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Darwin's Camera tells the extraordinary story of how Charles Darwin changed the way pictures are seen and made. In his illustrated masterpiece, Expression of the Emotions in Man and Animals (1871), Darwin introduced the idea of using photographs to illustrate a scientific theory--his was the first photographically illustrated science book ever published. Using photographs to depict fleeting expressions of emotion--laughter, crying, anger, and so on--as they flit across a person's face, he managed to produce dramatic images at a time when photography was famously slow and awkward. The book describes how Darwin struggled to get the pictures he needed, scouring the galleries, bookshops, and photographic studios of London, looking for pictures to satisfy his demand for expressive imagery. He finally settled on one the giants of photographic history, the eccentric art photographer Oscar Rejlander, to make his pictures. It was a peculiar choice. Darwin was known for his meticulous science, while Rejlander was notorious for altering and manipulating photographs. Their remarkable collaboration is one of the astonishing revelations in Darwin's Camera. Darwin never studied art formally, but he was always interested in art and often drew on art knowledge as his work unfolded. He mingled with the artists on the voyage of HMS Beagle, he visited art museums to examine figures and animals in paintings, associated with artists, and read art history books. He befriended the celebrated animal painters Joseph Wolf and Briton Riviere, and accepted the Pre-Raphaelite sculptor Thomas Woolner as a trusted guide. He corresponded with legendary photographers Lewis Carroll, Julia Margaret Cameron, and G.-B. Duchenne de Boulogne, as well as many lesser lights. Darwin's Camera provides the first examination ever of these relationships and their effect on Darwin's work, and how Darwin, in turn, shaped the history of art.

Philip Prodger is Curator of Photography at the Peabody Essex Museum in Salem, Massachusetts, and the author of E. O. Hoppé's Amerika: Modernist Photographs from the 1920s; Time Stands Still: Muybridge and the Instantaneous Photography Movement (OUP 2003) and co-editor of Impressionist Camera: Pictorial Photography in Europe, 1888-1918.

Preface xi
Photographic plates from Expression of the Emotions in Man and Animals (1872) xii Introduction xxi
1. Darwin’s Art Collection 3
The prints, drawings, and photographs Darwin collected in the 1860s and 1870s
2. Illustration and Illusion 21 Strategies Darwin used in illustrating his books
3. Art, Experience, and Observation 35
Darwin’s knowledge of art history and use of illustration in his books
4. Darwin and the Passions 51
How passion manuals informed Darwin’s research
5. Photography and Evolution Meet 61 Connections between photography and biology in the 1860s
6. Method to Their Madness 81
How photography in mental hospitals influenced Darwin
7. Laughing and Crying 103
Darwin’s quest for pictures of expressive babies
8. Darwin’s Eyes and Ears 133
The artists who guided Darwin’s search for pictures
9. Darwin’s Art Photographer 157
Oscar Rejlander, Darwin’s favorite photographer
10. Rejlander’s Performances 187 Posing for Darwin’s pictures
11. Alice, Eugenics, and the Spirit World 205 The aftermath of Darwin’s experiments
Appendix: “Odd Odds and Ends” by Oscar Rejlander 227 Notes 235
Selected Bibliography 263
Acknowledgments 273
Index 277
Picture Credits 284
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