An Uncomprehensive Bibliography
of Victorian Photography

by Thomas Prasch

Abney, William de W. Treatise of Photography (10th ed. London: Longman's, 1901; rpt. New York: Arno, 1973).

Adamson, Keith, "Early British Patents in Photography," History of Photography 15:4 (1991), 313-323.

Alloula, Malek, The Colonial Harem (Minneapolis: University of Minnesota Press, 1986).

Altick, Richard, The Shows of London (Cambridge, MA: Cambridge University Press, 1978).

Annan, Thomas, The Old Closes and Streets of Glasgow (Glasgow: James Maclehose and Sons, 1900), 22.

Annan, Thomas, Old Country Houses of the Old Glasgow Gentry (1870).

Ashbee, Felicity, "William Carrick: A Scots Photographer in St. Petersburg (1827-1878)," History of Photography 2:3 (1978), 207-222.

Balfour, Graham, "Figures in Landscape and Genre," Photographic Art-Journal 2:21 (July 1889), 127.

Balfour, Graham, "Mr. J. B. B. Wellington," Sun Artists 3 (April 1890), 21.

Banta, Melissa, and Curtis M. Hinsley, From Site to Sight: Anthropology, Photography, and the Power of Imagery (Cambridge, MA: Peabody Museum Press, 1986).

Barthes, Roland, Camera Lucida (London: Jonathan Cape, 1981).

Barthes, Roland, "The Photographic Message," in Image-Music-Text (New York: Noonday, 1977), 15-31.

Barthes, Roland, Mythologies (New York: Noonday, 1972).

Bartram, Michael, Pre-Raphaelite Camera: Aspects of Victorian Photography (London: Weidenfeld Nicolson, 1985).

Baudelaire, Charles, "Le Public Moderne et La Photographie," chap. 2 of "Salon de 1859," in Curiosités Esthiques, Ouvres Complètes de Charles Baudelaire (Paris: Louis Conard, 1923), I, 264-272.

Bell, Keith, ed., Photographs of David Octavius Hill and Robert Adamson (Saskatoon: Mendell Art Gallery, 1987).

Benjamin, Walter, "A Short History of Photography" (1931), in Screen 13:1 (Spring 1972), 7.

Benjamin, Walter, "The Work of Art in the Age of Mechanical Reproduction," in Illuminations (New York: Schocken, 1969).

Bennett, Tony, "The Exhibitionary Complex," New Formations 4 (1988), 73-102; rpt. in Nicholas Dirks, Geoff Eley, and Sherry Ortner, ed. Culture/Power/History, 123-155, and in Tony Bennett, The Idea of the Museum (Routledge, 1995).

Bede, Cuthbert [Rev. E. Bradley], Photographic Pleasures, Popularly Portrayed with Pen and Pencil (London: T. McLean, 1855; rpt. Garden City: Amphoto, 1973).

Beloff, Halla, "Facing Julia Margaret Cameron," History of Photography 17:1 (1993), 115-117.

Berger, John, About Looking (New York: Pantheon, 1980).

Berger, John, On Looking (New York: Pantheon, 1968).

Berger, John, and Jean Mohr, Another Way of Telling (New York: Pantheon, 1982).

Berger, John, et al., Ways of Seeing (Harmondsworth: Penguin, 1972).

Bloom, John, Photography at Bay: Interviews, Essays, and Reviews (Albuquerque: University of New Mexico Press, 1993).

Bloom, Mattie, and Hans Rooseblum, Een Nieuwe Kunst: Fotografie in de 19de Eenw/ A New Art: Photography in the 19th Century (Amsterdam: Snoeck-Ducajud and Zoon, 1996).

Bloore, Carolyn, "The Circle of William Henry Fox Talbot," in Mark Haworth-Booth, ed., The Golden Age of British Photography, 32-36.

Bolton, Richard, ed., The Contest of Meaning: Critical Histories of Photography (Cambridge: MIT Press, 1989).

Booth, Arthur, William Henry Fox Talbot: Father of Photography (London: Arthur Barker, 1965).

Bourdieu, Pierre, "La Définition Sociale de la Photographie," in Bourdieu et. al., Un Art Moyen: Essai sur les usages sociaux de la photographie (Paris: Les Éditions de Minuit, 1965).

Braden, Su, Committing Photography (London: Pluto Press, 1983).

Brett, John, "Fine Art and Photography," Photographic Art Journal 2:20 (1889), 165.

[Brewster, David], "Recent Progress of Photographic Art," North British Review 36 (1862), 170-203.

Brewster, David, The Stereoscope: Its History, Theory, and Construction (London: John Murray, 1856).

Briggs, Asa, Victorian Things (Chicago: University of Chicago Press, 1988).

Brown, Bryan, ed., The England of Henry Taunt: Victorian Photographer (London: Routledge and Kegan Paul, 1973).

Brown, Julie K., Contesting Images: Photography and the World's Columbian Exposition (Tucson: University of Arizona Press, 1994).

Brown, Sarah Graham, Images of Women: The Portrayal of Women in Photographs of the Middle East 1860-1950 (New York: Columbia University Press, 1988).

Bruce, David, Sun Pictures: The Hill-Adamson Calotypes (Greenwich, CT: New York Graphic Society, 1973).

Bry, Doris, "Alfred Stieglitz: Photographer" in Alfred Stieglitz: An Exhibit of Photographs (Washington: National Gallery of Art, 1958).

Buchanan, William, "James Craig Annan: Brave Days in Glasgow," in Haworth-Booth, Golden Age, 170-173.

Buchanan, William, "State of the Art, Glasgow, 1855," History of Photography 13:2 (1989), 165-180.

Buckland, Gail, First Photographs: People, Places, and Phenomena as Captured for the First Time by the Camera (New York: Macmillan, 1980).

Buckland, Gail, Fox Talbot and the Invention of Photography (Boston: D. R. Godine, 1980).

Buckland, Gail, Reality Recorded: Early Documentary Photography (Greenwich, CT: New York Graphic Society, 1974).

Bunnell, Peter C., ed. The Photography of O. G. Rejlander: Two Selections (New York: Arno, 1979).

Burgin, Victor, "Photographic Practice and Art Theory," in Burgin, ed., Thinking Photography, 39-83.

Burgin, Victor, ed., Thinking Photography (London: Macmillan, 1982).

Burns, E. Bradford, Eadweard Muybridge in Guatamala, 1875: The Photographer as Social Recorder (Berkeley: University of California Press, 1986).

Burrows, J. C., 'Mongst the Miners: or, Underground Scenes by Flash-Light (London: Simpkin, Hawitter, Kent and Co, 1893).

Cameron, Julia Margaret, "Annals of My Glass House" (1874), rpt. in Helmut Gernsheim, Julia Margaret Cameron: Her Life and Photographic Work (New York: Aperture, 1975) and in Mike Weaver, Julia Margaret Cameron, 1815-1879 (London: Herbert Press, 1984).

Cameron, Julia Margaret, For My Best Beloved Sister, Mia: An Album of Photographs (Albuquerque: University of New Mexico Art Museum, 1994).

Cameron, Julia Margaret (intro. Mike Weaver), Whisper of the Muse: The Overstone Album and Other Photographs (Malibu: J. Paul Getty Museum, 1986).

Christ, Carol T., and John O. Jordan, eds., Victorian Literature and the Victorian Visual Imagination (Berkeley: University of California Press, 1995).

Coe, Brian, The Birth of Photography: The Story of the Formative Years 1800-1900 (New York: Taplinger, 1976).

Cohen, Morton N. Lewis Carroll: A Biography (New York: Knopf, 1995).

Cohen, Morton N., Lewis Carroll, Photographer of Children: Four Nude Studies (Philadelphia: Rosenbach Foundation and Clarkson N. Potter, 1978).

Coke, Van Deren, Photography: A Facet of Modernism (New York: Hudson Hills, 1986).

Coke, Van Deren, ed., One Hundred Years of Photographic History: Essays in Honor of Beaumont Newhall (Albuquerque: University of New Mexico Press, 1975).

Collins, Kathleen, Shadow and Substance: Essays on the History of Photography (Bloomfield Hills, MI: Amorphous Institute Press, 1990).

Cowling, Mary, The Artist as Anthropologist: The Representation of Type and Character in Victorian Art (Cambridge: Cambridge University Press, 1989).

Cox, Julian, "Photography in South Wales 1840-60," History of Photography 15:3 (1991), 159-169.

Crary, Jonathan, Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (Cambridge: MIT Press, 1990).

Daniel, Malcolm R., "Darkroom vs. Greenroom: Victorian Art Photography and Popular Theatrical Entertainment," Image 33:1/2 (1990), 13-20.

Darwin, Charles (photographs by O. G. Rejlander), Expression of Emotion in Men and Animals, ed. Paul H. Barrett and R. B. Freeman (rev. ed. 1890; rpt. London: William Pickering, 1989).

Date, C., and A. Hamber, "The Origins of Photography at the British Museum, 1839-1860," History of Photography 14:4 (1990), 309-325.

Daumich, Hubert, "Five Notes for a Phenomenology of the Photographic Image," October 5 (Summer 1978), 70-71.

Davidoff, Leonore, "Class and Gender in Victorian England: The Diaries of Arthur J. Munby and Hannah Cullwick," Feminist Studies 5:1 (1979), 87-134; rpt. in Leonore Davidoff, Worlds Between: Historical Perspectives on Gender and Class (London/New York: Routledge, 1995), 103-150.

Davison, George, "Impressionism in Photography," Photographic Art Journal 4:39 (1891), 9-10

Davison, George, "Instantaneous or Time Exposures for Figures in Landscape," Photographic Art-Journal 3:27 (January 1890), 7-8.

Davison, George, "Limitations in Artistic Photography," Photographic Art Journal 4:47 (1891), 126-127.

Davison, George, "The Limits and Possibilities of Art Photography," Photographic Quarterly 3 (1890), 206-216.

Davison, George, "Photographing Figures in Action," Photographic Art Journal 3:31 (1890), 80-81.

Davison, George, "Instantaneous or Time Exposure for Figures in Landscape," Photographic Art Journal 3:27 (1890), 7-8

Davison, George, "A Reply to Dr. Emerson's Renunciation," Photographic Art Journal 4:43 (1891), 72.

Davison, George, "Shall We Renounce?," Photographic Quarterly 2:8 (1891), 275-282.

Davison, George, "Specialists in Art Photography," Photographic Art Journal 41 (1891), 30-31.

Dawkins, Heather, "The Diaries and Photographs of Hannah Cullwick," Art History 10:2 (1987), 155-184.

de Duve, Thierry, "Time Exposure and Snapshot: The Photograph as Paradox," October 5 (Summer 1978), 115.

De Lauretis, Teresa, Alice Doesn't: Feminism, Semiotics, Cinema (Bloomington: Indiana University Press, 1984).

Delamotte, Philip Henry (Janet E. Buerger, ed.), The Crystal Palace (Rochester, New York: International Museum of Photography, 1980; exhibition based on Delamotte's photographs of the rebuilt Crystal Palace at Sydenham, orig. publ. 1854).

Delamotte, Philip H., The Practice of Photography: A Manual for Students and Amateurs (London: Photographic Institute, 2d ed. 1855).

Dennis, Kelly, "Ethnopornography: Veiling the Dark Continent," History of Photography 18:1 (1994), 22-28.

Dent, Robert, Birmingham, 1837-1897: A Souvenir (n. p., 1897).

Dent, Robert, The Cathedrals of England and Wales Through a Camera (Birmingham: J. L. Allday, 1897).

Dent, Robert, The Making of Birmingham: A History of the Town and Its People (London: Simpkin, Marshall, 1897).

Dent, Robert, North Wales with a Camera: West Coast Section (Birmingham and Liverpool: J. L. Allday, 1897).

Dent, Robert, Old and New Birmingham (3 vols., Birmingham: Houghton and Hammond, 1879).

Dewan, Janet, "Photography for the Bombay and Madras Governments 1855-1870," History of Photography 16:4 (1992), 302-317.

Diamond, Hugh, "Photography and Photographic Apparatus," Record of the International Exhibition 1862 (London: William Mackenzie, 1862).

Dimand, Frances and Roger Taylor, Crown and Camera: The Royal Family and Photography, 1842-1910 (Harmondsworth: Penguin, 1987).

"Dr. Emerson's Latest on Focusing," Photographic Art Journal 3:35 (1890), 174.

Dodier, V., Domestic Idylls: Photographs by Lady Hawarden from the Victoria and Albert Museum (Malibu: J. Paul Getty Museum, 1990).

Doyle, Arthur Conan, "Fairies Photographed," Strand Magazine 60 (December 1920), 463-468.

Durden, Mark, "Peter Henry Emerson: The Limits of Representation," History of Photography 18:3 (1994), 281-284.

Dyos H. J., and Michael Wolff, eds., Victorian City: Images and Realities (2 vols. London: Routledge and Kegan Paul, 1973), vol. 2, Shapes on the Ground/A Change of Accent.

Eastlake, Lady Elizabeth, "Photography," Quarterly Review 101 (1857), 443.

Edwards, Elizabeth, "Photographic 'Types': The Pursuit of a Method," Visual Anthropology 3:2-3 (1990), 241-247.

Edwards, Elizabeth, ed. Anthropology and Photography: 1860-1920 (New Haven: Yale University Press, 1992).

Edwards, Susan H., "Pretty Babies: Art, Erotica or Kiddie Porn," History of Photography 18:1 (1994), 38-46.

Emerson, P. H. The Death of Naturalistic Photography: A Renunciation (1891).

Emerson, P. H., Idyls of the Norfolk Broads (London: Autotype Company, 1888).

Emerson, P. H., Life and Landscape on the Norfolk Broads (London: Sampson Low, Marston, Searle and Rivington, 1886).

Emerson, P. H., Marsh Leaves (London: D. Nutt, 1895).

Emerson, P. H., "Mr. Davison's Misrepresentations," Photographic Art Journal 4: 46 (1891), 115-116.

Emerson, P. H., Naturalistic Photography for Students of Art (New York: Scovill & Adams, 1888; rpt. New York: Arno, 1973).

Emerson, P. H., On English Lagoons (London: D. Nutt, 1893).

Emerson, P. H., "Photography as a Pictorial Art," in Amateur Photographer, May 1886.

Emerson, P. H. Pictures from Life in Field and Fen (London: G. Bell and Sons, 1887).

Emerson, P. H., Pictures of East Anglian Life (London: Sampson Low, Marston, Searle and Rivington, 1888).

Emerson, P. H., "Rejoinder," Photographic Art-Journal 3:34 (August 1890), 142.

Emerson, P. H., "Science and Art," Photographic Art Journal 2:19 (1889), 87; 2:20 (1889), 106-108.

Emerson, P. H. Wild Life on a Tidal Water (London: Sampson Low and Co, 1890).

"Endowed Photography," Photographic Art Journal 7 (1888), 76-78.

F.E.B., "Unpremeditated Art," Photographic Art Journal 1: 10 (1888).

Fabian, R. and Adams, H.-C., Masters of Early Travel Photography (New York: Vendome Press, 1983).

Fagan-King, Julian, "J. M. Cameron, G. F. Watts, D. G. Rossetti: The Influence of Photography on Painting," History of Photography 10:1 (1986), 19-29.

Faxon, Alicia Craig, "D. G. Rossetti's Use of Photography," History of Photography 16:3 (1992), 254-262.

Fishman, William, Streets of East London (London: Duckworth, 1979).

Flukinger, Roy, The Formative Decades: Photography in Great Britain, 1839-1920 (Austin: University of Texas Press, 1985).

Flukinger, Roy, and Aaron Schaaf, "Paul Martin: A Critical Biography," in Roy Flukinger, Aaron Schaaf, and Standish Meacham, Paul Martin: Victorian Photographer (Austin: University of Texas Press, 1977), 3-78, 107-116.

Foote, Kenneth E., "Relics of Old London: Photographs of a Changing City," History of Photography 11:2 (1987), 133-153.

Ford, Colin, "The Beginnings of Art Photography," in The Hill/Adamson Albums: A Selection of Victorian Prints Acquired by the National Portrait Gallery in January 1973 (London: Times Newspapers Ltd., 1973).

Ford, Colin, ed. An Early Victorian Album: The Photographic Masterpieces (1843-1847) of David Octavius Hill and Robert Adamson (New York: Alfred A. Knopf, 1976).

Ford, Colin, and Karl Steinorth, You Push the Button We Do the Rest: The Birth of Snapshot Photography (London: Dirk Nishen, 1988).

Fordsmith, A., "The Introduction of Figures into Landscape," Photographic News 11 (September 1888), 143.

Foster, D. B., Leeds Slumdom (Leeds: C. H. Halleady, 1897).

Fox, Celina, "The Development of Social Reportage in English Periodical Illustration during the 1840s and early 1850s," Past and Present 74 (1977).

Fox, Celina, Londoners (London: Thames and Hudson, 1987).

Frank, Peter, "History and Photographs: Frank Meadow Sutcliffe (1853-1941)," History Workshop Journal 2 (1976), 94.

Frith, Francis, "The Art of Photography," Art Journal 5 (1859), 72.

Frith, Francis, Cairo, Sinai, Jerusalem, and the Pyramids of Egypt (London: Mackenzie, 1857).

Frith, Francis (intro. Julia van Haaften; commentary by Jon E. Manchi White), Egypt and the Holy Land in Historic Photographs (New York: Dover, 1980).

Frith, Francis, Egypt and Palestine (2 vols., London: James S. Virtue, 1858-59).

Frith, Francis, The Gossiping Photographer at Hastings (Reigate: Frith Brothers, 1864).

Frith, Francis, The Gossiping Photographer on the Rhine (Reigate: Frith Brothers, 1864).

Galassi, Peter, Before Photography: Painting and the Invention of Photography (New York: Museum of Modern Art, 1991).

Galton, Francis, "Composite Portraits," Journal of the Anthropological Institute 8 (1879), 132-142.

Galton, Francis, "Personal Identification and Description," Journal of the Anthropological Institute 18 (1889), 177-191.

Galton, Francis, "Photographic Chronicles from Childhood to Age," Fortnightly Review 37 9n.s. 31, 1882), 26-31.

Garner, Phillippe, "William Constable: Brighton's First Photographer," History of Photography 15:3 (1991), 236-240.

Gasser, Martin, "Histories of Photography 1839-1939," History of Photography 16:1 (1992), 50-60.

Gernsheim, Helmut, A Concise History of Photography (3d ed. NY: Dover, 1986).

Gernsheim, Helmut, The History of Photography from the Earliest Use of the Camera Obscura... up to 1914 (Oxford University Press, 1955); rev. ed., published as The History of Photography from the Camera Obscura to the Modern Era (London: Thames and Hudson, New York: McGraw Hill, 1969); 3d rev. enlarged edition published in two vols. as The Origins of Photography (Thames and Hudson, 1982) and The Rise of Photography: 1850-1880, the Age of Collodion (Thames and Hudson, 1988), or something to that effect.

Gernsheim, Helmut, Julia Margaret Cameron: Her Life and Photographic Work (London: Fountain Press and New York: Transatlantic Arts, 1948; rpt. New York: Aperture, 1975).

Gernsheim, Helmut, Lewis Carroll: Photographer (2d. ed. London: Max Parrish, 1950).

Gernsheim, Helmut, Masterpieces of Victorian Photography, 1840-1900 (London: Arts Council of Great Britain, 1951).

Gernsheim, Helmut and Alison Gernsheim, Roger Fenton: Photographer of the Crimean War (London: Secker & Warburg, 1954).

Gernsheim, Helmut and Alison Gernsheim, Victoria R.: A Biography with Four Hundred Illustrations Based on Her Personal Photograph Albums (New York: Putnam, 1959).

Gilman, Sander L., "Hugh W. Diamond and Psychiatric Photography," in The Face of Madness (see below).

Gilman, Sander L., Seeing the Insane (NY: John Wiley in association with Brunner/Mazel, 1982).

Gilman, Sander, ed., The Face of Madness: Hugh W. Diamond and the Origin of Psychiatric Photography (rpt. ed. of Diamond's "On the Application of Photography to the Physiognomic and Mental Phenomena of Insanity [1856] and John Connolly's "Case Studies from the Physiognomy of Insanity" [1858]). NY: Brunner/Mazel, 1976).

Gower, H. D., L. Stanley Jast, and W. W. Topley, The Camera as Historian (London: Sampson Low, Marston, 1916; rpt. New York: Arno, 1973).

Graham-Brown, Sarah, Images of Women: The Portrayal of Women in Photography of the Middle East 1860-1950 (New York: Columbia University Press, 1988).

Grant, Bernard, To the Four Corners: The Memoirs of a News Photographer (London: Hutchinson, [1933]).

Green, Jennifer M. "'The Right Thing in the Right Place': P. H. Emerson and the Picturesque Photograph," in Carol T. Christ and John O. Jordan, eds., Victorian Literature and the Victorian Visual Imagination (Berkeley: University of California Press, 1995), 88-110.

Green-Lewis, Jennifer, Framing the Victorians: Photography and the Culture of Realism (Ithaca: Cornell University Press, 1996).

Greene, W. Ashberry, "Hand Cameras," Photographic Art Journal 2: 26 (1889), 228-233.

Greene, W. Ashberry, "Snap-Shot Photography: How to Use a Detective Camera," Photographic Art Journal 3:35 (1890), 173-174 (article reprinted from the New York Sun).

Greenough, Sarah, Stieglitz in the Darkroom (Washington: National Gallery of Art, 1992).

Greenough, Sarah, and Joel Snyder, David Travis, and Colin Westerbeck, The Art of Fixing a Shadow (Washington, D.C.: National Gallery of Art, 1989).

Haas, Robert Bartlett, Muybridge: Man in Motion (Berkeley: University of California Press, 1976).

Hacking, Juliet, "David Wilkie Wynfield: 'The Great Amateur,'" History of Photography 19:4 (1995), 322-327.

Hamber, Anthony J. "A Higher Branch of the Art": Photographing the Fine Arts in England, 1839-1880 (Amsterdam: Gordon and Breach, 1996).

Hamerton, P. G., "The Relation between Photography and Painting," in Thoughts on Art (Boston: Robert Brothers, 1885), 52-65.

"Hand Cameras," Photographic Art Journal 2:25 (1889), 228.

Handy, Ellen, "Art and Science in P. H. Emerson's Naturalistic Vision," in Mike Weaver, ed., British Photography in the Nineteenth Century: The Fine Art Tradition (New York: Cambridge University Press, 1989), 181-196.

Handy, Ellen, "Dust Piles and Damp Pavements: Excrement, Repression, and the Victorian City in Photography and Literature," in Carol T. Christ and John O. Jordan, eds., Victorian Literature and the Victorian Visual Imagination (Berkeley: University of California Press, 1995), 111-133.

Handy, Ellen, "Pictorial Beauties, Natural Truths, Photographic Practices," in Handy, ed., Pictorial Effect Naturalistic Vision: The Photographs and Theories of Henry Peach Robinson and Peter Henry Emerson, 1-23.

Handy, Ellen, ed. Pictorial Effect Naturalistic Vision: The Photographs and Theories of Henry Peach Robinson and Peter Henry Emerson (Norfolk, VA: Chrysler Museum, 1994).

Hannavy, John, The Camera Goes to War: Photographs from the Crimean War, 1854-1856 (Edinburgh: Scottish Arts Council, 1974).

Hannavy, John, "Roger Fenton and the Waxed Paper Process," History of Photography 17:3 (1993), 233-243.

Harker, Margaret, "Emerson and the Linked Ring," in McWilliam, Neil, and Veronica Sekules, eds., Life and Landscape: P. H. Emerson: Art and Photography in East Anglia, 1885-1900 (Sainsbury: Sainsbury Center for Visual Arts, University of East Anglia, 1986), 64-68.

Harker, Margaret F., Henry Peach Robinson: Master of Photographic Art 1830-1901 (Oxford: Basil Blackwell, 1988).

Harker, Margaret, The Linked Ring: The Secession Movement in Photography in Britain, 1892-1910 (London: Heinemann, 1979).

Harley, Ralph L., Jr., "The D. O. Hill and Robert Adamson Partnership," History of Photography 10:4 (1986), 303-312.

Harris, David, Eadweard Mybridge and the Photographic Panorama of San Francisco, 1850-1880 (Montreal: Canadian Center for Architecture/Cambridge, MA: MIT Press, 1993).

Harrison, W. Jerome, Proposal for a Photographic Record and Survey (London: Harrison and Sons, 1892).

Haworth-Booth, Mark, ed., The Golden Age of British Photography 1839-1900 (New York: Aperture, 1984).

Haworth-Booth, Mark, "Paul Martin: A Yarmouth Holiday," text for Paul Martin, A Yarmouth Holiday (London: Dirk Nishen, n.d. [1978?]).

Haworth-Booth, Mark, "Paul Martin and the Modern Era," in Mark Haworth-Booth, ed., Golden Age of British Photography 1839-1900 (New York: Aperture, 1984), 184-187.

Heathcote, Pauline, "The First Ten Years of the Daguerreotype in Nottingham," History of Photography 2:4 (1978), 315-324.

Heathcote, Pauline, "Samuel Bourne of Nottingham," History of Photography 6:2 (1982), 99-112.

Henisch, Heinz K. The Photographic Experience 1839-1914: Images and Attitudes (University Park, PA: Pennsylvania State University Press, 1994).

Henison, Robert, "John Ruskin and the Argument of the Eye," in Harriet Whelchel, ed., John Ruskin and the Victorian Eye (Harry N. Abrams, 1993), 28-51.

Heyett, Elizabeth, The Glass-House Years: Victorian Portrait Photography 1839-1870 (Montclair and London: Allanheld and Schram/George Piror, 1979).

Hiley, Michael, Frank Sutcliffe: Photographer of Whitby (London: Gordon Fraser, 1974).

Hiley, Michael, Seeing Through Pictures (London: Gordon Fraser, 1983).

Hiley, Michael, Victorian Working Women: Pictures from Life (London: Gordon Fraser, 1979).

Holmes, Oliver Wendell, "The Stereoscope and the Stereograph," Atlantic Monthly, June 1859, 747.

Homans, Margaret, "'To the Queen's Private Apartments': Royal Family Portraiture and the Construction of Victoria's Sovereign Obedience," Victorian Studies 37:1 (1993), 1-42.

Homans, Margaret, "Victoria's Sovereign Obedience: Portraits of the Queen as Wife and Mother," in Carol T. Christ and John O. Jordan, eds., Victorian Literature and the Victorian Visual Imagination (Berkeley: University of California Press, 1995), 169-197.

Homer, William Innes, Alfred Stieglitz and the Photo-Secession (New York: Little, Brown, 1983).

Hudson, Derek, Munby: Man of Two Worlds: The Life and Diaries of Arthur J. Munby 1828-1910 (London: John Murray, 1972).

Hunt, Robert, A Manual of Photography (3d ed. London: John Joseph Griffing, 1853; rpt. New York: Arno, 1973).

Hyde, Ralph, Gilded Scenes and Shining Prospects: Panoramic Views of British Towns, 1575-1900 (New Haven: Yale Center for British Art, 1985), chapters 5-7.

Hyde, Ralph, Panoramania!: The Art and Entertainment of the "All-Embracing" View (London: Trefoil/Barbican Art Gallery, 1988).

im Thurn, E. F.. "Anthropological Uses of the Camera," Journal of the Anthropological Institute 22 (1893), 184-203.

International Center of Photography, Encyclopedia of Photography (New York: Crown, 1984).

Jäger, Jens, "Discourses on Photography in Mid-Victorian Britain," History of Photography 19:4 (1995), 316-321.

Jackson, Arlene, "Dickens and 'Photography' in 'Household Words," History of Photography 7:2 (1983), 147-149.

Janis, Eugenia Parry, ed., The Invention of Photography and Its Impact on Learning: Photographs from Harvard University and Radcliffe College and from the Collection of Harrison D. Horblit (Cambridge, MA: Harvard University Press, 1989).

Jarvis, Eugenia Parry, "Demolition Picturesque: Photographs of Paris in 1852 and 1853 by Henri Le Secq," in Peter Welch and Thomas F. Barrow, eds. Perspectives on Photography: Essays in Honor of Beaumont Newhall (Albuquerque: University of New Mexico Press, 1986), 53.

Jay, Bill, Victorian Cameraman, 1850-1858: Francis Frith's Views of Rural England (Newton Abbot: David and Charles, 1973).

Jay, Bill, Victorian Candid Camera: Paul Martin 1864-1944 (London: David & Charles, Newton Abbott, 1973).

Jay, Bill, ed., Critics, 1840-1900 (Phoenix: University of Arizona Press, 1985).

Jeffrey, Ian, "British Photography from Fox Talbot to E. O. Hoppe," in The Real Thing: An Anthology of British Photographs 1840-1950 (Arts Council of Great Britain, 1975).

Jeffrey, Ian, "Peter Henry Emerson: Art and Solitude," in Mark Haworth-Booth, ed., The Golden Age of British Photography 1839-1900 (New York: Aperture, 1984).

Jones, Edgar Yoxall, Father of Art Photography: O. G. Rejlander, 1813-1875 (London: David and Charles, 1973).

Jones, Iwan Meical, "Calvert Richard Jones: The Earlier Work," History of Photography 15:3 (1991), 174-179.

Jussim, Estelle, Visual Communication and the Graphic Arts: Photographic Technologies in the Nineteenth Century (New York: R. R. Bowker, 1974).

Jussim, Estelle, and Lindquist-Cock, Elizabeth, Landscape as Photograph (New Haven: Yale, 1985).

Kaufman, James C. A. "Photographs and History: Flexible Illustrations," in Thomas F. Barrow, Shelley Armitage and William E. Tydeman, eds., Reading into Photography: Selected Essays, 1959-1980 (Albuquerque: University of New Mexico Press, 1982).

Keeler, Nancy B., "Photographing the Reports of the Juries of the Great Exhibition of 1851: Talbot, Henneman, and their Failed Commission," History of Photography 6:3 (1982), 257-272.

Keller, Ulrich F., "The Myth of Art Photography: A Sociological Analysis," History of Photography 8:4 (1984), 249-275.

Kemp, Wolfgang, "Images of Decay: Photography in the Picturesque Tradition," October 54 (1990).

Knight, Hardwicke, "Russell Sedgfield, The Complete Photographer," History of Photography 1:4 (1977), 301-312.

Knight, Sarah, "Change and Decay: Emerson's Social Order," in McWilliam, Neil, and Veronica Sekules, eds., Life and Landscape: P. H. Emerson: Art and Photography in East Anglia, 1885-1900 (Sainsbury: Sainsbury Center for Visual Arts, University of East Anglia, 1986), 12-20.

Köhler, Michael, The Body Exposed: Views of the Body: 150 Years of the Nude in Photography (Zurich: Edition Stemmle, 1986/1995).

Kracauer, Siegfried, Theorie des Films: Die Erriterung der Äusseren Wirklichkeit (Berlin: Surkamp Verlag, 1975).

Krauss, Rolf E., "Photographs as Early Science Book Illustrations," History of Photography 2:4 (1978), 291-314.

Krauss, Rolf E., "Travel Reports and Photography in Early Photographically Illustrated Books," History of Photography 3:1 (1979), 15-30.

Krauss, Rosalind, "Tracing Nadar," October 5 (1978), 29-47.

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Lloyd, Valerie, "Roger Fenton and the Making of a Photographic Establishment," in Mark Haworth-Booth, ed., The Golden Age of British Photography, 70-75.

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McCauley, Elizabeth Anne, A. A. E. Disderi and the Carte de Visite Portrait Photograph (New Haven: Yale, 1985).

McCauley, Elizabeth Ann, Industrial Madness: Commercial Photography in Paris 1848-1871 (New Haven: Yale University Press, 1994).

McKenzie, Roy, "Thomas Annan and the Scottish Landscape: Among the Gray Edifices," History of Photography 16:1 (1992), 40.

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Morton, Vanda, Oxford Rebels: The Life and Friends of Nevil Story Maskelyne 1823-1911: Pioneer Oxford Scientist, Photographer and Politician (NY: Alan Sutton, 1987).

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"Mr. Lydell Sawyer's Pictures at the Camera Club," Photographic Art-Journal 3:37 (November 1890), 206.

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Sekula, Allan, "The Invention of Photographic Meaning," in Victor Burgin, ed., Thinking Photography (London: Macmillan, 1982), 84-109.

Allan Sekula, ed. Photography Against the Grain (Halifax: Press of the Nova Scotia College of Art and Design, 1984).

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Sharma, Brij Bhushan, "A 'Photographic' Book on the Indian Mutiny," History of Photography 6:2 (1982), 173-177.

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Smith, Graham, "Rejlander, Babbage, and Talbot," History of Photography 18:3 (1994), 285-286.

Smith, Graham, "Talbot and Botany: The Bertolini Album," History of Photography 17:1 (1993), 33-48.

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Taylor, John, "Landscape and Leisure," in McWilliam, Neil, and Veronica Sekules, eds., Life and Landscape: P. H. Emerson: Art and Photography in East Anglia, 1885-1900 (Sainsbury: Sainsbury Center for Visual Arts, University of East Anglia, 1986), 73-82.

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Thomas, G., "Colonel E. C. Impey and his Indian Connection," History of Photography 7:3 (1983), 207-236.

Thomas, G., "The First Four Decades of Photography in India," History of Photography 3:3 (1979), 215-226.

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Thomson, G. [sic; John], "Notes of Cambodia and Its Races," Transactions of the Ethnological Society of London n.s. 6 (1869), 246-252.

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"The Use and Abuse of Hand Cameras," Photographic Art Journal 4:57 (1891), 254.

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