Photograph by Julia Margaret Cameron, '"And Enid Sang"' (sitter Emily Peacock), albumen print, 1874 from 'Illustrations to Tennyson's Idylls of the King and Other Poems', vol. 1

A photograph of the head and shoulders of a woman (Emily Peacock) wearing two strands of pearls and holding a stringed instrument It is part of a bound volume of 13 mounted photographs, 12 pages of verse and 3 additional text pages, with red-leather cover with gold-embossed title.

The Royal Photographic Society Collection at the V&A, acquired with the generous assistance of the National Lottery Heritage Fund and Art Fund.

Julia Margaret Cameron's career as a photographer began in 1863 when her daughter gave her a camera. Cameron began photographing everyone in sight. Because of the newness of photography as a practice, she was free to make her own rules and not be bound to convention. The kinds of images being made at the time did not interest Cameron. She was interested in capturing another kind of photographic truth. Not one dependent on accuracy of sharp detail, but one that depicted the emotional state of her sitter.

Cameron liked the soft focus portraits and the streak marks on her negatives, choosing to work with these irregularities, making them part of her pictures. Although at the time Cameron was seen as an unconventional and experimental photographer, her images have a solid place in the history of photography.

Most of Cameron's photographs are portraits. She used members of her family as sitters and made photographs than concentrated on their faces. She was interested in conveying their natural beauty, often asking female sitters to let down their hair so as to show them in a way that they were not accustomed to presenting themselves. In addition to making stunning and evocative portraits both of male and female subjects, Cameron also staged tableaux and posed her sitters in situations that simulated allegorical paintings.

Through the acquaintance of the author Sir Henry Taylor (who was a neighbour) Cameron was introduced to poet laureate Alfred Tennyson, who would remain a life-long friend, public supporter and a frequently photographed subject. In 1874, Tennyson commissioned Cameron to create the first ever photographic illustrations for his collection Idylls of the King and Other Poems, based on the legend of King Arthur. This is a photograph from that volume.

This album is part of the Royal Photographic Society Collection at the V&A which also includes fragments of Cameron's original autobiographical manuscript for Annals of My Glass House.

In 1874 Alfred Tennyson, the Poet Laureate, invited Cameron to make photographic illustrations to Idylls of the King, his series of narrative poems based on the legends of King Arthur. After her large photographs were published as small, wood-cut copies, Cameron decided to produce an edition illustrated by original photographic prints accompanied by hand-written extracts from the poems printed in facsimile. She claimed to have made as many as 245 exposures to arrive at the 25 she finally published in two volumes in 1874 and 1875.

RPS.1092:4-2017