The largest and most ambitious of Emerson’s photographic books containing 32 photogravure plates. Pasted on the inside cover a broadside “To the student” dated September 1889, keying the plates to Emerson’s treaty on photography as art, Naturalistic Photography. “I have endeavoured in the plates to express sympathetically various phases of peasant and fisher folk life and landscape which have appealed to me in Nature by their sentiment or poetry.” The volume cumulatively proposes that the essence of that life is hard work, as the title of the epic plowing scène “A Stiff Pull” indicates. “In the Barley Harvest” depicts a moment’s break in the agricultural labor and perfectly exemplifies Emerson’s principle of differential focus. (Imagining Paradise) The deluxe edition was originally advertised as limited to seventy-five copies, but only twenty-five books and fifty portfolios were actually issued. An ordinary edition (bound in half leather) was originally advertised as limited to 500 copies, but only 250 copies were actually issued, some with the plate, Mending the Old Wherry substituted for A Way Across the Marshes which wore out after 30 pulls. In 1890, an additional 250 portfolios of the best photographs in the ordinary edition was also issued, but the plates had worn thin resulting in inferior prints. The reason Emerson gave for curtailing production is, “the plates were bad.” (Kahan – UT Austin) The plates have been reproduced on Copper from my original negatives by the Autotype Company, the Typographic-Etching Company and Messrs. Walker & Boutall.” — Préface. Folio, t.e.g. (viii) 150 (2) pp. with The Truthful Lense no. 52
In 1889 Emerson published his controversial book ‘Naturalistic Photography for Students of the Art’ without images. ‘Naturalistic Photography’ examined his purist approach to photography, derived from his fascination with Naturalism in art, and attacked the prevailing artificial aesthetic in art photography. After its publication Emerson felt that his opponents had misunderstood his ideas. So, in 1890 he selected 10 plates from his book ‘Pictures of East Anglian Life’ (1888) that best illustrated his theories, and presented them loose in a portfolio dedicated to the ‘photographic student’, with the same title and cover of the book. He then donated copies of this portfolio to every photographic society in the country.
Emerson’s ideal of artistic production filtered through the lens of naturalism is perhaps best embodied in the figure of the poacher, a recurring character throughout Emerson’s literary and photographic works. For Emerson, the poacher embodied a romantic ideal of a rogue outsider who scorns the conventional norms of society, instead acting in accordance with the laws of nature. He wields keen powers of observation, which helps him to outwit wild game and game wardens alike. In The Poacher – A Hare in View. [Suffolk.] 1888, the poacher’s tool of choice is a lurcher, whose actions the poacher has mastered. Like the naturalistic photographer, the poacher peers out intently into the landscape, while effortlessly commanding the dog with a leash in his right hand that recalls the pneumatic shutter release used with a view camera. With a single, unconscious reflex, the poacher triggers his tool, releasing the lurcher into the landscape to retrieve the object of his attention. Fuldner
Haworth-Booth, Mark. The Golden Age of British Photography, 1839-1900: Photographs from the Victoria and Albert Museum, London [and Others]. New York: Aperture, 1984 p. 165
Newhall, Nancy. P. H. Emerson: The Fight for Photography As a Fine Art. New York: Aperture, 1976. p. 211.
Newhall, Nancy. P. H. Emerson: The Fight for Photography As a Fine Art. New York: Aperture, 1976. p. 189.
Carl Fuldner, ‘Emerson’s Evolution’, Tate Papers, no.27, Spring 2017, http://www.tate.org.uk/research/publications/tate-papers/27/emersons-evolution, accessed 26 July 2017.
Taylor J. The Old Order and the New : P.h. Emerson and Photography 1885-1895. Munich: Prestel; 2006.