Barbara Daniels : This Is An Un Official Fan Site Tribute
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Barbara Daniels

Movie Title Year Distributor Notes Rev Formats Barbara Broadcast 1977 VCA NonSex 10 DRO Candy Lips 1977 VCX BJOnly DRO Centerfold Fever 1981 Video-X-Pix NonSex DRO Confessions of Seka 1980 Select-a-tape Anal Facial DP Dr. Love 1976 VCA LezOnly 1 O Fetishes of Monique 1976 Alpha Blue Archives Facial Her Name Was Lisa 1979 VCA LezOnly DRO Hot Nurses 1976 Caballero Home Video 1 DRO Love in Strange Places 1976 Caballero Home Video RO Nasty Girls 1983 VCX Anal 4 DRO Night Bird 1977 Blue Video Productions O Pink Ladies 1980 VCA LezOnly DRO Portraits of Pleasure 1975 Blue Video Productions GS Revenge and Punishment 1976 Alpha Blue Archives Facial Tara Tara Tara Tara 1981 VCA Facial O Temptress 1982 PVX NonSex The participation of women in photography goes back to the very origins of the process. Several of the earliest women photographers, most of whom were from Britain or France, were married to male pioneers or had close relationships with their families. It was above all in northern Europe that women first entered the business of photography, opening studios in Denmark, France, Germany, and Sweden from the 1840s, while it was in Britain that women from well-to-do families developed photography as an art in the late 1850s. Not until the 1890s did the first studios run by women open in New York City.
Following Britain's Linked Ring, which promoted artistic photography from the 1880s, Alfred Stieglitz encouraged several women to join the Photo-Secession movement which he founded in 1902 in support of so-called pictorialism. In Vienna, Dora Kallmus pioneered the use of photographic studios as fashionable meeting places for the Austro-Hungarian aristocracy. In the United States, women first photographed as amateurs, several producing fine work which they were able to exhibit at key exhibitions. They not only produced portraits of celebrities and Native Americans but also took landscapes, especially from the beginning of the 20th century. The involvement of women in photojournalism also had its beginnings in the early 1900s but slowly picked up during World War I. Contents 1 Early participants 1.1 The beginnings 1.2 The first professionals 1.3 Pioneering artists 1.4 Studio work in the 19th century 1.5 History of Female Photographers in America 2 The pictorialists 3 Women photographers from Vienna 4 Landscapes and street photography 4.1 Photojournalism and documentary work 4.1.1 Pioneers who worked in the late 1800s and early 1900s [53] 4.1.2 Other Pioneers 5 Surrealism 6 Evolving American participation 6.1 Portraits 7 African-American women in photography 7.1 History 7.1.1 Carrie Mae Weems 7.1.2 Susan "Sue" Ross 7.1.3 Lorna Simpson 7.1.4 Coreen Simpson 8 Lesbian women in photography 8.1 History 8.2 Post-Stonewall 9 UK women's agency 10 Contemporary 11 Awards 12 See also 13 Notes 14 References 15 Further reading Early participants



While the work of the English and French gentlemen involved in developing and pioneering the process of photography is well documented, the part played by women in the early days tends to be given less attention.[1] The beginnings Women were however involved in photography from the start. Constance Fox Talbot, the wife of Henry Fox Talbot, one of the key players in the development of photography in the 1830s and 1840s, had herself experimented with the process as early as 1839.[2] Richard Ovenden attributes to her a hazy image of a short verse by the Irish poet Thomas Moore, which would make her the earliest known female photographer.[3] Anna Atkins, a botanist, was also introduced to photography by Fox Talbot, who explained his "photogenic drawing" technique to her as well as his camera-based calotype process. After learning about the cyanotype process from its inventor, John Herschel, she was able to produce cyanotype photograms of dried algae. She published them in 1843 in her Photographs of British Algae: Cyanotype Impressions, said to be the first book with photographic illustrations.[4] Another botanist and keen amateur photographer, John Dillwyn Llewelyn, was possibly introduced to photography by his wife Emma Thomasina Talbot, a cousin of Fox Talbot.[5] His wife had shown an early interest in photography and did all his printing.[6] Anna Atkins: "Dictyota dichotoma, in the young state; and in fruit" (cyanotype, 1843) Anna Atkins: "Cystoseira granulata" (cyanotype, 1843) The first professionals In Switzerland, Franziska Möllinger (1817–1880) began to take daguerrotypes of Swiss scenic views around 1842, publishing lithographic copies of them in 1844. She was also professionally engaged in taking portraits from 1843.[7] Some 20 years leter, Alwina Gossauer (1841–1926) became one of the first women professional photographers.[8][9] In France, Geneviève Élisabeth Disdéri was an early professional in the photography business. Together with her husband, André-Adolphe-Eugène Disdéri who is remembered for patenting the carte de visite process, she established a daguerrotype studio in Brest in the late 1840s. After Disdéri left her for Paris in 1847, she continued to run the business alone.[10] Bertha Wehnert-Beckmann was probably Germany's first professional female photographer. In 1843, she opened a studio in Leipzig together with her husband and ran the business herself after his death in 1847.[11] Emilie Bieber opened a daguerrotype studio in Hamburg in 1852. After a slow start, business picked up and she ran the studio until 1885 when she transferred it to her nephew.[12] In the United States, Sarah Louise Judd (1802–1886) is reported to have made daguerrotypes in Minnesota as early as 1848.[13] Thora Hallager, one of Denmark's earliest women photographers, probably practiced in Copenhagen from the beginning of the 1850s. She is however remembered above all for the fine portrait of Hans Christian Andersen she took in 1869.[14] In Sweden too, women entered the photography business at an early stage. Brita Sofia Hesselius performed Daguerreotype photography in Karlstad as early as 1845,[15] and Marie Kinnberg was one of the very first to use the new photographic technique in Gothenburg in 1851–52.[16] Hilda Sjölin became a professional photographer in Malmö in 1860, opening a studio there the following year,[17] while Sofia Ahlbom also included photography among the arts she practiced in the 1860s.[18] In 1864, Bertha Valerius in Stockholm became official photographer of the Royal Swedish court (later followed as such by her student Selma Jacobsson). During the 1860s, they were at least 15 confirmed female photographers in Sweden, three of whom, Rosalie Sjöman, Caroline von Knorring and Bertha Valerius belonging to the elite of their profession. In 1888, the first woman, Anna Hwass, became a member of the board of the Fotografiska föreningen ('Photographic Society').[16] Thun Castle, daguerrotye by Franziska Möllinger (c. 1844) Geneviève Élisabeth Disdéri: Cimetière de Plougastel (1856) Bertha Wehnert-Beckmann: The Wehnert-Beckmann studio (c. 1850) Hilda Sjölin: Portrait of Ida Hultgren (1863) Thora Hallager: Niels Frederik Larsen (1863) Thora Hallager: Hans Christian Andersen (1869) Pioneering artists Two British ladies are remembered for their early contributions to artistic photography. In the late 1850s, Lady Clementina Hawarden began to take photographs. The earliest images were landscapes taken on the Hawarden estate in Dundrum, Ireland. After the family moved to London, in 1862 she converted the first floor of her South Kensington home into a studio, filling it with props which can be seen in her photographs. She specialised in portraits, especially of her two eldest daughters clad in the costumes of the day. Her work earned her silver medals at the exhibitions of the Photographic Society in 1863 and 1864.[19] Even more widely recognized for pioneering artistic work is Julia Margaret Cameron. Although her interest in photography did not begin until 1863 when she was 48 years old, she consciously set out to ensure photography became an acceptable art form, taking hundreds of portraits of children and celebrities. While her commitment to soft focus was frequently criticized as technically deficient during her lifetime, it later formed the basis for the Pictorialism movement at the beginning of the 20th century and is now widely appreciated.[20][21] Caroline Emily Nevill and her two sisters exhibited at the London Photographic Society in 1854 and went on to contribute architectural views of Kent with waxed-paper negatives.[22] In Italy, Virginia Oldoini, a mistress of Napoleon III, became interested in photography in 1856, recording the signature moments of her life in hundreds of self-portraits, often wearing theatrical costumes.[23] Clementina Hawarden: Her costumed daughters Clementina Maude and Isabella (1861) Clementina Hawarden: Clementina Maude in a dramatic posture (c. 1862) Julia Margaret Cameron: "Sadness" (1864) Julia Margaret Cameron: Portrait of Charles Darwin (1868) Julia Margaret Cameron: "Blackberry Gathering" (c. 1869) Studio work in the 19th century The earliest documented photography studios operated by women in the English speaking world, were opened in the 1860s. Prior to that, there had been studies opened by women in France, Germany, Denmark and Sweden. In the 1860s and 1870s, women ran independent studios in two locations in Malta. Sarah Ann Harrison operated in her name between 1864 and 1871 from 74, Strada della Marina, Isola (Senglea), Malta.[24] Adelaide Conroy was operating alongside her husband, James Conroy (mentor to the photographer Richard Ellis), from 1872 until around 1880 from premises at 56 and 134 Strada Stretta, Valletta, Malta.[25] Around 1866, Shima Ryu together with her husband Shima Kakoku opened a studio in Tokyo, Japan.[26] In New Zealand, Elizabeth Pulman assisted her husband George with work in his Auckland studio from 1867. After his death in 1871, she continued to run the business until shortly before she died in 1900.[27] A number of Danish women were quick to open their own studios. Frederikke Federspiel (1839–1913), who had learnt photography with her family in Hamburg, opened a studio in Aalborg in the mid-1870s.[28] Mary Steen opened her Copenhagen studio in 1884 when she was only 28, soon becoming Denmark's first female court photographer with portraits of Princess Alexandra in 1888.[29] Benedicte Wrensted (1859–1949) opened a studio in Horsens in the 1880s before emigrating to the United States where she photographed Native Americans in Idaho.[30] After studying photography at the London Polytechnic, Alice Hughes (1857–1939) opened a studio in Gower Street, London, in 1891, quickly becoming a leading photographer of royalty, fashionable women and children. At the height of her career, she employed 60 women and took up to 15 sittings a day.[31] One of the first female photographers to open a studio in New York City was Alice Boughton who had studied both art and photography at the Pratt School of Art and Design. In 1890, she opened a studio on East 23rd Street becoming one of the city's most distinguished portrait photographers.[32] Zaida Ben-Yusuf, of German and Algerian descent, emigrated from Britain to the United States in 1895. She established a portrait studio on New York' s Fifth Avenue in 1897 where she photographed celebrities.[33] Mary Steen: Queen Victoria with Princess Beatrice at Windsor Castle (1895) Frederikke Federspiel with a client in her Aalborg studio (1910) Alice Hughes: Pauline Waldorf Astor (1904) Elizabeth Pulman: Rewi Manga Maniapoto (1879) Zaida Ben-Yusuf: Mrs. Fiske, 'Love finds the way' (1896) History of Female Photographers in America Prior to the roaring twenties there were little to non female photographers in existence. After the huge advancement in culture after the roaring twenties the number of photographers that were women increase drastically. Estimated to be about 5,000 female photographers. Despite there still being an apparent line of gender limitations photography allowed for females to bring forth their creativity. Along came with many different opportunities including different publications such as "American Amateur Photographer" that allowed for women photographers whether she was an amateur or not to further showcase their skills. With no longer being labeled as "a wife of a photographer" women who already have a keen eye for the fashionable side of things photographer seem to be strong suit for them. The emergence of women in photography can be attributed to the progressive era. Where the roles of women in our every day society were changed tremendously and reversed. This time period a vast number of women photographers were reportedly apart of photography organizations


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