Rheims Cathedral, France
Photograph
ca. 1850-1860 (photographed)
ca. 1850-1860 (photographed)
| Artist/Maker | |
| Place of origin |
During the 1850s, photographic technology advanced considerably. Glass negatives -
rather than earlier paper ones - attained a level of detail previously unseen. However, the choice of lenses was still limited, negatives were sensitive to a relatively narrow tonal range and over-sensitive to the colour blue. Consequently, many architectural photographers excluded a building's setting, such as the sky or surrounding constructions. The resulting concentration upon details, as in this image, was often both an aesthetic choice and a matter of technical necessity.
rather than earlier paper ones - attained a level of detail previously unseen. However, the choice of lenses was still limited, negatives were sensitive to a relatively narrow tonal range and over-sensitive to the colour blue. Consequently, many architectural photographers excluded a building's setting, such as the sky or surrounding constructions. The resulting concentration upon details, as in this image, was often both an aesthetic choice and a matter of technical necessity.
Object details
| Categories | |
| Object type | |
| Title | Rheims Cathedral, France (assigned by artist) |
| Materials and techniques | Albumen print from wet collodion on glass negative |
| Brief description | Photograph of Gothic cathedral entrance front doorways by Louise Auguste and Auguste Rosalie Bisson, made in Rheims, ca. 1850-1860. |
| Physical description | Photograph of Gothic cathedral entrance front doorways. |
| Dimensions |
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| Gallery label |
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| Subject depicted | |
| Place depicted | |
| Summary | During the 1850s, photographic technology advanced considerably. Glass negatives - rather than earlier paper ones - attained a level of detail previously unseen. However, the choice of lenses was still limited, negatives were sensitive to a relatively narrow tonal range and over-sensitive to the colour blue. Consequently, many architectural photographers excluded a building's setting, such as the sky or surrounding constructions. The resulting concentration upon details, as in this image, was often both an aesthetic choice and a matter of technical necessity. |
| Collection | |
| Accession number | 3173-1955 |
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| Record created | June 7, 2005 |
| Record URL |
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