Her image suggests a human vulnerability certainly not present in Carlyle, whose likeness is far more spectral, moving between presence and absence, in and out of focus, into the realm of ghostly apparition. Photographing him at the height of this controversy she produces an emotive statement, surely approaching an early example of a propaganda image. The portrait of Eyre can be located in relation to an ongoing series of singular portrait studies commenced after Cameron purchased a camera that held 11" x 15" glass plates in Exhibition Curator, Pre-Raphaelite Sisters. In Cameron wrote 'The life has so much to do with the individual character of each face, influencing form as well as expression'. The Gallery holds the most extensive collection of portraits in the world. In another less stoic pose also registered for copyright by Cameron, Eyre avoids the gaze of the viewer as if also to evade judgement and looks sorrowfully downward. The surface - Eyre's expression, his face - became integral to the literal public judgement of the man. Curator, Photographs Content and Interpretation.
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Yet it also allows us to see how she used a similar technique to imply very different representational meanings within her portrait project.
In these photographs, Cameron asserts presence and life force via contrasts of expression and inertia, light and darkness, definition and lack of clarity in and around the face.
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Cameron took more than twelve hundred photographs over the course of her career. Researcher Co-ordinator Understanding British Portraits. When Eyre sat for Cameron, on 4 Junehe was in London defending himself against a parliamentary enquiry that attempted three times unsuccessfully to bring him to trial for murder.
Dr Alison Smith Chief Curator.
Consideration of the two pictures yields an understanding of important conceptual achievements of Cameron's work.
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Hearts of Darkness By Magda Keaney. These are distinct from portraits of women, her largest subject group more than and smaller groups of religious studies, photographs of children, illustrative narratives, and the last, relatively small, group of pictures taken before her death, when she and her husband Charles joined their sons in Ceylon on their family plantations.
Cameron's writing suggests she equated her use of out-of-focus with likeness rather than masking, referring to 'that roundness and fullness of form and feature, that modelling of flesh and limb which the focus I use only can give'.
This, like her feminist interest, was complicated and rarely clear-cut, but never very far from the surface.
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|Throughout her career Cameron was concerned with an exploration of the physical and metaphorical positioning of the body, often in relation to the objects and spaces it encounters.
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Chris O'Doherty, also known as Reg Mombassa, is best-known for his Mambo imagery but he also paints a lot of self portraits. Curator, 16th Century to Contemporary Collections. The large-scale quarter-length pose, strong side light receding into a dark background, undulations in printing and deliberate out-of-focus aesthetic of this portrait became the hallmarks of her unique vision and approach to image making.
The photographer's sympathies, and those of many of her close friends, undoubtedly lay with Eyre, and probably more importantly with the notion of the protection of Empire as a worthy and noble justification of the actions of an individual acting as an appointed representative to defend it.