Cameron, Julia Margaret

born June 11, 1815, Calcutta, India

died Jan. 26, 1879, Kalutara, Ceylon

British portrait photographer.

In 1864, after receiving a camera as a gift, she set up a studio and darkroom and began taking portraits. Her sitters were friends such as Alfred Tennyson, Henry Wadsworth Longfellow, and Charles Darwin. Her sensitive portraits of women, such as that of Ellen Terry, are especially noteworthy. Like many Victorian photographers, she made allegorical photographs in imitation of the Pre-Raphaelite paintings of the day. Her technical ability was criticized, but she was more interested in spiritual depth than in technical perfection; her portraits are considered exceptionally fine.

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▪ British photographer

original name  Julia Margaret Pattle 

born June 11, 1815, Calcutta, India

died January 26, 1879, Kalutara, Ceylon [now Sri Lanka]

 British photographer who is considered one of the greatest portrait photographers of the 19th century.

 The daughter of an officer in the East India Company, Julia Margaret Pattle married jurist Charles Hay Cameron in 1838. The couple had six children, and in 1860 the family settled on the Isle of Wight. After receiving a camera as a gift about 1863, she converted a chicken coop into a studio and a coal bin into a darkroom and began making portraits. Among her sitters were her friends the poets Alfred Lord Tennyson (Tennyson, Alfred Tennyson, 1st Baron) and Henry Wadsworth Longfellow, the astronomer Sir John Herschel, the writer Thomas Carlyle, and the scientist Charles Darwin. Especially noteworthy from this period are her sensitive renderings of female beauty, as in her portraits of the actress Ellen Terry and Julia Jackson; the latter was her niece, who would one day be the mother of the writer Virginia Woolf.

      Like many Victorian photographers, Cameron made allegorical and illustrative studio photographs, posing and costuming family members and servants in imitation of the popular Romantic and Pre-Raphaelite (Pre-Raphaelite Brotherhood) paintings of the day. At Tennyson's request, she illustrated his Idylls of the King (1874–75) with her photographs, which show the influence of the painter George Frederic Watts (Watts, George Frederick), her friend and mentor for more than 20 years.

      Cameron was often criticized by the photographic establishment of her day for her supposedly poor technique: some of her pictures are out of focus, her plates are sometimes cracked, and her fingerprints are often visible. Later critics appreciated her valuing of spiritual depth over technical perfection and now consider her portraits to be among the finest expressions of the artistic possibilities of the medium.

      In 1875 Cameron and her husband returned to their tea plantation in Ceylon, taking with them a cow, Cameron's photographic equipment, and two coffins, in case such items should not be available in the East. She continued to photograph and, according to legend, her dying word was “Beautiful!”

Additional Reading

Graham Ovenden (ed.), A Victorian Album: Julia Margaret Cameron and Her Circle (1975); Jeremy Howard, Whisper of the Muse: The World of Julia Margaret Cameron (1990); Amanda Hopkinson, Julia Margaret Cameron (1986); Sylvia Wolf et al., Julia Margaret Cameron's Women (1998).

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