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The R. Clapperton Studio
The main part of the Studio has remained virtually intact from when its was first constructed for Robert Clapperton in 1867.
The requirements of an early Victorian photographer were the manipulation of daylight to illuminate the subject to be photographed.
To this end, the Studio was built with one wall and the roof completely covered in glass (somewhat similar to a greenhouse).
Blinds and screens were utilised to shade and deflect the light.
Sunlight was not allowed to reach the subject - the side wall of this Studio faces approximately north/east.
The photographic negatives used in the early days of the business were manufactured in the Studio and had very slow emulsion characteristics.
The process, known as the Wet Collodion process, required that the negative be coated, exposed and developed before the emulsion dried thus meaning that time was of an essence. The photographer was required to set up his subject(s), prepare the materials and chemicals, take the photograph and then develop the negative - all in a very short time scale.
The subject(s) of each photograph were required to stand or sit very still for long periods as the negative was exposed - to assist them various devices were employed. [The Headstand is an example]
Many props were used to produce stunning effects and many photographs taken in the Studio appear to be at completely different locations.
Back cloths, stands, walls and studio furniture were all used to produce these imaginative visual effects.
The STUDIO CAMERA was made in the 1870's and was initially fitted with a lens, which did not have a shutter. The photographer removed the lens cover to make the exposure which, dependant on the quality of daylight at the time, could be for several seconds.
The Camera was focussed on the subject(s) using a ground glass screen and the photographer would cover his head and the rear of the camera with a large dark cloth.
The lens now fitted to the Studio Camera incorporates a built-in shutter mechanism operated by an air bulb was fitted to the camera in the 1920's.
Shortly afterwards, in 1924, large electric lamps were installed in the main studio. These lamps, producing 6000 candlepower, allowed the photographer to work at any time of the day or night.
Thus, after 60 years of using daylight as the only means of illumination, the electricity allowed the business to extend its scope of photographic services to the public. The glass roof was painted white to reflect the powerful light emanating from the electric lamps and was covered on the outside with corrugated iron
The requirements of an early Victorian photographer were the manipulation of daylight to illuminate the subject to be photographed.
To this end, the Studio was built with one wall and the roof completely covered in glass (somewhat similar to a greenhouse).
Blinds and screens were utilised to shade and deflect the light.
Sunlight was not allowed to reach the subject - the side wall of this Studio faces approximately north/east.
The photographic negatives used in the early days of the business were manufactured in the Studio and had very slow emulsion characteristics.
The process, known as the Wet Collodion process, required that the negative be coated, exposed and developed before the emulsion dried thus meaning that time was of an essence. The photographer was required to set up his subject(s), prepare the materials and chemicals, take the photograph and then develop the negative - all in a very short time scale.
The subject(s) of each photograph were required to stand or sit very still for long periods as the negative was exposed - to assist them various devices were employed. [The Headstand is an example]
Many props were used to produce stunning effects and many photographs taken in the Studio appear to be at completely different locations.
Back cloths, stands, walls and studio furniture were all used to produce these imaginative visual effects.
The STUDIO CAMERA was made in the 1870's and was initially fitted with a lens, which did not have a shutter. The photographer removed the lens cover to make the exposure which, dependant on the quality of daylight at the time, could be for several seconds.
The Camera was focussed on the subject(s) using a ground glass screen and the photographer would cover his head and the rear of the camera with a large dark cloth.
The lens now fitted to the Studio Camera incorporates a built-in shutter mechanism operated by an air bulb was fitted to the camera in the 1920's.
Shortly afterwards, in 1924, large electric lamps were installed in the main studio. These lamps, producing 6000 candlepower, allowed the photographer to work at any time of the day or night.
Thus, after 60 years of using daylight as the only means of illumination, the electricity allowed the business to extend its scope of photographic services to the public. The glass roof was painted white to reflect the powerful light emanating from the electric lamps and was covered on the outside with corrugated iron