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Excerpt from India Through the Stereoscope: A Journey Through Hindustan owers are strangers, except to the botanist. The herds of the fields are strange, embracing specimens previously known only in zoological gardens. I men tion these things as hints of the many strange and wonderful things to be seen in the great peninsular. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."
During the mid-nineteenth century, stereoscopy became a monumentally popular and heavily studied component of British and American optical science. James Ricalton (born 1844-1929), an American photographer and traveler, utilized stereoscopy and stereography for the production of travel cards that displayed 'non-Western' locations and peoples. This thesis examines Ricalton's deployment of stereography and shows that Ricalton's brand of stereographic practice participates in contemporaneous ideological formations concerning social Darwinism, civilizationism, and American exceptionalism. I visually analyze fifteen of Ricalton's original 100 stereographic prints from India Through the Stereoscope: A Journey through Hindustan" (1900) to show that Ricalton's orientation towards the people and places he photographs is a complex negotiation of his own masculinity, narratives of American nationhood, and dominant ideologies of nineteenth century colonial apologism. I argue that Ricalton's usage of stereoscopy and stereography forms a 'hybridized' archive that does not fit into standard photographic typologies of the nineteenth or twentieth centuries.
An innovative study using the commemoration of 1857 as a prism through which to explore 150 years of Indian history.
After the public announcement of the invention of the camera in 1839, photography spread swiftly round the world, and by the early 1850s the medium had become well-established in the Indian subcontinent. In a land characterised by the variety and splendour of its architecture and landscapes, and the diversity of its peoples and customs, India offered the photographic artist an unsurpassed range of subject matter. In addition to the artistic achievements of international masters of photography like Dr John Murray and Samuel Bourne, official encouragement of the medium as a documentary tool came from the East India Company. By the mid-1850s a remarkable visual 'archive' had been created, which charted the architectural heritage and ethnic composition of the subcontinent. This book, which accompanied a major exhibition of 19th century images from India, traces the development of photography from 1850 to 1900, when the ascendency of the large format camera and print began to crumble in the face of the simplified amateur camera. Drawn from the collections of the British Library, and Howard and Jane Ricketts, the book is illustrated with some of the finest photographs produced in India during the latter half of the nineteenth century, many never previously reproduced.
Three-dimensional stereoviews were wildly popular in the mid-19th century. Yet public infatuation fueled highbrow scorn, and even when they fell from favor, critics retained their disdain. Thus a dazzling body of photographic work has unjustly been buried. This book explores how compelling images were made by carefully combining subject matter, composition, lighting, tonality, blocking and depth. It draws upon the fine arts, the mass media, humanities, history, and even geology. Throughout, overlooked photographers are celebrated, such as the one who found extraordinary visual parallels within nature, anticipating Cezanne and Seurat--or the one who refused to play favorites during a bitter war and found humanity on both sides--or the one who took a favorite American glen and found menace all about. Stereographers were actually more like film directors or television producers than large format photographers: the best ones fused artistry with commercial appeal.