred. Similar clubs in Vienna and Paris are formed.<\/td>\n<\/td>\nAlexander Keighley<\/td>\nChildren on a Picnic<\/td>\n1890<\/td>\n<\/tr>\n
1893<\/strong><\/td>\nThe flash-bulb is invented, a glass bulb filled with magnesium-coated metal ribbon, ignited electrically<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1895<\/strong><\/td>\nX-rays are discovered by Wilhelm Rontgen<\/td>\n<\/td>\nJames Green, James H. Gardiner<\/td>\nBritish Batrachians and Reptiles, Moldge Palmatia<\/td>\n1890<\/td>\n<\/tr>\n
1897<\/strong><\/td>\nAlfred Stieglitz becomes editor of Camera Notes, the publication of the Camera Club of New York<\/td>\n<\/td>\nAlfred Stieglitz<\/td>\nAn Icy Night<\/td>\n1898<\/td>\n<\/tr>\n
1898<\/strong><\/td>\nFrank A. Rinehart photographs indian leaders attending the Trans-Mississippi Exposition, and Indian Congress, Omaha, Nebraska, 1898<\/td>\n<\/td>\nF. A. Rinehart<\/td>\nGov. Diego Narango-Santa Clara<\/td>\n1899<\/td>\n<\/tr>\n
1899<\/strong><\/td>\n‘The New School of American Photography’ the first major exhibition of American pictorial photography is held at the Royal Photographic Society. It consists of 360 images by such photographers as: F. Holland Day; Edward Steichen; Gertrude Kasebier; and Clarence White.<\/td>\n<\/td>\nAlfred Stieglitz<\/td>\nThe Terminal<\/td>\n1893<\/td>\n<\/tr>\n
1899<\/strong><\/td>\nArthur Wesley Dow photographs Ipswich, MA<\/td>\n<\/td>\nArthur Wesley Dow<\/td>\nStone Bridge With Buildings, Ipswich, MA<\/td>\n1904<\/td>\n<\/tr>\n
1900<\/strong><\/td>\nFrederick H Evans exhibits 150 platinum prints at the Royal Photographic Society. Evans was known as a prime exponent of ‘pure photography’: images that are unretouched and unmanipulated<\/td>\n<\/td>\nFrederick H. Evans<\/td>\nYork Minister: In Sure & Certain Hope<\/td>\n1903<\/td>\n<\/tr>\n
1902<\/strong><\/td>\nStieglitz organizes “Photo Secessionist” show in New York City <\/span><\/td>\n<\/td>\nAlfred Stieglitz<\/td>\nMauretania<\/td>\n1900<\/td>\n<\/tr>\n
1903<\/strong><\/td>\nStieglitz starts publication of Camera Work which champions pictorialism<\/td>\n<\/td>\nRobert Demachy<\/td>\nSpeed<\/td>\n1904<\/td>\n<\/tr>\n
1906<\/strong><\/td>\nJ.P. Morgan offers Edward S.Curtis $75,000 to produce a series on the North American Indian, in 20 volumes with 1,500 photographs. <\/span>Curtis’ goal was not just to photograph, but to document as much Native American traditional life as possible before that lifestyle disappeared<\/td>\n<\/td>\nEdward S. Curtis<\/td>\nFish-Weir Across Trinity River – Hupa<\/td>\n1923<\/td>\n<\/tr>\n
1907<\/strong><\/td>\nFirst commercial color film, the Autochrome plates, manufactured by Lumiere brothers in France <\/span><\/td>\n<\/td>\nAuguste & Leon Lumiere <\/span><\/td>\nStill Life with Flowers and Oranges<\/td>\n1907<\/td>\n<\/tr>\n
1909<\/strong><\/td>\nKarl Struss studied photography with Clarence H. White and was admitted to Alfred Stieglitz’s “291” photo-pictorialist group <\/span><\/td>\n<\/td>\nKarl Struss<\/td>\nChester, Nova Scotia<\/td>\n1911<\/td>\n<\/tr>\n
1909<\/strong><\/td>\nLewis Hine hired by US National Child Labor Committee to photograph children working mills<\/td>\n<\/td>\nunknown<\/td>\nWhite & Centre St New York City<\/td>\n1909<\/td>\n<\/tr>\n
1910<\/strong><\/td>\nAlvin Langdon Coburn publishes portfolios of photogravures devoted to London and New York<\/td>\n<\/td>\nAlvin Langdon Coburn<\/td>\nThe Sphinx, <\/span>The Embankment<\/td>\n1905<\/td>\n<\/tr>\n
1910<\/strong><\/td>\nStarting at age 6 (in 1900) , Jacques Henri Lartigue begins photographing his own life and the people and activities in it. <\/span>Only when he was 69 were his boyhood photographs serendipitously discovered by Charles Rado of the Rapho agency, who introduced him to John Szarkowski, then curator of the Museum of Modern Art in New York, who in turn arranged an exhibition of his work<\/td>\n<\/td>\nJacque Henri Lartique<\/td>\nThe ZYX 24 takes off<\/td>\n1910<\/td>\n<\/tr>\n
1917<\/strong><\/td>\nStieglitz devotes the last two issues of Camera Work to Paul Strand<\/td>\n<\/td>\nPaul Strand<\/td>\nNew York, 1916<\/td>\n1916<\/td>\n<\/tr>\n
1918<\/strong><\/td>\nAugust Sander (a German professional portrait photographer) began photographing people of all social classes and professions (a beginning of documentary portraiture) with the aim of creating a social atlas.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1920<\/strong><\/td>\nFilm stills become popular in the promotion of movies. Sometimes called publicity stills, they are photographs taken on the set of a movie during production. <\/span><\/td>\n<\/td>\nunknown<\/td>\nFrancis X Bushman in Ben Hur<\/td>\n1924<\/td>\n<\/tr>\n
1921<\/strong><\/td>\nMan Ray begins making photograms (“rayographs”) by placing objects on photographic paper and exposing the shadow cast by a distant light bulb<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1921<\/strong><\/td>\nWestern Union transmitted its first halftone photograph in 1921, and AT&T followed in 1925<\/td>\n<\/td>\nunknown<\/td>\nGraham McNamee in Washington D.C.<\/td>\n1925<\/td>\n<\/tr>\n
1922<\/strong><\/td>\nEdward Weston renounces pictorialism in favor of straight photography<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1923<\/strong><\/td>\nEdward Steichen becomes chief photographer for Conde Nast [publications Vanity Fair and Vogue<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1924<\/strong><\/td>\nIntroduction of the Ermanox (predecessor of the Leica), a small camera that used a miniature plate and a 50mm F1.8 lens, making it suitable for low light candid photography. <\/span>Using the new Ermanox, Dr. Erich Solomon began to capture photographs behind the closed doors of Berlin’s high society<\/td>\n<\/td>\nErich Salomon<\/td>\nChamberlain and Heriot and others during Second Hague Conference for War Reparations<\/td>\n1930<\/td>\n<\/tr>\n
1928<\/strong><\/td>\nThe publication of Urformen der Kunst (Archetypes of Art), a stunning collection of extreme closeup photos of plants, earned Karl Blossfeldt a place as a pioneer in the New Objectivity art movement. The book received enthusiastic responses from both literary circles and the general public<\/td>\n<\/td>\nKarl Blossfeldt<\/td>\nEquisetum Hiemale<\/td>\n1928<\/td>\n<\/tr>\n
1929<\/strong><\/td>\nBerenice Abbott returns from Paris and begins to photograph changing New York’s old buildings and new skyscrapers<\/td>\n<\/td>\nBerenice Abbott<\/td>\nHerald Square, Manhattan<\/td>\n1936<\/td>\n<\/tr>\n
1929<\/strong><\/td>\nThe exhibition Film und Foto (Film and Photo) in Stuttgart in 1929, the most extensive international exhibition of modern photography and cinematography of the time,features work by<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1932<\/strong><\/td>\nThe Group f\/64 is created. The name <\/span>the very small lens aperture used to increase sharpness and depth of field. The members, including Ansel Adams, Edward Weston, and Imogen Cunningham, are committed to defining photography as a pure art form rather than a derivative of other art forms. <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1932<\/strong><\/td>\nHenri Cartier-Bresson buys a Leica and begins a 60-year career photographing people<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1933<\/strong><\/td>\nGyula Hal\u00e1sz under the psuedonym “Brassa\u00ef, publishes his first book of photographs <\/span>titled “Paris de Nuit” <\/span><\/td>\n<\/td>\nBrassai (Gyula Halasz)<\/td>\nAvenue de L’Observatoire<\/td>\n1933<\/td>\n<\/tr>\n
1935<\/strong><\/td>\nFarm Security Administration hires Roy Stryker to run a historical section. Stryker would hire Walker Evans, Dorothea Lange, Arthur Rothstein, et al. to photograph rural hardships over the next six years.<\/td>\n<\/td>\nMarion Post Wolcott<\/td>\nHouses Condemned by Board of Health still lived in by Migratory Laborers, Belle Glade, Florida<\/td>\n1941<\/td>\n<\/tr>\n
1935<\/strong><\/td>\nWeegee (Arthur Fellig) becomes a free lance new photographer based at Manhattan police headquarters<\/td>\n<\/td>\nWeegee (Arthur Fellig)<\/td>\nUntitled (Two Women)<\/td>\n1940<\/td>\n<\/tr>\n
1935<\/strong><\/td>\nThe Graflex Speed Graphic becomes standard equipment for American press photographers<\/td>\n<\/td>\n<\/td>\nGraflex Speed Graphic D2CP4<\/td>\n1940<\/td>\n<\/tr>\n
1936<\/strong><\/td>\nWalker Evans travels in the American South with author James Agee to do a study of tenant farmers. The result was published as ther book Let Us Now Praise Famous Men.<\/td>\n<\/td>\nJames Agee and Walker Evans<\/td>\nLet Us Now Praise Famous Men<\/td>\n1950<\/td>\n<\/tr>\n
1936<\/strong><\/td>\nThe Photo League was established in New York by Paul Strand and Berenice Abbot in 1936. Its initial purpose was to provide the radical press with photographs of trade union activities and political protests. Later the group decided to organize local projects where members concentrated on photographing working class communities.<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1937<\/strong><\/td>\nHarold Edgerton began a lifelong association with photographer Gjon Mili, who used stroboscopic equipment, particularly a “multiflash” strobe light, to produce strikingly beautiful photographs, many of which appeared in Life Magazine<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1946<\/strong><\/td>\nNew York street photography<\/td>\n<\/td>\nTodd Webb<\/td>\nNew York 1946<\/td>\n1946<\/td>\n<\/tr>\n
1947<\/strong><\/td>\nHenri Cartier-Bresson, Robert Capa, and David Seymour start the photographer-owned Magnum picture agency <\/span><\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
1950<\/strong><\/td>\nPaul Strand left the U.S., a departure that marked the beginning of his long exile from the prevailing climate of McCarthyism. The remaining 27 years of his life were spent in Orgeval, France where, despite never learning the language, he maintained an impressive creative life, assisted by his second wife, fellow photographer Hazel Kingsbury Strand.<\/td>\n<\/td>\nPaul Strand<\/td>\nMidi Libre, France<\/td>\n1950<\/td>\n<\/tr>\n
1955<\/strong><\/td>\nEdward Steichen curates Family of Man exhibit at New York’s Museum of Modern Art <\/span><\/td>\n<\/td>\nEdward Steichen<\/td>\nFamily of Man <\/span><\/td>\n1955<\/td>\n<\/tr>\n
1955<\/strong><\/td>\nAn industrial photographer O. Winston Link begins documenting the Norfolk & Western Railway line, the last major <\/span>railroad yet to make the transition from steam to diesel motive power.<\/td>\n<\/td>\nO. Winston Link<\/td>\nAt Luray, Second 51, a southbound time freight crosses the Lee Highway, a north-south road that was popular before the advent of the Interstates<\/td>\n1955<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

IN THE PHOTO HISTORY TIMELINE COLLECTION YEAR TIMELINE ARTIST TITLE YEAR 1725 Johann Schulze discovered the darkening of silver salts by the action of light 1790 Thomas Wedgewood, in England, makes photograms by placing objects on leather sensitized with silver nitrate. 1800 A device used by artists in the 17th and 18th centuries in aid […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":2,"comment_status":"closed","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/pages\/52"}],"collection":[{"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=52"}],"version-history":[{"count":16,"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/pages\/52\/revisions"}],"predecessor-version":[{"id":142,"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=\/wp\/v2\/pages\/52\/revisions\/142"}],"wp:attachment":[{"href":"http:\/\/www.photohistorytimeline.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=52"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}