The cinema as a graphic art : on a theory of representation in the cinema (1959)

CREATIVE PROBLEMS OF THE ART OF THE CAMERA-MAN But during the second half of the nineteenth century there were considerable c inges in the development of artistic photography. The general extension of photography arising out of technical progress, and h particular the development of a photo-optical industry, transformed it into a c ;ap and accessible means of representation. The varied demands made on it b science, technical investigation and amateur photographers led first and forelist to the isolation of applied photography, which now developed along separate liss. But artistic photography also was subjected to internal differentiations. 1 e photographic illustration appeared, meeting the needs of the illustrated press ■ i swiftly eliminating the sketch or drawing. There was a development of prof sional portrait photography, which, to please the bourgeois citizen, created the be style of the so-called ' salon ' photographs and family portrait groups. I lally, there was an extensive development of amateur photography, embracing uusually varied sections of the population. Thus by the end of the nineteenth century photography was developing the flowing divisions : First : Applied photography, arising out of the needs of science and technique. Second : Photographic illustration (or photo-reporting) at this time serving r inly the illustrated gutter press. third : So-called professional ' salon ' photography, creating chiefly photonhic portraits. Fourth : Amateur photography, within which also there were several tenc icies. The positive aspects of the development of wholesale scale photography consted in .the accessibility and cheapness of the photograph as a means of multir. ed information, as a representational means, and, finally, as a means of popular Fig. 71. — Portrait taken by Hill, 1843-45. Fig. 72. — Example of nineteenth century professional ' salon ' photograph. 139