Photography & The Linked Ring - Revision history

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 =Abstract=
-This project was created with the goal of allowing me to explore the history of photography in London, while also allowing me to further my experience with photography. While I have not taken classes on photography, I've had experience shooting events and producing work for hire, and am constantly trying to learn as much as I can. Being in London where a lot of modern photography's history began  means that there were a lot of resources in the city to help me develop the project. This milestone looked at Photography in the end of the 19th century in London and America. The background explores the Linked Ring group and Photo-Secession movement, and how photography moved from just being a science to being an artistic field that utilizes science to further the technical aspects of the craft. The deliverable of this milestone is in the form of street photography taken with modern professional equipment that is meant to reflect styles created by traditional 19th century photography technologies.
+This project looks at the historical development of photography in London. In the 19th century, photographers organized into groups such as The Linked Ring and Photo-Secession, and this project looks at the reasoning behind their formation, and the technical and artistic concepts that they created and how it has effected photography and some professional photographic technology today. The deliverable applies some of those concepts and principles to street photography that I created while in London for the project. Being in London where a lot of modern photography's history began means that there were a lot of resources in the city to help me develop the project.
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 ==Photo-Secession==
-Around the early years of the Linked Ring, a companion (and later member) of the group named Alfred Stieglitz based in New York City who shared similar ideas. Stieglitz would go on to form the Photo-Secession group after being scorned for his choices for a gallery display for the National Arts Club. The movement became a step away from traditional art methods and styles and opened the door in American photography for Avant-garde works that were starting to become popular in Europe at the time.<ref>Stieglitz, A., Ross, C. (1942). "The Origin of the Photo-Secession and How It Became 291". New York: Stieglitz., pp. 8-9.</ref>
+Around the early years of the Linked Ring, a companion (and later member) of the group named Alfred Stieglitz was based in New York City and shared similar ideas. Stieglitz would go on to form the Photo-Secession group after being scorned for his choices for a gallery display for the American National Arts Club. The movement became a step away from traditional art methods and styles and opened the door in American photography for Avant-garde works that were starting to become popular in Europe at the time.<ref>Stieglitz, A., Ross, C. (1942). "The Origin of the Photo-Secession and How It Became 291". New York: Stieglitz., pp. 8-9.</ref>
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 ===Alfred Stieglitz===
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 |data2 = Taken in 1915
 }}
-The founder of Photo-Secession and one of the first Americans in the Linked Ring, Alfred Stieglitz was an important figure in the history of modern photography. Stieglitz conceptualized the idea of photography being an art form, and helped to bring the concepts of modern art to the creatives in America.<ref> (2017). "Alfred Stieglitz - Victoria and Albert Museum. (2017). Vam.ac.uk.</ref> He spent a lot of time practicing and learning in Europe and especially London, capturing images of the city life and the River Thames. Several series of notable works from his career include ''Equivalents'', Low Light Experiments and his images of the human body. For each of these, he always used the latest technologies available, and developed his own methods of applying them. In the case of ''Equivalents'', Stieglitz focuses on the new development of panchromatic emulation which allowed for the camera to capture all visible wavelengths of light in the monochrome image. <ref>Stieglitz, A. (1926). "Equivalent Collection." New York: The Metropolitan Museum of Art Database."</ref> ''Equivalents'' focuses on clouds, with no other references as to location as the camera is always pointed directly at the sky. ''Equivalents'' has been widely considered as the first recognized series of of abstract photography, with the intention of viewers to interpret it how they please. The images that Stieglitz created of human bodies are his largest and most valued collection today. They almost exclusively feature his wife, artist Georgia O’Keefe, and focus on movement and details as opposed to traditional portrait compositions. Stieglitz would take these on platinum and palladium plates, and inevitably experimental silver plates that would provide sharper contrast in the colors.<ref> Rabinowitz, P. (2015). "KAHLO AND O’KEEFFE: PORTRAIT OF THE ARTIST AS FASHION ICON." JSTOR., Extravagances: Habits of Being 4 (pp. 166-194). University of Minnesota Press.</ref> The [[Victoria and Albert Museum]] features a large collection of these images in partnership with the Georgia O’Keefe Foundation.
+The founder of Photo-Secession and one of the first Americans in the Linked Ring, Alfred Stieglitz was an important figure in the history of modern photography. Stieglitz conceptualized the idea of photography being an art form, and helped to bring the concepts of modern art to creatives in America.<ref> (2017). "Alfred Stieglitz - Victoria and Albert Museum. (2017). Vam.ac.uk.</ref> He spent a lot of time practicing and learning in Europe and especially London, capturing images of the city life and the River Thames. Several series of notable works from his career include ''Equivalents'', Low Light Experiments and his images of the human body. For each of these, he always used the latest technologies available, and developed his own methods of applying them. In the case of ''Equivalents'', Stieglitz focuses on the new development of panchromatic emulation which allowed for the camera to capture all visible wavelengths of light in a monochrome image. <ref>Stieglitz, A. (1926). "Equivalent Collection." New York: The Metropolitan Museum of Art Database."</ref> ''Equivalents'' focuses on clouds, with no other references as to location as the camera is always pointed directly at the sky. ''Equivalents'' has been widely considered as the first recognized series of of abstract photography, with the intention of viewers to interpret it how they please. The images that Stieglitz created of human bodies are his largest and most valued collection today. They almost exclusively feature his wife, artist Georgia O’Keefe, and focus on movement and details as opposed to traditional portrait compositions. Stieglitz would take these images on platinum/palladium plates, and later experimental silver plates that would provide sharper contrast in the colors.<ref> Rabinowitz, P. (2015). "KAHLO AND O’KEEFFE: PORTRAIT OF THE ARTIST AS FASHION ICON." JSTOR., Extravagances: Habits of Being 4 (pp. 166-194). University of Minnesota Press.</ref> The [[Victoria and Albert Museum]] features a large collection of these images in partnership with the Georgia O’Keefe Foundation.
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 ====Camera Notes====
-Stieglitz had been publishing works and journals on ideas, and concerns about the state of the photography on behalf of the Camera Club of New York from 1897 until the turn of the century. When the club was originally formed, Stieglitz declined the role of president, as he felt he had more power and influence while being in charge of the club’s magazine.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)."  JSTOR. pp.133</ref> The periodical was entitled Camera Notes, and often faced criticism as Stieglitz frequently called on photographers to embrace new concepts and styles such as pictorial photography. Stieglitz felt that the Linked Ring was missing out on a chance to spread its concepts, and having control over Camera Notes allowed him to spread the ideas behind Photo-Secession in a way that Linked Ring never was able to. When he formed the Photo-Secession he resigned from Camera Notes, but due to his name recognition was able to start Camera Work; which became a huge success, selling equal to Camera Notes previously had. This platform allowed the Photo-Secession to become widespread before even opening a physical gallery, which they would not do until 3 years later.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)."  JSTOR. pp.134</ref>
+Stieglitz had been publishing works and journals on ideas, and concerns about the state of the photography on behalf of the Camera Club of New York from 1897 until the turn of the century. When the club was originally formed, Stieglitz declined the role of president, as he felt he had more power and influence while being in charge of the club’s magazine.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)."  JSTOR. pp.133</ref> The periodical was entitled Camera Notes, and often faced criticism as Stieglitz frequently called on photographers to embrace new concepts and styles such as pictorial photography. Stieglitz felt that the Linked Ring was missing out on a chance to spread its concepts, and having control over Camera Notes allowed him to spread the ideas behind Photo-Secession in a way that Linked Ring never was able to. When he formed the Photo-Secession he resigned from Camera Notes, but due to his name recognition was able to start another periodical entitled Camera Work; which became a huge success, selling equal to Camera Notes previously had. This platform allowed the Photo-Secession to become widespread before even opening a physical gallery, which they would not do until 3 years later.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)."  JSTOR. pp.134</ref>
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 ===Pictorial Photography===
-Pictoralism is a movement that is derived from painting and sculptors to describe photographers who were seeking a change from traditional forms. Pictorial photography is considered photos that emphasize beauty, tone, composition and subject, rather than capturing images for the sake of documenting reality.<ref>(1920) "Pictorial Photography." New York: The American magazine of Art, 11. pp. 261</ref><ref>Lord, R. (2003) "Process and Progress: George Seeley and the Pictorial Recipe." Yale University: Yale Art Gallery. pp. 110</ref> The images above are examples of Pictorial Photography, taken from a Photographic Salon exhibit. These images would have been considered 'abstract' or 'artistic' at the time due to their composition or the techniques used to create them.
+Pictoralism is a movement that is derived from painting and sculptors to describe photographers who were seeking a change from traditional forms. Pictorial photographs are considered as photos that emphasize beauty, tone, composition and subject, rather than images captured for the sake of documenting reality.<ref>(1920) "Pictorial Photography." New York: The American magazine of Art, 11. pp. 261</ref><ref>Lord, R. (2003) "Process and Progress: George Seeley and the Pictorial Recipe." Yale University: Yale Art Gallery. pp. 110</ref> The images above are examples of Pictorial Photography, taken from a Photographic Salon exhibit. These images would have been considered 'abstract' or 'artistic' at the time due to their composition or the techniques used to create them.
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 ===Photographic Salon===
-The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every photography Salon was just three words: difference of opinion. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
+The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every photography Salon was just three words: ''difference of opinion''. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
 <gallery mode="packed">
 Image:PhotoSalon1.jpg|''Title Page of Salon Portfolio''

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 ===Photographic Salon===
-The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every Photographic Salon was just three words: ''difference of opinion''. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
+The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every photography Salon was just three words: difference of opinion. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
 <gallery mode="packed">
 Image:PhotoSalon1.jpg|''Title Page of Salon Portfolio''

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 |image = [[File:theLinkedRingLogo.jpg|x450px|alt=Milestone Image]]
 |label1 = '''1893'''
-|data2 = Logo of the Linked Ring
+|data2 = Logo of the Linked Ring, 1893
 }}