Book contents
- Frontmatter
- Contents
- List of Figures
- Introduction
- 1 The Origins of Scottish Photography: Pioneering Activities in St Andrews and Edinburgh
- 2 David Octavius Hill and Robert Adamson: the ‘Partnership of Genius’ and the First Art Photography
- 3 Photography for the Few: The Activities of the Enthusiastic and Artistic Amateurs
- 4 Photography in Demand: The Work of the Increasing Number of Professional Photographers to Meet Public Demand
- 5 Scots Abroad: The Achievements of Scottish Photographers Around the World
- 6 Tourists and Travellers: Images of Scotland Produced for the Rapidly Growing Tourist Market and Photographs Taken by Visitors
- 7 Recording Social Conditions and Industrial Change: Photographs of what was Being Lost and what was Replacing it
- 8 Photography as Art: Looking at the Images and the Arguments
- 9 Populist Activity and Pictorialism: Popular Involvement with Cheap and Mass Produced Cameras and Photographers with Artistic Aspirations
- 10 Scotland's Enduring Photographic Legacy
- Bibliography
- Acknowledgements
- Index
8 - Photography as Art: Looking at the Images and the Arguments
Published online by Cambridge University Press: 05 August 2013
- Frontmatter
- Contents
- List of Figures
- Introduction
- 1 The Origins of Scottish Photography: Pioneering Activities in St Andrews and Edinburgh
- 2 David Octavius Hill and Robert Adamson: the ‘Partnership of Genius’ and the First Art Photography
- 3 Photography for the Few: The Activities of the Enthusiastic and Artistic Amateurs
- 4 Photography in Demand: The Work of the Increasing Number of Professional Photographers to Meet Public Demand
- 5 Scots Abroad: The Achievements of Scottish Photographers Around the World
- 6 Tourists and Travellers: Images of Scotland Produced for the Rapidly Growing Tourist Market and Photographs Taken by Visitors
- 7 Recording Social Conditions and Industrial Change: Photographs of what was Being Lost and what was Replacing it
- 8 Photography as Art: Looking at the Images and the Arguments
- 9 Populist Activity and Pictorialism: Popular Involvement with Cheap and Mass Produced Cameras and Photographers with Artistic Aspirations
- 10 Scotland's Enduring Photographic Legacy
- Bibliography
- Acknowledgements
- Index
Summary
The debate over whether photography was an art was an emotive one in Victorian times. Arguments were expressed for and against but many influences were at play and it was acknowledged that there was a close interrelationship between photography and art.
Thomas Annan's preparatory sketch for his photograph of Linlithgow Palace (Figure 7.15), shows that he was aware of the principles of composition in the graphic arts and that he applied these in his photographs. There was artistic intention in the work Annan produced. Although this chapter specifically concentrates on art and photography, this has been a theme throughout the book and this reflects how attitudes to photography as art have changed.
There is no doubt that photography in Victorian times was an art form, although it was not always recognised and appreciated as such. That it was an art can be determined by a number of considerations, including; the intention of the photographer, the images produced and the effect on the viewer. Photography did establish its own aesthetic terms and become a means of artistic expression.
- Type
- Chapter
- Information
- The Photography of Victorian Scotland , pp. 154 - 174Publisher: Edinburgh University PressPrint publication year: 2012