92nd Gordon Highlanders at Edinburgh Castle [Military 3] (1846)
About this artwork
Soldiers know how to stand still for long periods and for that reason were often used as life models by artists. To show them as men of action was more difficult. The blur in this photograph is deliberate and gives an impression of movement. Hill 'would during the exposure give his camera an almost imperceptible jerk' to achieve this effect. The artist preferred the blur of the calotype to the more precise daguerreotype because the former looked like 'the imperfect work of a man' and the latter like 'the much diminished perfect work of god'.
- title: 92nd Gordon Highlanders at Edinburgh Castle [Military 3]
- accession number: PGP HA 347
- artists: David Octavius HillScottish (1802 - 1870) Robert AdamsonScottish (1821 - 1848)
- gallery: Scottish National Portrait Gallery(Print Room)
- object type: Photograph
- subject: Military and naval
- date created: 1846
- measurements: 19.00 x 14.10 cm
- credit line: Provenance unknown
David Octavius Hill
David Octavius Hill
A painter and a lithographer by training, David Octavius Hill is best remembered for the beauty of the calotypes he and Robert Adamson produced together. Hill was a sociable and kind-hearted man who did much to support the arts in Scotland and between 1830 and 1836 he was the unpaid Secretary of the newly established Royal Scottish Academy. After Adamson's death, Hill's attempt to start a new partnership with the photographer Alexander MacGlashan around 1860 failed. Hill is to this day revered as one of the first in the trade who transformed photography into an art form.
Robert Adamson was one of the first professional photographers, setting up in business in Edinburgh in March 1843. He had aspired to be an engineer but his health was too poor. His brother, John, who was involved in the early experiments with photography in St Andrews, taught him the calotype process. Shortly after opening his studio on Calton Hill, Robert met the painter David Octavius Hill. They worked together for a few weeks on studies for a grand painting of the Free Church of Scotland before entering into partnership to explore the possibilities of photography. Despite Adamson's early death, the two produced some of the most impressive works taken in the medium and greatly influenced later practice in the art.