by Gerald Boerner
“The first important users of the process [calotype] were two Scotsmen, David 0. Hill and Robert Adamson in Edinburgh.”
— Michael Frizot, A New History of Photography
“They dreamed up compositions, going into villages to photograph fishermen or photographing masons working on the Scott Monument.”
— Michael Frizot, A New History of Photography
“Their [Hill and Adamson] collaboration, in which they shared technical and artistic responsibilities, was to last until Adamson’s premature death in January 1848, much longer than they had foreseen.”
— Michael Frizot, A New History of Photography
“Happily, Hill (or Adamson, or both) came to love and use photography for its own sake, and by some unknown combination of their talents they made some of the finest photographic portraits that the medium has thus far managed.”
— John Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art
“…Hill and Adamson created a distinctive photographic style, thus demonstrating that in expert hands the process could achieve perfection. Unlike other artists, they did not see themselves as social observers, restricting themselves to a picturesque approach, often agreed in advance.”
— Michael Frizot, A New History of Photography
“Hill took up photography (with the assistance of the young chemist Robert Adamson) as a sketching medium, in order to produce likenesses of 470 Scottish clerics, which he would incorporate in a monstrous historical painting commemorating the founding of the Free Church of Scotland.”
— John Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art
“Talbot’s technique was a two-step system: The picture exposed in the camera formed a negative image (black for white, and vice versa) on a transparent paper base; this negative image was then used as a filter through which a second piece of sensitized paper was exposed to the light, thus reversing the tonal values.”
— John Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art
“The calotype image was diffused slightly by the texture of the paper through which it was printed and consequently was less sharply detailed than the daguerreotype. But what Hill had learned from the great dead painters allowed him to compose his pictures broadly and simply, and turn the limitations of the system to his advantage.”
— John Szarkowski, Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art
Hill (1802 – 1870) and Adamson (1821 – 1848)
Robert Adamson, was a Scottish pioneer photographer. Adamson was born in St. Andrews, he was hired in 1843 by David Octavius Hill (1802-1870), a painter of romantic Scottish landscapes.
He was commissioned to make a group portrait of the 470 clergymen who founded the Free Church of Scotland. Hill required calotypes from which he would paint. Distinguished persons from many fields came to be photographed by the partners. Together they made more than 1,000 portraits and numerous views of Edinburgh between 1843 and 1848, until Adamson died at the age of 26. Hill returned to painting and the partners’ great work was not rediscovered until 1872.
The Scottish painter and arts activist David Octavius Hill collaborated with the engineer and photographer Robert Adamson between 1843 and 1847 to pioneer many aspects of photography in Scotland.
Photograph from the frontispiece
of an album dated 1848, showing
D O Hill sketching in Greyfriars
Kirkyard, watched by the Misses
Morris. Other tableaux in the
same setting included The Artist
and The Gravedigger
David Octavius Hill was born in 1802 in Perth. His father, a bookseller and publisher, helped to re-establish Perth Academy and David was educated there as were his brothers. When his older brother Alexander joined the publishers Blackwood’s in Edinburgh, David went there to study at the School of Design. He learnt lithography and produced Sketches of Scenery in Perthshire which was published as an album of views. His landscape paintings were shown in the Institution for the Promotion of the Fine Arts in Scotland, and he was among the artists dissatisfied with the Institution who established a separate Scottish Academy in 1829 with the assistance of his close friend Henry Cockburn.
A year later Hill took on unpaid secretarial duties. He sought commissions in book illustration, with four sketches being used to illustrate The Glasgow and Garnkirk Railway Prospectus in 1832, and went on to provide illustrations for editions of Walter Scott and Robert Burns. In 1836 the Royal Scottish Academy began to pay him a salary as secretary, and with this security he married his fiancée Ann Macdonald in the following year, but she was not strong and after the birth of their daughter she became an invalid. He continued to produce illustrations and to paint landscapes on commission.
Free Church of Scotland
Clergymen who had been at the
assembly, photographed at
Dumbarton Presbytery in 1845
as the basis for their portraits
in the top left row of the painting.
Hill was present at the Disruption Assembly in 1843 when over 450 ministers walked out of the Church of Scotland assembly and down to another assembly hall to found the Free Church of Scotland. He decided to record the dramatic scene with the encouragement of his friend Lord Cockburn and another spectator, the physicist Sir David Brewster who suggested using the new invention, photography, to get likenesses of all the ministers present. Brewster was himself experimenting with this technology which only dated back to 1839, and he introduced Hill to another enthusiast, Robert Adamson. Hill and Adamson took a series of photographs of those who had been present and of the setting. The 5 foot x 11 foot 4 inches (1.53m x 3.45m) painting was eventually completed in 1866.
The Disruption of 1843 was painted by Hill.
Photography studio
Their collaboration, with Hill providing skill in composition and lighting, and Adamson considerable sensitivity and dexterity in handling the camera, proved extremely successful, and they soon broadened their subject matter. Adamson’s studio, "Rock House", on Calton Hill in Edinburgh became the centre of their photographic experiments. Using the Calotype process, they produced a wide range of portraits depicting well-known Scottish luminaries of the time, including Hugh Miller, both in the studio and in outdoors settings, often amongst the elaborate tombs in Greyfriars Kirkyard.
Fishwives in St Andrews
bait their lines.
They photographed local and Fife landscapes and urban scenes, including images of the Scott Monument under construction in Edinburgh. As well as the great and the good, they photographed ordinary working folk, particularly the fishermen of Newhaven, and the fishwives who carried the fish in creels the 3 miles (5 km) uphill to the city of Edinburgh to sell them round the doors, with their cry of "Caller herrin" (fresh herring). They produced several groundbreaking "action" photographs of soldiers and – perhaps their most famous photograph – two priests walking side by side.
Newhaven fishergirls
pose with a creel.
Their partnership produced around 3000 prints, but was cut short after only four years due to the ill health and untimely death of Adamson in 1848. The calotypes faded under sunlight, so had to be kept in albums, and though Hill continued the studio for some months, he became less active and abandoned the studio, though he continued to sell prints of the photographs and to use them as an aid for composing paintings. In 1862 he remarried, to the sculptress Amelia Paton, and around that time took up photography again, but the results were more static and less successful than his collaboration with Adamson. He was badly affected by the death of his daughter and his work slowed. In 1866 he finished the Disruption picture which received wide acclaim, though many of the participants had died by then. The photographer F.C. Annan produced fine reduced facsimiles of the painting for sale throughout the Free Church, and a group of subscribers raised £1,200 to purchase the painting for the church. In 1869 illness forced him to give up his post as secretary to the R.S.A., and he died in May 1870.
Background and biographical information is from Wikipedia articles on:
David Octavius Hill that can be found at…
http://en.wikipedia.org/wiki/David_Octavius_Hill
Robert Adamson that can be found at…
http://en.wikipedia.org/wiki/Robert_Adamson_%28photographer%29
Also see…
Masters of Photography: Hill and Adamson…
http://www.masters-of-photography.com/H/hill-adamson/hill-a.html