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S. 193

Photographers

Abdullah Frères

(Viçen 1820–1902, Hovsep 1830–1908, Kevork 1839–1918)

The three Abdullah brothers took over the studio of the German chemist Rabach in Beyazit in 1856. Subsequently they sold this studio to Andreomenos and moved to Péra. At their Péra studio they trained hundreds of young photographers. A visit to their studio was recommended in the guide books of the time written for tourists to Istanbul, along with the Bosphorus, Haghia Sophia and the city's other historic monuments.

In 1863 they took a portrait of Sultan Abdülaziz for a medaillon being commissioned by the German Empress Augusta, and for this they were granted a title of Artist by Appointment to His Majesty. They retained this title during the reign of Abdülhamid II.

The Abdullah Brothers photographed many famous people who visited Istanbul, and in 1886 at the invitation of Khedive of Egypt Tevfik Pasa, they opened a branch in Cairo.

At the end of the century they sold their studio to Sébah & Joaillier.


A. Cilliere

Cilliere was French consul-general to Turkey between 1909 and 1915. He was a keen amateur photographer and took around a thousand photographs of Istanbul and other towns and cities along the coasts of the Marmara Sea.


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A. de Moustier

A. de Moustier was a relative of the Marquis de Moustier, who was French ambassador to Turkey in 1862. He obtained a ferman (imperial edict) from the Ottoman government and travelled through Asia Minor taking photographs. He set out on his journey from Istanbul with guards provided by the authorities, and was ceremonially welcomed wherever he went.

He photographed Chalcedon (Kadiköy), the Gulf of Izmit, Iznik, Sapanca, Bursa Uludag, Kütahya, the Temple of Aizeni, Usak, Kula, Salihli, Izmir, the ruins of Sardis, the tombs of the Lydian kings, and the ruins of Ephesus. These phtographs were reproduced in the form of woodcuts by J. Guiaud and used to illustrate Moustier's 15 volume Le Tour du Monde published in 1864. The section containing his account of his travels in Turkey iis entitled Voyage Consatinople à Ephèse par l'interieur de l'Asie Mineur, Bithynie, Phrygie, Lydie, Ionie.

Guillaume Berggren

(1830–1920)

Berggren was of Swedish extraction. In the early 1870s he opened a photographic studio on the second floor of No 414 Dervis Sokag (today Piremeci) off the Grand’ Rue de Péra. He ran the studio together with his niece Hilda Ullin, the daughter of his sister Charlotta.

Thanks to his masterful technique and sense of composition, Berggren's photographs of Istanbul, its streets, people and views, and of the shores of the Bosphorus, are the finest of the period.

During construction of the Baghdad Railway Berggren travelled to Anatolia with Goltz Pasa and took photographs of many of the cities along the route of the railway. As well as being excellent photographs, they are valuable documentary evidence of their time.

When the Swedish king Oscar II and his family visited Istanbul in 1885 Berggren took photographs of them on the terrace of the Swedish Embassy. He presented these in an album to the king, who rewarded him with a decoration.

Guillaume Berggren also received a decoration from the Ottoman sultan. He died in 1920 at the age of 85, and his niece Hilda Ullin placed all his photographic equipment on his coffin when he was buried. His grave is in the Swedish cemetery in Feriköy, Istanbul.

Sébah & Joaillier

(Pascal Sébah (1823-1886)/ Policarpe Joaillier)

Pascal Sébah opened a studio called El Chark on Postacilar Caddesi in Péra in 1857. Later he moved to number 439 adjoining the Russian Embassy (which at that time was located

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in the building named Narmanli Yurdu), and went into partnership with a Frenchman named A. Laroche.

Pascal Sébah took all of the photographs of Ottoman costumes for the Ottoman exhibition held in Vienna in 1873. He was awarded the Osmanî and third class Mecidî decorations, and received medals for his photographs exhibited in Paris in 1870 and 1878, and at the Philadelphia Exposition in 1877.

Pascal Sébah opened a branch studio in Egypt in 1873. The famous Turkish painter Osman Hamdi Bey used Sébah's photographs as studies for many of his paintings.

In 1888 the name of the studio was changed to Sébah & Joaillier.

Trémaux

(1818–1895)

Trémaux was an architect and member of the French Academy of Sciences. He was awarded the Chevalier de la Légion d'Honneur. In 1847-1848 he took photographs during his journey through North Africa, and in 1853-1854 of Greece, Asia Minor, Syria, Egypt, Libya, and Tunisia.

Quelle: Engin Özendes, The first Ottoman capital, Bursa : a photographic history by Özendes, Engin; Publication date: 1999, Publisher: Harbiye, Istanbul : Yapi-Endüstri Merkezi Yayinlari, https://archive.org/details/firstottomancapi0000ozen/page/130/mode/2up, Books to borrow, S. 131, https://archive.org/details/firstottomancapi0000ozen/page/130/mode/2up

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I could now identify the names of several French photographers: Caranza, Trémaux, Vignes, Ferrier, Moustier... As for local photographers, most of them were “Levantines” who spoke French. It is precisely during this period that this “Levantine” world in which France had a central place developed rapidly. An intriguing world for which I felt great curiosity.

https://archive.org/details/firstottomancapi0000ozen/page/8/mode/2up?q=Moustier

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Hippolyte Arnoux

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Arnoux, Hippolyte (tätig 1860er Jahre bis etwa um 1900) Der Franzose Hippolyre Arnoux war vor allem in Nordafrika, insbesondere in Ägypten tätig. Charakteristisch für seine in Port Said entstandenen Studioaufnahmen sind die reich bemalten Dekorelemente. Bekannt wurde Arnoux durch seine fotografische Dokumentation des Baus des Suez-Kanals, die als Album du Canal de Suez veröffentlicht wurde. In den späten 1860er Jahren war Arnoux einer der Geschäftsparrner von Antonio Beato (s. u.). Auch die Zangaki-Brüder (s. u.) arbeiteten zu Beginn ih rer Karriere mir Arnoux zusammen. Lit. : Luc Forlivesi (Hg.), Hippolyte Arnoux, Paris 1996

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4

Englische Wikipedia: Hippolyte Arnoux ; https://www.wikidata.org/wiki/Q2718944

Antonio Beato

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Beato, Anionio (um 1840-1906) Antonio Beato war, wie sein Bruder Felice, ein italienischer Fotograf, der später auch die britische Staatsbürgerschaft innehatte. Bekannt ist er durch seine Genreaufnahmen, Portraits und den Fotografien von Architektur und Landschaft in Ägypten, Griechenland und dem Heiligen Land. Er hatte sein Studio in Luxor und arbeitete gelegentlich auch mir seinem Bruder Felice, der ebenfalls Fotograf war, zusammen. Lit.: Antonio Ferri, II fotografo dei faraoni. Antonio Beato in Egitto 1860- 1905, Bologna 2008

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4

Antonio Beato war ein Bruder von Felice Beato und ein Schwager und zeitweiliger Geschäftspartner von James Robertson (Fotograf))

Emile Béchard

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Béchard, Emile (tätig 1870er-1880er Jahre) Der französische Fotograf Emile Béchard hatte sein Studio in Kairo. Béchard fotografierte Landschaften und Einheimische in typischen Kostümen sowie Architekturmotive. Emile Béchard unterhielt eine langjährige Partnerschaft mit Hippolyte Délié (s. u.), während der auch die hier gezeigten Aufnahmen aus dem Bulaq-Museum entstanden. Es ist umstritten, ob die mit „H. Béchard" signierten Aufnahmen von einem anderen Fotografen stammen. Lit.: Francesca Fiorelli, Viaggio in Oriente. Fotografie dell'Africa a Casa Martelli, Livorno 2013

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4

Francis Bedford

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Francis Bedford (photographer), https://en.wikipedia.org/wiki/Francis_Bedford_(photographer)

Bedford, Francis (1816-1894) Francis Bedford war zuerst Zeichner und Lithograph, bevor er zur Fotografie kam. Seine ersten fotografischen Arbeiten sind Aufnahmen von englischen Landschaften. Diese wurden von Queen Victoria besonders geschätzt und führten dazu, dass Bedford 1862 den Auftrag erhielt, die Reise des Prinzen von Wales durch den Mittleren Osten und das Heilige Land fotografisch zu dokumentieren. Dort entstanden an die 200 Negative von Landschaften und Gebäuden, die später im Bildband „Tour in the East“ veröffentlicht wurden. Lit.: Sophie Gordon et al., Cairo to Constantinople. Francis Bedford's Photographs of the Middle East, London 2013

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4

Alexandre Bougault

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Bougault, Alexandre (1851-1911)

Alexandre Bougault war in Nordafrika sowie im Süden Frankreichs tätig. 1893 zog er mir seiner Familie nach Toulon und eröffnete hier ein Studio, in dem er auch Postkarten verkaufte. Während seiner früheren militärischen Laufbahn dokumentierte Bougault das Leben auf den Militärschiffen und lieferte gleichzeitig fotografische Vorlagen für das Pariser Magazin L'Illustration. Seine Fotografien zeigen vor allem Landschaftsmotive, Eindrücke aus dem Leben der nordafrikanischen Einheimischen sowie Panoramen mir starken Licht- und Schatteneffekten.

Lit.: Claude-Maurice Robert, Le long des oueds de l'Aurès. Photographies d'Alexandre Bougault, dessins de P.-H. Durand, Alger 1938

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 200

Alexandre Brignoli

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Brignoli, Alexandre (tätig 1860er-1870er Jahre) Über den Fotografen dieses Namens, der ein Studio im Hôtel du Commerce in Kairo hatte, ist wenig bekannt. Neben Porträtfotografien und Genreaufnahmen entstanden um 1865 die in diesem Band publizierten Aufnahmen von ägyptischen Altertümern im Bulaq-Museum. Ein Album mit dem Titel Musée Egyptien. Album photographié wurde 1874 in der Societé française de photographie in Paris ausgestellt.

Lit.: Ken Jacobson, Odalisques & Arabesques. Orientalist Photography, London 2007

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 200/201

Hippolyte Délié

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Délié, Hippolyte (1841- ?)

Von dem in Ägypten tätigen französischen Forografen sind nur wenige Cartes de visite bekannt, die im Studio aufgenommene Einheimische zeigen. 1869 wurden Werke von ihm in der Zeitschrift Le Monde illustré abgebildet. Bekannt wurde Délié durch die Partnerschaft mir Henri Béchard (s.o.). 1872 produzierten Béchard und Délié zusammen für Auguste Mariette einen Bildband mir Werken aus dem Boulaq-Museum in Kairo.

Lit.: Francesca Fiorelli, Viaggio in Oriente. Fotografie de l'Africa a Casa Martelli, Livorno 2013

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 201

Tancrède Dumas

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Dumas, Tancrède (1830-1905)

Dumas wuchs als Kind emigrierter Franzosen in Mailand auf. Er erlernte das Fotografenhandwerk bei den Brüdern Alinari in Florenz, war aber Zeit seines Lebens auch im Bankgeschäft tätig. In den 1860er Jahren eröffnete er zuerst ein Studio in Konstantinopel, übersiedelte aber bald nach Beirut. Dumas fotografierte jedoch im ganzen Nahen Osten. Im Jahre 1875 begleitete er die American Palestine Exploration Society und publizierte spärer die dabei entstandenen Aufnahmen in einem großen Album.

Lit: Rachel Hallote et al. (Hg.), The photographs of the American Palestinian Society, Boston MA 2012

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 201

Paul Marie Famin

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Famin, Paul Marie (1851-1911)

Der Franzose Paul Famin leitete eines der bedeutendsten Ateliers in Algier. Dort verkaufte er auch Postkarten und Aufnahmen anderer Fotografen. Famins Arbeiten zeigen die typischen für die Touristen bestimmten Motive, doch hielt er auch seltene Ereignisse fest, so einen Schneefall in Algerien im Jahre 1891.

Lit.: Marie-Claire Adès et al., Photographes en Algérie au XIXe siècle, Paris 1999

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 201

Luigi Fiorillo

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Luigi Fiorillo von MYR67 vom 7. Aug. 2022‎.

Fiorillo, Luigi (?- 1898)

Der in Italien geborene Fiorillo betrieb ab 1872 ein Studio in Alexandria, war jedoch im gesamten Nahen Osten tätig. Er fotografierte neben Genremotiven vor allem Landschaften, die bei Touristen beliebt waren. Fiorillo war einer der wenigen Europäer, die während der britischen Bombardierung 1882 in Alexandria ausharrten und die Zerstörungen der Stadt dokumentierten. Diese Aufnahmen wurden im Bildband Souvenir d'Alexandrie. Ruines 1882 veröffentlicht.

Lit.: Claudia Morgan, "Fiorillo, Luigi": http://biblioteche.comune.trieste.it/Record.htm?Record=19287259157910054319&idlist=1 (Zugriff am 3.12.2014)

Quelle: Bernd Stiegler, Felix Thürlemann, „Orientbilder. Fotografien 1850–1910“, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4, S. 201

W. Linde, Cairo

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3. Porträtphotographie in Cairo.

Herr W. Linde, welcher die k. k. Lehr- und Versuchsanstalt für Photographie und Reproductionsverfahren im Jahre 1889 absolvirte und sich dann nach Cairo begab, ...

https://upload.wikimedia.org/wikipedia/commons/1/1a/Photographische_Korrespondenz_%28IA_photographischek2718unse%29.pdf

Arthur Neustadt

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Neustadt. — Japanische Reisebriefe. Berichte über eine Fahrt durch Japan. Von Arthur Neustadt. Mit 15 Abbildungen nach photographischen Aufnahmen des Verfassers. Berlin, Paul Cassirer. 1913. Quelle: Deutsche Rundschau, Stuttgart [etc.] 1913 Publisher: Scherz [etc.], Literarische Neuigkeiten, S. 319, https://archive.org/details/deutscherundscha156stutuoft/page/318/mode/2up?q=%22Arthur+Neustadt%22 Ähnlich: Ostasiatische Zeitschrift 2.1913/1914, Bücherschau, S. 374, https://archive.org/details/ostasiatische-zeitschrift-2/page/374/mode/2up?q=%22Arthur+Neustadt%22

Ingrid Schuster, China und Japan in der deutschen Literatur, 1890-1925, Publication date: 1977, Books to borrow, Page 81: »So reiste zum Beispiel Bernhard Kellermann (in Begleitung des Malers Karl Walser) im Auftrag des Verlegers Paul Cassirer; Arthur Holitscher als Zeitungskorrespondent und Richard Hülsenbeck als Schiffsarzt. Allein in den Jahren 1910 bis 1913 erschienen im deutschen Sprachraum: Bernhard Kellermann: Ein Spaziergang in Japan; K. F. Kurz: Vom Nil zum Fujiyama; Richard E. Spitz: Das Teebaus zu den hundert Stufen. Aus dem Tagebuch eines Schiffsarztes ; Hans Bachgarten: Aus einem Schiffstagebuch. Zwei Jahre in Japan und China; Bernhard Kellermann: Sassa yo yassa. Japanische Tänze; L. Martin: Meine letzte Ost-Asienfahrt ; Charlot Strasser: Reisenovellen aus Rußland und Japan; Arthur Neustadt: Japanische Reisebriefe. Dazu kamen Übersetzungen wie zum Beispiel das japanische Reisetagebuch des Millionärs Andrew Carnegie oder der Bericht Als Vagabund um die Erde von Harry Franck.«, https://archive.org/details/chinaundjapanind0000schu/page/80/mode/2up?q=%22Arthur+Neustadt%22

Aufenthalt in Hongkong:

Fotografien von einem gewissen Arthur Neustadt; möglicherweise nicht dem nämlichen:

Verriss von Curt Glaser von Neustadts Japanischen Reisebriefen, In: Das litterarische Echo: Halbmonatsschrift fur Litteraturfreunde, 1912, Seite 1735, https://www.google.de/books/edition/Das_litterarische_Echo/BmYxAQAAMAAJ?hl=de&gbpv=1&dq=%22Arthur+Neustadt%22&pg=PA1735&printsec=frontcover ... Arthur Neustadt. Berlin 1913, Paul Cassirer. 181 6. M. 4 , - ( 5 , - ) . = Herr Arthur Neustadt hielt sich im Mai und Juni des Jahres 1911 in Japan auf und fühlt sich gedrungen , die Welt mit den Erlebnissen seiner Reise bekannt zu ...

Kazumasa Ogawa (1860–1929)

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If Alfred Stieglitz’s thoughts were running to the mechanization of photography, one of Japan’s earliest photographers—a man only four years older than Stieglitz—was at this time also considering the possibility of large-scale book illustration with photography. This was K. Ogawa, the son of a deposed landowner of the Japanese feudal system. A love of photography had become a consuming passion with Ogawa to the same extent it had with Stieglitz. Ogawa learned the rudiments of the wet-plate collodion process and even took up the manufacture of collodion. Just about the time that Stieglitz signed up for Dr. Vogel’s course in Berlin, Ogawa got himself hired as a sailor aboard the American Asiatic frigate Swatara, and set sail to seek his fortune in the United States. He disembarked in Washington D.C. in January 1883 and remained until June 1884. He studied portraiture, carbon printing, collotype printing and dry-plate making. The parallel between Stieglitz’s and Ogawa’s careers did not end with their respective beginners in foreign lands. Ogawa returned to Japan where, for a time, he operated a large studio in Tokyo. Soon he was photographing the heir apparent to the Japanese throne—a vastly greater honor in Japan than for a similar feat performed in a any capital of the western world. He founded the Shashin Shimpo, Japan’s only photographic periodical, and established a photomechanical printing factory in Tokyo. Alfred Stieglitz, meanwhile, remained in Europe until 1890, after which he returned to the United States to become the protagonist of the American fine-arts photography movement, and founder of two of the country’s most influential turn-of-the-century journals, Camera Notes and Camera Work.

Encyclopaedia of 19th Century Photography, Kap.: HISTORY: 7. 1880s, S. 699, Encyclopedia_of_19thCentury_Photography.pdf

Shashin shinpo　写真新報 (Photographic News), The magazine had originally been founded in September 1882, and in November 1896 the photographic supply store Asanuma Shokai sponsored the third phase of the magazine, re-instating the original editor Fukuzawa Yokitsu (1847-1914). The magazine was not the first one to appear on the market: Fukuzawa had been working with two previous publications, namely Datsuei Yawa (3 issues, 1874), and Shashin Zasshi (7 issues, 1880-81), but Shashin Shimpo can be described as the first successful mainstream photography magazine catering to amateurs who were starting on the road to photography as a hobby. Various methods of reproduction are used for the plates: Most issues contain at least one beautifully printed collotype, several issues have original tipped-in photographs, but during the 1910s cheaper printing methods become prevalent. They show some fine examples of early geijutsu shashin. There are a surprising number of contributions from America, Germany, and England, which may be related to the large number of advertisements from those countries. The text is largely devoted to technical issues relating to camera technology and printing, but by the early Taisho period historical and artistic features appear regularly. https://www.britishmuseum.org/collection/object/A_2008-3035-35-1-91 .

Fukuzawa Yokitsu, author/poet; Japanese; Male, Life dates: 1847-1914, Biography: Editor of 'Shashin shinpo', a Japanese photography magazine, https://www.britishmuseum.org/collection/term/BIOG187453

Japan - Ogawa, K. Panoramic Japan, Tokio, o.D. u. J. (um 1902). Fol. (38:26 cm). Mit 57 Collotypien auf Tafeln. 2 Bll., 3 Bll. Zwischentitel. Or.-Pp. in Blockbuchbindung, Rücken fehlt, Deckel lose, fleckig u. mit Löchern.

A rare work with 57 collotype plates showing traditional architecture, scenic views, and subjects associated with Japanese culture and ritual customs. "Kazumasa Ogawa (1860–1929) became one of the most enterprising and important early photographers, technicians, and printers in Japan. Born shortly before the Meiji era (1868–1912), or period of “enlightened rule,” and educated in both the United States and Japan, Ogawa produced a range of illustrated books for the Western market ... Kazumasa Ogawa was a pioneering photographer and printer, and the foremost photography publisher in Japan during the Meiji era. The editor of Shashin Shimpo, he opened Tokyo’s first photography studio, established Japan’s first collotype press, and was a founding member of the Japan Photographic Society" (Getty Publications, J. Paul Getty Museum, 2013). - Insignificant browning. Original boards, front cover loosening, staining and with coating hole.

Vgl. Bennett 210 f. - Die Tafeln zeigen traditionelle japanische Kostüme und Sitten, berühmte Bauwerke und Tempel (in Tokio, Nagoya, Osaka, Nikko, Mitake, Nara und Kioto) sowie Landschaften und Szenen, teils mit begleitenden Kurzbeschreibungen in Englisch. - Minimal gebräunt. https://www.reiss-sohn.de/en/lots/9454-A187-2557/

Frühe Fotografien aus Japan und frühe Fotografen in Japan

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„So beginnt mit den 1860er-Jahren eine Phase der Produktion und Vermarktung von Japanbildern, an der auch einige bedeutende Künstler Europas beteiligt sind. Hierzu zählen der in England eingebürgerte Venezianer Felice Beato, der zusammen mit seinem Landsmann Charles Wirgman nach Yokohama ging, sowie der Österreicher Raimund Freiherr Stillfried von Rathenitz und der aus Vincenza stammende Adolfo Farsari; daneben finden sich auch japanische Berufsfotografen wie Kusakabe Kimbei, Suzuki Shin'ichi, Uchida Kuichi, Ueno Hikoma, die sich die fotografischen Repertoires ihrer westlichen Vorbilder oft selbst zu eigen machten …“

Quelle: Monica Maffioli, Japanese Dream, in: Japanese Dream, Hatje Cantz-Verlag, Ostfildern 2012, ISBN 978-3-7757-3437-0, S. 5

Sebastian Dobson und Sabine Arqué: Japan 1900, Taschen, dreisprachige Ausgabe: Englisch, Deutsch, Französisch, 536 Seiten, 150 Euro. 75 Euro: https://www.kulturkaufhaus.de/de/detail/ISBN-9783836595933/Arqu%C3%A9-Sabine/Japan-1900 323 Euro: https://www.amazon.de/Japan-EXTRA-LARGE-Sebastian-Dobson/dp/3836573563


Das folgende stammt aus: Sebastian Dobson, Lemma: Japan. In: John Hannavy (Hrsg.), Encyclopedia of Nineteenth-Century Photography, Routledge-Verlag, New York/ London, 2008, 1630 Seiten, ISBN 978-0-415-97235-2, S. 769 bis S. 773

S. 769: »... the first camera was imported into Japan in 1843. This was in response to an order made through the Dutch trading post in Nagasaki by a local merchant, Ueno Toshinojô, and it is typical of the numerous false starts that bedeviled the advent of photography in Japan that the daguerrian apparatus was unaccountably sent back and Ueno was not to see his purchase again until it was finally returned to « S. 770: »Nagasaki in 1848. [...] Ueno’s camera was acquired in 1848 by Shimazu Nariakira, lord of the powerful Satsuma domain, who duly commanded two of his clan scholars, Kawamoto Kômin and Matsuki Kôan, to experiment with the apparatus. Although Kawamoto studied enough Western writings on the daguerreotype process to publish the first Japanese photographic manual in 1854, success evaded the Satsuma scholars for many years, and it was only in 1857 that two other retainers of the clan, Ichiki Shirô and Ujuku Hikoemon, succeeded in taking a daguerreotype likeness of their lord, thus achieving the joint distinction of being the first Japanese to take a photograph. [...] the arrival of foreign photographers in Japan after 1859. [...] Japanese photographers, the most famous being Ueno Hikoma, son of Toshinojô, who after learning the wet-collodion from a Western photographer visiting Nagasaki, persuaded the daimyo of the Tsu domain to sponsor his further photographic studies in Edo during 1860–61. In 1862 Ueno published the first guide in Japanese to the wet-collodion process and returned to Nagasaki to open the first commercial studio in the port. It was through the agency of a Western photographer, however, that the first known photographs were taken in Japan. In 1854, Eliphalet Brown Jnr., a daguerriean from New York, arrived in Japan as part of Commodore Perry’s mission to open up the country to foreign trade, and his contribution to the visual record of the mission was later incorporated in lithographic form into the official account published by order of the United States Congress. Less fortunate was Lieutenant Aleksandr Feodorovich Mozhaiskii, who also took daguerreotypes during a parallel Russian expedition to Japan, but whose work was lost before he even left Japan when his ship was destroyed in a tidal wave in 1855. [...] Those who came to Japan before 1860 with the specific object of photographing the country and its people were in a minority, such as the American artist Edward Meyer Kern, who visited Japan as part of a hydrographic survey of the North Pacific undertaken by the United States Navy between 1853 and 1856, and the Swiss photographer Pierre Joseph Rossier, who visited Japan on at least two occasions in 1859 and 1860 to take photographs for the London photographic firm Negretti and Zambra. The first professional photographer who actually took up residence in Japan was the American Orrin Eratus Freeman (1830–1866), who appears to have arrived in Yokohama early in 1860, followed by William Saunders in 1862 and Charles Parker and Felice Beato in 1863. Freeman, who had previously operated an ambrotype studio in Shanghai, taught photography to one Ukai Gyokusen, who later bought his teacher’s camera and photographic equipment and went on to establish his own studio in Edo in 1861, thus becoming the first Japanese commercial photographer. [...] Kusakabe Kimbei, who worked as an assistant to Felice Beato and possibly Baron von Stillfried as well. By 1881, Kusakabe was operating his own studio in Yokohama [...] Stillfried, who also taught Usui Shûsaburô and Futami Asakura, soon realized that he was training up future business rivals and sought to limit the extent of his instruction accordingly [...] Okamoto Keizô, who later succeeded to the name of Suzuki Shinichi II, went to San Francisco in 1879 to study photographic retouching at the studio of Isaac West Taber, and after his return to Japan in 1880 enjoyed considerable success as the first practitioner of the technique. Ogawa Kazumasa spent the years 1882–83 in Boston intensively studying dry-plate photography, carbon printing and collotype printing, and by 1890 had established himself as the foremost photographic publisher in Japan.« S. 771: »first documented use of a camera by a Japanese in 1848 and the election of Ogawa Kazumasa as a Fellow of the Royal Photographic Society in 1895 [...] May 1883, when the Tokyo photographer Esaki Reiji photographed the controlled explosion of a torpedo during a naval review in the Sumida River.« S. 772: »The Imperial Household Office commissioned Uchida Kuichi in January 1872 to take the first official photographic portrait of the Emperor Meij ... Uchida’s untimely death in February 1875 [...] photographers such as Maruki Riyô received occasional commissions from the imperial household [...] Tamoto Kenzô, who had opened a studio in the treaty port of Hakodate in 1866, and the Yokohama-based photographer Baron Raimund von Stillfried, whose portfolio of photographs taken in Hokkaidô in the fall of 1872 was included among the exhibits sent to Austria in the following year as part of Japan’s official contribution to the Vienna International Exposition. [...] In 1874, the Tokyo photographers Matsuzaki Shinji and Kumagai Shin were permitted to accompany the army on its first overseas expedition to Taiwan, and in 1876, Yokoyama Matsusaburo was appointed lecturer in photography at the Military Academy in Tokyo. Initially, the army used photography mainly as an adjunct to map-making and the documentation of Japan’s nineteenth century conflicts was entrusted instead to civilian photographers who had either been specifically contracted for the purpose, such as Ueno Hikoma and Tomishige Rihei during the Satsuma Rebellion of 1877, or who had volunteered for the task, as was the case with Matsuzaki and Kumagai during the Taiwan Expedition of 1874 and Count Kamei Koreaki at the outbreak of war with China in 1894. This latter conflict gave rise to a proposal within the General Staff for the creation of a dedicated unit of army photographers, and both the Sino-Japanese War (1894–95) and Russo-Japanese War (1904–05) were documented by a combination of an army photographic unit and teams of civilian photographers authorized by the General Staff. [...] In 1872, Yokoyama Matsusaburô conducted a survey across western Japan, photographing temples and their treasures. [...] in June 1889 when the first Japanese photographic association, the Nihon Shashinkai (‘Photographic Society of Japan’) was established in Tokyo, with the Shashin Shimpô functioning as its official organ. Within four years, its membership had grown from its original 56 founding members to 171 professional and amateur photographers. In May 1893 the Society hosted the first international photographic exhibition in Japan. The exhibition, at which 296 art photographs by members of the London Camera Club were displayed, was organized by William K. Burton, a professor of sanitary engineering at the Imperial University in Tokyo, who was serving as the Society’s secretary and was himself a member of the Club. [...] . In June 1893, disagreements within the Nihon Shashinkai, fueled by the excitement generated by the exhibition, led a trio of photographers consisting of Ogura Kenji, Aritô Kintarô and the flamboyant Kajima Seibei to establish a rival association, the Dai Nihon Shashin Himpyôkai (‘Greater Japan Photographic Critique Society’).« S. 773: »Japan’s first photographic journal, the elegantly named Datsuei Yawa (‘Night Conversations Fleeing from the Shadows’) was published in 1874 by the Tokyo-based photographer Kitaniwa Tsukuba but lasted for only three issues. [...] another Tokyo photographer, Futami Asakuma, established the Shashin Shimpô (‘Photographic News’), which lasted for 18 issues and almost two years until it folded in July 1884. [...] »See also: Brown Jr, Eliphalet; Ueno Hikoma; Kern, Edward Meyer; Rossier, Pierre, Negretti and Zambra; Beato, Antonio; von Stillfried und Ratenitz, Baron Raimund; Wet Collodion Negative; and Swan, Sir Joseph Wilson.«

Dort werden namentlich die folgenden Fotografen erwähnt:

  • Ichiki Shirô and Ujuku Hikoemon
  • Ueno Hikoma
  • Eliphalet Brown Jr. (American)
  • Lieutenant Aleksandr Feodorovich Mozhaiskii (Russian)
  • Edward Meyer Kern (American)
  • Pierre Joseph Rossier (Swiss), took photographs for the London photographic firm Negretti and Zambra.
  • Orrin Eratus Freeman (1830–1866) (American), The first professional photographer who actually took up residence in Japan appears to have arrived in Yokohama early in 1860.
  • William Saunders
  • Charles Parker and Felice Beato
  • Ukai Gyokusen, his own studio in Edo in 1861, the first Japanese commercial photographer
  • Kusakabe Kimbei, who worked as an assistant to Felice Beato and possibly Baron von Stillfried as well. By 1881, Kusakabe was operating his own studio in Yokohama
  • Usui Shûsaburô
  • Futami Asakura
  • Okamoto Keizô, who later succeeded to the name of Suzuki Shinichi II, went to San Francisco in 1879 to study photographic retouching at the studio of Isaac West Taber, and returned to Japan in 1880
  • Ogawa Kazumasa spent the years 1882–83 in Boston and by 1890 had established himself as the foremost photographic publisher in Japan, was elected as a Fellow of the Royal Photographic Society in 1895
  • Esaki Reiji, Tokyo photographer, photographed the controlled explosion of a torpedo during a naval review in the Sumida River in May 1883.
  • Uchida Kuichi. The Imperial Household Office commissioned Uchida Kuichi in January 1872 to take the first official photographic portrait of the Emperor Meij. Kuichi died in February 1875
  • Maruki Riyô
  • Tamoto Kenzô had opened a studio in the treaty port of Hakodate in 1866
  • Baron Raimund von Stillfried, Yokohama-based
  • Ueno Hikoma and Tomishige Rihei, civilian photographers during the Satsuma Rebellion of 1877
  • Matsuzaki and Kumagai during the Taiwan Expedition of 1874
  • Count Kamei Koreaki at the outbreak of war with China in 1894
  • Yokoyama Matsusaburô, conducted a survey across western Japan, photographing temples and their treasures, in 1872.
  • Ogura Kenji
  • Aritô Kintarô
  • Kajima Seibei
  • Kitaniwa Tsukuba, Tokyo-based
  • Futami Asakuma, Tokyo photographer

Frühe Fotografien aus Indien und frühe Fotografen in Indien

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Der Vorsitzende zeigt an, dass während der Ferien eine ziemliche Anzahl von Anmeldungen bezügliche Aufnahme in die Gesellschaft eingelangt ist u. zw. wurde vorgeschlagen [...] von Herrn Oscar Kramer die Herren: E. Lamy, Photograph in Paris; J. E. Schirmer, Photograph, Associé der Firma Bourne & Shepherd in Calcutta; [...]« Photographische Correspondenz 1883, Nr. 262, S. 285, https://books.google.de/books?id=AVVIcH7GqaoC&pg=RA1-PA187&lpg=RA1-PA187&dq=%22Schirmer%22+Photograph+Calcutta+-Mosel&source=bl&ots=T8n_yl5KO7&sig=ACfU3U13dnvMFm3Hb1ADB46Z7R0Eq3QT-g&hl=de&sa=X&ved=2ahUKEwitufv0jfiDAxVDzAIHHc3wA0o4ChDoAXoECAIQAw#v=onepage&q=%22Schirmer%22%20Photograph%20Calcutta%20-Mosel&f=false

Literatur und Quellen

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  • Terry Bennett, Photography in Japan: 1853–1912. Rutland, Vermont: Charles E. Tuttle, 2006. ISBN 0-8048-3633-7, https://archive.org/details/photography-in-japan-1853-1912-by-terry-bennett-z-lib.org
  • Sebastian Dobson, Sabine Arqué: Japan 1900, Taschen-Verlag, dreisprachige Ausgabe: Englisch, Deutsch, Französisch, 536 Seiten, Gebundene Ausgabe, Illustriert, 25. Juni 2021, ISBN 978-3-8365-7356-6
  • Monica Maffioli: Japanese Dream. In: Japanese Dream, Hatje Cantz-Verlag, Ostfildern 2012, ISBN 978-3-7757-3437-0
  • David Odo: Unknown Japan: Reconsidering 19th-century Photographs, Rijksmuseum Studies in Photographie, Vol 4, 2008, Manfred & Hanna Heiting Fund, Rijksmuseum Amsterdam, Amsterdam 2008
  • Bernd Stiegler, Felix Thürlemann, Orientbilder. Fotografien 1850–1910, Weissbooks GmbH, Frankfurt am Main 2015, Zweite Auflage 2016, ISBN 978-3-86337-037-4
  • Nihon no shashinka (日本の写真家) / Biographic Dictionary of Japanese Photography. Tokyo: Nichigai Associates, 2005. ISBN 4-8169-1948-1. S. 208–209. (in Japanese) Despite the English-language alternative title, all in Japanese.
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