Roger Fenton
18/02/09 10:27
Roger Fenton
British photographer
born 1819, Heywood, near Rochdale, Lancashire, England died August 8, 1869, London
Main
English photographer best known for his pictures of the Crimean War, which were the first extensive photographic documents of a war.
A Quiet Day in the Mortar Battery, photograph by Roger Fenton, 1855; in the George Eastman …[Credits : Courtesy of the George Eastman House, Rochester, New York]Fenton studied painting and then law. Following a trip in 1851 to Paris, where he probably visited with the photographer Gustave Le Gray, he returned to England and was inspired to pursue photography. In the winter of 1855 his governmental connections as the founder (1853) and first honorary secretary of the Royal Photographic Society helped him gain an appointment as official photographer of the Crimean War. Fenton and his assistant, Marcus Sparling, arrived on the ship Hecla and set up their darkroom in a wagon. Using the wet-collodion photographic process of the times, they took approximately 360 photographs of the war. As an agent of the government, however, Fenton portrayed only the “acceptable” parts of the conflict. Even the disastrous charge of the Light Brigade—so movingly recounted by Alfred, Lord Tennyson’s poem of the same name—was depicted as glorious. Although little of the real action or agony of war was shown, the images were nevertheless the first to depict the more mundane aspects of modern warfare.
Upon Fenton’s return to England, his war images were successfully exhibited in London and Paris, and wood engravings of the particularly notable photographs were printed in the Illustrated London News. Fenton continued to photograph architecture and landscapes until 1862, when he retired from photography and returned to practicing law.
Valley of the Shadow of Death
Two pictures were taken of this area, one with several cannonballs on the road, the other with an empty road. Opinions differ concerning which one was taken first. Filmmaker Errol Morris wrote a series of essays canvassing the evidence. He concluded that the photo without the cannonballs was taken first, but he remained uncertain about who moved the balls onto the road in the second picture - were they deliberately placed on the road by Fenton to enhance the image, or were soldiers in the process of removing them for reuse? [3][4][5]
British photographer
born 1819, Heywood, near Rochdale, Lancashire, England died August 8, 1869, London
Main
English photographer best known for his pictures of the Crimean War, which were the first extensive photographic documents of a war.
A Quiet Day in the Mortar Battery, photograph by Roger Fenton, 1855; in the George Eastman …[Credits : Courtesy of the George Eastman House, Rochester, New York]Fenton studied painting and then law. Following a trip in 1851 to Paris, where he probably visited with the photographer Gustave Le Gray, he returned to England and was inspired to pursue photography. In the winter of 1855 his governmental connections as the founder (1853) and first honorary secretary of the Royal Photographic Society helped him gain an appointment as official photographer of the Crimean War. Fenton and his assistant, Marcus Sparling, arrived on the ship Hecla and set up their darkroom in a wagon. Using the wet-collodion photographic process of the times, they took approximately 360 photographs of the war. As an agent of the government, however, Fenton portrayed only the “acceptable” parts of the conflict. Even the disastrous charge of the Light Brigade—so movingly recounted by Alfred, Lord Tennyson’s poem of the same name—was depicted as glorious. Although little of the real action or agony of war was shown, the images were nevertheless the first to depict the more mundane aspects of modern warfare.
Upon Fenton’s return to England, his war images were successfully exhibited in London and Paris, and wood engravings of the particularly notable photographs were printed in the Illustrated London News. Fenton continued to photograph architecture and landscapes until 1862, when he retired from photography and returned to practicing law.
Valley of the Shadow of Death
Two pictures were taken of this area, one with several cannonballs on the road, the other with an empty road. Opinions differ concerning which one was taken first. Filmmaker Errol Morris wrote a series of essays canvassing the evidence. He concluded that the photo without the cannonballs was taken first, but he remained uncertain about who moved the balls onto the road in the second picture - were they deliberately placed on the road by Fenton to enhance the image, or were soldiers in the process of removing them for reuse? [3][4][5]