The Advent of Press Photography: Understanding the 80-Year Gap

The association between photography and press may seem obvious today, but it was not always the case. Historian Thierry Gervais, professor at Toronto Metropolitan University and researcher at The Image Centre, explains that the integration of photography into newspapers was a gradual process that occurred 80 years after its invention in 1826 by Nicéphore Niepce. Gervais' research focuses on the history of visual news and the role of photography in shaping the way we consume information.

In the 19th century, newspapers did not publish photographs; instead, they published engravings made from photographs, drawings, or paintings. These engravings were often modified to fit the aesthetic of the time, with illustrators and engravers translating photographs into a different medium. The photographs were treated as artworks, and the engravings were meant to convey a message rather than accurately represent the photograph. This process of translation was driven by the cultural and artistic values of the time.

The delay in adopting photography in newspapers was not solely due to technical difficulties. Gervais argues that the transposition of photographs into engravings was a matter of taste and cultural values. The dominant art form at the time was lithography, and the focus was on capturing scenic and historic moments rather than instantaneous ones. The use of photography in newspapers required a shift in cultural values and the development of new technologies.

The turning point came at the turn of the 20th century, when photography began to be produced in its own right. Advances in technology, such as the similigravure process and the development of celluloid film, made it possible to produce and reproduce photographs more easily and efficiently. This led to the emergence of photoreportage, a collaboration between newspapers and photographers that resulted in the widespread use of photography in press.

However, the adoption of photography in newspapers was not universal, and some publications, such as L'Illustration, continued to prefer engravings over photographs. Gervais notes that the use of photography in newspapers was a choice, driven by a desire to incorporate this new medium into the press. The success of photography in newspapers depended on its usability, commercial viability, and appeal to readers.

Initially, photographs were not well received by readers, who found them to be lacking in contrast and detail compared to engravings. The content of photographs also differed from that of engravings, with snapshots telling a more straightforward story rather than synthesizing multiple aspects of an event. However, as readers became accustomed to the new medium, photography gained popularity, and by the early 20th century, it had become an integral part of newspaper publishing.

Today, photography is an essential part of press, and its impact on the way we consume information is undeniable. Gervais' research provides a nuanced understanding of the history of press photography, highlighting the complex interplay between technological, cultural, and economic factors that shaped its development. As the media landscape continues to evolve, understanding the history of press photography can provide valuable insights into the role of images in shaping our perceptions of the world.

Key points

• The integration of photography into newspapers was a gradual process that occurred 80 years after its invention in 1826.
• The delay in adopting photography was not solely due to technical difficulties, but also cultural and artistic values of the time.
• The emergence of photoreportage at the turn of the 20th century marked a significant shift in the use of photography in press.