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people. It is likely that Fenton, from a wealthy background, disdained 'trade' photographers, but he still wanted to profit from the art by taking exclusive images and selling them at good prices. This led to conflict with those of his fellow photographers who genuinely needed to make money from photography and were willing to 'cheapen their art' (as Fenton saw it). He also was in conflict with the
Photographic Society, who believed that no photographer should soil himself with the 'sin' of exploiting his talent commercially in any manner.
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road, the other with an empty road. Opinions had differed concerning which one was taken first, but Morris spotted evidence that the photo without the cannonballs was taken first. He remains uncertain about why balls were moved onto the road in the second picture: perhaps, he notes, Fenton deliberately placed them there to enhance the image. The alternative is that soldiers were gathering cannonballs for reuse and they threw down balls from higher up the hill onto the road and ditch for collection later. Art historians, such as
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596:, using friends and models who were not always convincing in their roles. Although he became well-known for his Crimean War photography, his photographic career lasted little more than a decade. In 1862 he sold his equipment and abandoned the profession entirely, returning to the practice of law as a barrister. Although almost forgotten by the time of his death seven years later, he was later formally recognised by art historians for his pioneering work and artistic endeavour.
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530:(the effects of which contributed to his early death) and becoming depressed at the carnage he witnessed at Sevastopol, in all Fenton managed to make more than 350 usable large-format negatives. An exhibition of 312 prints was soon on show in London, and at various places across the nation in the months that followed. Fenton also showed them to
186:, London, evidently sporadically as he did not qualify as a solicitor until 1847. He had also become interested in studying painting. In Yorkshire in 1843 Fenton married Grace Elizabeth Maynard, presumably after his first sojourn in Paris (his passport was issued in 1842), where he may briefly have studied painting in the studio of
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to identify the site of this "first iconic photograph of war". He identified the small valley, shown on a later map as "The Valley of the Shadow of Death", as the place where Fenton had taken his photograph (see right). Fenton had taken two pictures of this area, one with several cannonballs on the
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Due to the size and cumbersome nature of his photographic equipment, Fenton was limited in his choice of motifs. Because the photographic material of his time needed long exposures, he was able to produce only photographs of stationary objects, mostly posed pictures. He avoided taking pictures of
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Art
Treasures Exhibition only five years earlier, but in the section reserved for machinery, tools and instruments; they classified photography as a craft, for tradesmen. For Fenton and many of his colleagues, this was conclusive proof of photography's diminished status, and the pioneers drifted
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Despite the lack of commercial success for his
Crimean photographs, Fenton later travelled widely over Britain to record landscapes and still life images. As time passed, photography became more accessible to the general public. Many people sought to profit from selling quick portraits to common
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commissioned Fenton to record some of its collection of rare historical artefacts. He established an open-air studio on the museum's roof. Museum staff manhandled the items into the daylight and dusted them with chalk (to avoid reflections) for his procedures. These were unpaid commissions, but
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of the same name. Fenton's photograph does not show the actual site of the charge, which took place in a long, broad valley several miles to the south-east. In letters home soldiers had called the original valley "The Valley of Death", and
Tennyson's poem used the same phrase.
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produced a watercolour of the
Woronzoff Road, with a view downhill. It has cannonballs placed similarly to those shown by Fenton; Simpson's publisher too used the title "The Valley of the Shadow of Death". This is the location accepted by the local tour guides.
634:, perhaps for healthier air. He died there at age 50 on 8 August 1869 after a week-long illness. His wife died in 1886. Their graves in the local churchyard were destroyed in 1969 when the Potters Bar church was deconsecrated and demolished.
175:, was a banker and from 1832 a member of parliament. Fenton was the fourth of seven children by his father's marriage to Elizabeth Apedaile, his first wife. His father remarried after her death and had 10 more children by his second wife.
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became his commercial sponsor. The resulting photographs may have been intended to offset the general unpopularity of the war among the
British people, and to counteract the occasionally critical reporting of correspondent
209:. They became friends and, starting in 1850, the two men served on the board of the North London School of Drawing and Modelling. In 1849, 1850 and 1851 Fenton exhibited paintings in the annual exhibitions of the
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on 8 March and remained there until 22 June. Fenton took Marcus
Sparling as his photographic assistant, a servant known as William, and a large horse-drawn van of equipment.
321:. In 1980, the RPS instituted the ‘Fenton Medal’ awarded to three or four members of the RPS each year, to acknowledge those members’ extraordinary service to the Society.
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In 1862 the organising committee for the
International Exhibition in London announced its plans to place photography, not with the other fine arts as had been done in the
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In 2005, 90 of Fenton's images were included in a special exhibition devoted to this "most important nineteenth-century photographer" at the
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Three of Fenton's children died in this decade: Josephine (d.1850). Ann (d.1855) and
Anthony (d.1861); they are buried on the east side of
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nearing completion in 1857. His are almost certainly the earliest images of the building, and the only photographs showing the incomplete
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The valley, called the "North Valley" by the
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In September 1855 Thomas Agnew put Fenton's photograph on show in London, as one of a series of eleven collectively titled
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commissioned Fenton to produce a series of royal portraits in 1854. As well as formal studio portraits, he made informal
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in 1851, he became keenly interested in this new technique. Within a year, he began exhibiting his own photographs.
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with an arts degree, he became interested in painting. After seeing examples of the new technology of photography at
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grabbed the attention of the British public, that some powerful friends and patrons – among them Prince Albert and
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in London in 1851 and was impressed by the photography on display there. He visited Paris to learn the waxed paper
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By 1847 Fenton had returned to London, where he continued to study painting under the tutelage of history painter
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Fenton was allowed to sell the prints on his own account, eventually setting up a shop at the museum entrance.
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He became a leading British photographer and was instrumental in founding the Photographic Society (later the
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1118:"'Valley Of The Shadow Of Death,' Famous Early War Photo, A Staged Fake, Investigator Says (PHOTOS)"
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Despite undergoing summer high temperatures, breaking several ribs in a fall, suffering from
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dead, injured or mutilated soldiers. His images of people included a woman working as a
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133:(28 March 1819 – 8 August 1869) was a British photographer, noted as one of the first
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Copyright and Cultural Heritage: Preservation and Access to Works in a Digital World
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In 1858 Fenton made studio genre studies based on romantically imaginative ideas of
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in Paris. Nevertheless, he was disappointed at sales being less than he expected.
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Queen Victoria, Prince Albert and royal children at Buckingham Palace, 1854
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Fenton was born into a Lancashire merchant family. After graduating from
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Camera. Victorian Eyewitness : a History of Photography, 1826–1913
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Fenton photographed the landscape, including an area near to where the
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Crimean War: First Conflict to Be Documented in Detail by Photography
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Believing Is Seeing: Observations on the Mysteries of Photography
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All the mighty world: the photographs of Roger Fenton, 1852–1860
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Amongst Fenton's photographic subjects from this period are the
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Approach roads to Sevastopol, and the "valley of death" (centre)
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Framing the Victorians: Photography and the Culture of Realism
1203:. Berkeley, CA: University of California Press. p. 204.
745:"Admitted to the Degree of Bachelor of Arts First Division".
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Military personnel from the Metropolitan Borough of Rochdale
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Fenton moved with his remaining family from Albert Terrace,
202:, but Fenton's name does not appear in the school records.
1253:. Vol. 1. New York: Taylor and Francis. p. 1031.
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Taylor, Roger (October 2006). "Fenton, Roger (1819–1869)".
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1228:. Chicago: University of Chicago Press. pp. 72–74.
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Amateurs, photography, and the mid-Victorian imagination
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Deazley, Ronan (January 2010). Derclaye, Estelle (ed.).
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In 1852, in collaboration with commercial photographer
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Photographs by Roger Fenton in the National Army Museum
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gallery, London. In 2007, Fenton was inducted into the
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Marcus Sparling seated on Fenton's photographic van,
781:. Vol. 1. London: Routledge. pp. 526–528.
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Proposal for the Formation of a Photographic Society
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1039:. Ithaca, NY: Cornell University Press. pp.
643:International Photography Hall of Fame and Museum
407:regimental dress, during the Crimean War in 1855.
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1249:Hoffman, Katherine (2008). Hannavy, John (ed.).
962:. London: Secker & Warburg. pp. 13–17.
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1251:Encyclopedia of Nineteenth-Century Photography
779:Encyclopedia of nineteenth-century photography
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960:Roger Fenton, photographer of the Crimean War
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747:Examination and matriculation papers: 1838–43
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1334:. New York: The Metropolitan Museum of Art.
1201:Enduring Creation: Art, Pain, and Fortitude
1175:"Which Came First, the Chicken or the Egg?"
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734:. Oxford, England: Oxford University Press.
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934:. Cheltenham, England: Elgar. p. 96.
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341:It is likely that in autumn 1854, as the
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1091:"In the Valley of the Shadow of Doubt"
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1848:Alumni of University College London
1173:Morris, Errol (25 September 2007).
1064:Morris, Errol (2011). "Chapter 1".
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1863:British people of the Crimean War
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1180:. Museum of Texas Tech University
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611:in a plot adjoining the grave of
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446:The Valley of the Shadow of Death
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178:In 1840 Fenton graduated with a "
167:Fenton was born in Crimble Hall,
1828:19th-century British journalists
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16:British photographer (1819–1869)
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19:For the English clergyman, see
1116:Dicker, Ron (1 October 2012).
1068:. Penguin Press. p. 310.
1031:Green-Lewis, Jennifer (1996).
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241:. He travelled to photograph
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1883:British Orientalist painters
1375:National Gallery of Victoria
983:Regarding the Pain of Others
958:; Gernsheim, Alison (1954).
853:. Royal Photographic Society
821:"Royal Photographic Society"
501:In 2007 American film-maker
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1592:William Makepeace Thackeray
1587:William de Wiveleslie Abney
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437:Panorama of the Plateau of
421:Charge of the Light Brigade
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1224:Seiberling, Grace (1986).
905:. London: Viking. p.
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153:Royal Photographic Society
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116:Photographer and painter
1903:Pioneers of photography
1520:Thomas Agnew & Sons
1366:Encyclopædia Britannica
897:Macdonald, Gus (1980).
388:in February, landed at
375:Illustrated London News
359:Thomas Agnew & Sons
124:Grace Elizabeth Maynard
1898:Photography in Ukraine
1722:William Edward Kilburn
1657:Philip Henry Delamotte
1647:Julia Margaret Cameron
1199:Spivey, Nigel (2001).
777:Hannavy, John (2008).
655:History of photography
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1893:Photography in Turkey
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706:(1841 -1884) in 1864.
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1767:Alice Seeley Harris
1451:Reclining Odalisque
1148:Library of Congress
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1467:The Queen's Target
1443:Pasha and Bayadère
1427:L'Entente Cordiale
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63:28 March 1819
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1712:Alice Hughes
1672:Roger Fenton
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1497:Charles Lucy
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1425:
1412:Roger Fenton
1411:
1371:Roger Fenton
1330:
1307:. Retrieved
1303:
1294:
1284:19 September
1282:. Retrieved
1279:Tate Britain
1269:
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1244:
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1219:
1200:
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1182:. Retrieved
1168:
1156:. Retrieved
1147:
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1125:. Retrieved
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1099:. Retrieved
1097:. WNYC Radio
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829:. Retrieved
825:the original
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131:Roger Fenton
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106:Charles Lucy
80:(1869-08-08)
45:
32:Roger Fenton
25:
1843:1869 deaths
1838:1819 births
1807:Carl Vandyk
1602:Anna Atkins
1536:Orientalism
1526:Crimean War
1485:John Fenton
1419:Photographs
882:28 February
857:28 February
665:John McCosh
628:Potters Bar
564:Clock Tower
546:Post Crimea
343:Crimean War
325:Crimean War
180:first class
157:Crimean War
86:Potters Bar
1822:Categories
1127:8 November
1101:8 November
831:2 February
714:References
601:Manchester
570:Later life
507:Sevastopol
439:Sebastopol
414:vivandière
401:vivandiere
357:publisher
313:under the
163:Early life
59:1819-03-28
1522:(sponsor)
1516:(founder)
1018:504665313
968:250629696
632:Middlesex
581:Odalisque
399:A French
390:Balaklava
369:The Times
315:patronage
227:Hyde Park
98:Education
92:, England
1487:(father)
1184:9 August
1158:22 March
1154:brothers
1152:Colnaghi
1095:RadioLab
1008:(1953).
755:38086382
649:See also
505:went to
451:Psalm 23
425:Tennyson
283:Balmoral
231:calotype
44:Fenton,
1507:Related
1373:at the
1309:23 July
986:(2003;
877:rps.org
851:rps.org
579:Seated
528:cholera
427:in his
337:, 1855.
251:Britain
169:Heywood
108:, Paris
67:Heywood
1470:(1860)
1462:(1860)
1454:(1858)
1446:(1858)
1438:(1855)
1430:(1855)
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1043:–127.
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604:away.
590:Muslim
405:Zouave
335:Crimea
192:Louvre
142:London
121:Spouse
1178:(PDF)
690:Notes
385:Hecla
355:print
1336:ISBN
1311:2022
1286:2022
1255:ISBN
1230:ISBN
1205:ISBN
1186:2012
1160:2018
1129:2012
1103:2012
1070:ISBN
1045:ISBN
1014:OCLC
988:ISBN
964:OCLC
936:ISBN
911:ISBN
884:2024
859:2024
833:2009
783:ISBN
751:OCLC
615:and
534:and
429:poem
383:HMS
289:and
253:.
243:Kiev
173:John
75:Died
53:Born
1041:126
626:to
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