Photography in the 19th Century - Term Paper Example

This paper will argue that both aesthetics and social documentary were dominant natures of photography during the 19th century. It will first define aesthetics and documentary photography as primary terms for this paper. It will then show examples of photographs created by Fox Talbot and Jacob Riis, where each work would be dissected based on the mentioned natures of 19th century photography. At the turn of the 19th century, photography had developed into one of the most reliable medium to express modern art.

Aesthetics became well appreciated because of the developments presented by photography. It explains man’s emotions towards art, beauty, creation and taste. With such emotions, the appreciation for aesthetics follows the study of sensory values (Zangwill, par. 1). Complexity was also intertwined with aesthetics as social change became a prevalent concern amongst photographers; hence the emergence of documentary photography. Documentary photography is a product of a fervent desire to let images tell a particular story.

It implants upon the audience social consciousness which produces acts of persuasion for change (Curtis, 5). Both aesthetics and documentary natures are present within the photographs created by Fox Talbot and Jacob Riis. Fox Talbot was the known inventor of the calotype process – a dominant process of photography during the 19th century. . The subjects who are in their coats portray the serious atmosphere exhibited by the photograph. Aesthetics can be derived in this picture by looking at the timely and classic form of photography created by Talbot.

It is classic in the sense that the subjects of the photograph exhibit the upbringing of the society – male professionals act profoundly and dressed neatly in their suits or coats. Talbot’s piece is timely because, up to the present time where color and new forms of aesthetic techniques are observed in photography, the classic form of the picture is still well venerated and appreciated through its simple and monochromatic look. Complexity is derived from Talbot’s photograph by the implication created and intended by the photographer – a sense of modernity shown through the story contained within the picture.

The photograph shows the subjects seriously preoccupied by setting the cameras they need for a photograph shoot. This story is not a definition of documentary photography in its sense. It doesn’t encourage the desire for social change or reform. However, it can still be classified as documentary because the picture transmits and shows a story of photography development and evolution. It, somehow, “documents” the improvements within the world of photography during the 19th century because the picture shows photographers inclined with improved pieces of equipment.

Jacob Riis, on the other hand, shows the real nature of what documentary photography is. In his piece entitled Bandit’s Roost created in 1888, the photographer shows the social dilemma of poverty prevalent within the suburbs of the 19th century (see Figure 2). Aesthetic wise, Riis’ work is the same as Talbot’s photograph – it is