How 19th-Century Photographer Anna Atkins Changed the Way We Look at Science

Anna Atkins (1799–1871), Dictyota dichotoma, in the young state & in fruit, from Part
XI of Photographs of British Algae: Cyanotype Impressions, 1849-1850, cyanotype
Anna Atkins (1799–1871), Dictyota dichotoma, in the young state & in fruit, from Part XI of Photographs of British Algae: Cyanotype Impressions, 1849-1850, cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations

When Anna Atkins finished the first part of her book, Photographs of British Algae: Cyanotype Impressions, she signed the introduction “A.A.” Nowhere among the nearly 400 hand-printed images of the final collection does her full name appear. A scholar studying her work decades later assumed that the initials stood for “anonymous amateur.”

Atkins’s Photographs of British Algae, produced between 1843 and 1853, was the first book illustrated exclusively with photographs and the first application of photography to science—making Atkins the first known female photographer. Atkins worked in an early kind of photography called cyanotype, which she learned directly from its creator, the famous astronomer Sir John Herschel, at the moment of its invention. An avid botanist, she even collected many of the seaweed specimens herself. But, despite her place in history, comparatively little is known about her artistic and scientific ideas.

“We know she was a reticent person,” says Joshua Chuang, co-curator (with Larry J. Schaaf and Emily Walz), of “Blue Prints: The Pioneering Photographs of Anna Atkins,” a new exhibition opening October 19 at the New York Public Library's Stephen A. Schwartzman Building. “Even though she spent a long time and a lot of energy and resources making these photographs, she did not seek recognition or fame.”

Anna Atkins, Furcellaria fastigiata, in Photographs of British Algae: Cyanotype Impressions
Anna Atkins (1799–1871), Furcellaria fastigiata, from Part IV, version 2 of Photographs
of British Algae: Cyanotype Impressions
, 1846 or later, cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations

Born in 1799 in Tonbridge, Kent, England, Anna was the only child of John George Children, a chemist and mineralogist, and later the keeper of zoology at the British Museum. Anna’s mother died a year after she was born. Anna and her father remained very close (his own mother had also died when he was an infant), and through him, Anna was introduced to the leading scientists and innovations at the turn of the 19th century.

In her first artistic undertaking, Anna assisted her father by hand-drawing more than 200 scientifically accurate illustrations for his translation of Jean-Baptiste Lamarck’s Genera of Shells, published in 1823. Anna’s marriage in 1825 to John Pelly Atkins, a wealthy West India merchant, gave her the time and freedom to pursue her passion for botany. She joined the Royal Botanical Society and collected seaweeds on her trips to English beaches; she also obtained specimens from botanical contacts around the world. By 1835, Children was enthusiastically promoting his daughter’s botanical collection and scientific interests to his colleagues, including William Hooker, director of the Royal Botanic Gardens at Kew; William Henry Fox Talbot, the inventor of negative-positive photography; and Sir John Herschel, the most famous scientist in England, who happened to be Children’s neighbor.

Herschel published a paper in the Royal Society’s Philosophical Transactions describing his cyanotype process in 1842. The technique involved two iron-based compounds, ferric ammonium citrate and potassium ferricyanide, which were brushed onto regular paper and left in the dark to dry. Then, the photo negative or flat object to be photographed was placed over the paper and exposed to sunlight for several minutes. The paper was then washed in plain water. The combination of the iron compounds and water created a chemical reaction that produced Prussian blue pigment, revealing a deep blue permanent print with the item remaining the same color as the paper.

Anna Atkins, Halyseris polypodioides, in Photographs of British Algae: Cyanotype Impressions
Anna Atkins (1799–1871), Halyseris polypodioides, from Part XII of Photographs of
British Algae: Cyanotype Impressions
, 1849-1850, cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations

Herschel taught Atkins his formula around 1842, and she began experimenting with the process then. Herschel's instructions gave her an advantage over other artists, Chuang tells Mental Floss. “There were DIY manuals, almost like cookbooks, for early photographers explaining how to mix the chemicals. But every one of these manuals mistranslated the cyanotype recipe, so no one was able to do it successfully. But because Atkins learned from the inventor himself, she was able to do it,” he says.

As Talbot and Herschel continued to develop their photographic methods, William Harvey, one of England’s most famous botanists, published A Manual of the British Marine Algae—without any illustrations. “All he had to distinguish one species from another, besides the different names, was a kind of visual description of what these things looked like, felt like, what the texture was,” Chuang says. “Atkins must have thought, ‘That’s insane, we have this new thing called photography—why don’t I use that to try to illustrate it?’”

At the time, books depicting botanical specimens were embellished with either hand-drawn impressions or actual specimens that had been dried, pressed, and glued to the pages. The first method was time-consuming and expensive; the results of the second were usually short-lived. “The cyanotype process would have appealed at once to Atkins,” Schaaf writes in his 1979 paper, “The First Photographically Printed and Illustrated Book.”

She recognized the potential of photography to improve scientific illustration in particular. “The difficulty of making accurate drawings of objects so minute as many of the Algae and Confervae has induced me to avail myself of Sir John Herschel’s beautiful process of cyanotype to obtain impressions of the plants themselves,” Atkins wrote in the introduction of Photographs of British Algae.

Atkins mixed the chemicals and prepared her own photosensitive paper. Some of the plates have tiny holes at the corners, suggesting that she pinned each plate to a board for drying. Her closest childhood friend and collaborator, Anne Dixon, shared Atkins’s zeal for collecting and photography and may have helped produced several of the later plates in Photographs of British Algae.

The work was published in parts, beginning in October 1843. Over the course of 10 years, Atkins regularly issued new plates as well as some replacement plates, an index, title pages, and handwritten assembly instructions to a selection of friends, botanical colleagues, and scientific institutions. Atkins intended the final three-volume collection to contain 14 pages of text and 389 plates measuring about 8 inches by 10 inches. Each recipient was responsible for adding the new plates and sewing them into the binding, which explains why the few existing copies of Photographs of British Algae are in different stages of completeness.

Portrait of Anna Atkins, ca. 1862
Unknown photographer, Portrait of Anna Atkins, ca. 1862, albumen print
Nurstead Court Archives

The book had little impact on the scientific world, though. William Harvey makes no mention of Atkins in subsequent editions of his book, which Atkins used as inspiration for hers. “They must have known each other or at least heard of each other,” Chuang says. “Harvey knew Herschel, and Herschel definitely would have told him about this project. But Harvey never mentions it.” A critic praised the book’s use of cyanotype for rendering delicate specimens, but within a few years, Photographs of British Algae and its anonymous author were forgotten.

Atkins continued to experiment with cyanotype, printing lace, feathers, ferns, and other botanical objects. But in the 1850s, botanists began using a more commercially viable printing process called nature printing, in which a specimen was pressed into a sheet of soft metal. The sheet could be inked and pressed onto paper, revealing previously unseen textures.

It wasn’t until 1889—18 years after Atkins’s death—that scholar William Lang, in a lecture about the cyanotype process before the Philosophical Society of Glasgow, identified Anna Atkins as the author of Photographs of British Algae.

Anna Atkins, Alaria esculenta, in Photographs of British Algae: Cyanotype Impressions
Anna Atkins (1799–1871), Alaria esculenta, from Part XII of Photographs of British
Algae: Cyanotype Impressions
, 1849-1850, cyanotype
Spencer Collection, The New York Public Library, Astor, Lenox and Tilden Foundations

“The fact that her story and her work has survived is quite miraculous,” Chuang says. In the New York Public Library’s exhibition, its copy of Photographs of British Algae—which Atkins inscribed and gave to Herschel—will be on display, as well as new details about her life and the significance of her work.

“The book that she created is not only handmade, but there are no two copies that are alike,” Chuang adds. “It’s almost impossible to know what’s complete. And that’s true of what we know about her life; it’s a story that constantly in formation.”

Additional source: Sun Gardens: Victorian Photograms by Anna Atkins

Photographer's Up-Close Images of Animal Eyes Will Have You Seeing Wildlife in a Whole New Way

A parrot eye
A parrot eye
Suren Manvelyan

Few people ever get close enough to a hippo, hyena, or crocodile to snap a photo of one, let alone get a detailed shot of their eyes. Yet that is exactly what theoretical physicist-turned-photographer Suren Manvelyan, of Armenia, has done. His macro photography series of animal eyes, spotted by My Modern Met, offers a rare look at the animal world, amplified.

Some of Manvelyan's eye photos—like that of the camel, which has three eyelids—look like strange landscapes on some distant, alien planet. The smallest details have been captured in his photos, from the kaleidoscopic irises of the chinchilla and chimpanzee to the shimmery edges of a raven's eye. If the photos weren't labeled, it might be difficult to tell what you were looking at.

"It is very beautiful and astounding," Manvelyan told Radio Free Europe/Radio Liberty. "The surface resembles the surface of other planets, with craters, rivers, and valleys. It looks like something from another world. Every time I photograph the eye, I feel myself traveling through the cosmos."

Manvelyan keeps his photography techniques secret, but he says he sometimes spends an hour with an animal just waiting to capture the right moment. To date, he has photographed both domestic animals (like a husky dog and Siamese cat) as well as exotic ones (including a variety of tropical birds and lizards). Check out some of his shots below, and visit his website to see more photos from this series.

Eye of a caiman lizard
A caiman lizard's eye
Suren Manvelyan

A camel's eye
A camel's eye
Suren Manvelyan

A chinchilla eye
A chinchilla's eye
Suren Manvelyan

A raven's eye
A raven's eye
Suren Manvelyan

A husky dog's eye
A husky dog's eye
Suren Manvelyan

A horse eye
A horse eye
Suren Manvelyan

A chimpanzee eye
Eye of a chimpanzee
Suren Manvelyan

A tokay gecko's eye
A tokay gecko's eye
Suren Manvelyan

[h/t My Modern Met]

11 Photos From the Opportunity Rover's Mission on Mars

NASA
NASA

In 2004, the rover Opportunity landed on Mars. Originally intended to serve a mere 90-day mission, the rover instead beamed back scientific discoveries for 15 years. But since a massive dust storm in 2018, the rover Opportunity ceased sending data—and now, NASA has declared its groundbreaking mission complete. (Its twin rover, Spirit, ended its mission in 2011.) Opportunity is the longest-serving robot ever sent to another planet. Let's celebrate Opportunity's Mars mission with a look at the images it captured.

1. Opportunity rover gets its first 360° shot.

Rover Opportunity's 360° photo of Mars
NASA/JPL/Cornell 

This 360° panorama, comprised of 225 frames, shows Mars as it was seen by the Opportunity rover on February 2, 2004. You can see marks made by the rover's airbags, made as Opportunity rolled to a stop. Here's a larger version of the photo.

2. Opportunity rover finds a meteorite.

Opportunity rover's photo of a meteorite on Mars
NASA/JPL/Cornell

This meteorite, found by Opportunity on January 19, 2005, was the first meteorite ever identified on another planet. The rover's spectrometers revealed that the basketball-sized meteorite was composed mostly of iron and nickel.

3. Opportunity rover shoots the Erebus Crater and drifts.

Opportunity rover's photo of Erebus craters and drift
NASA/JPL-Caltech/Cornell

On October 5, 2005—four months after Opportunity got stuck in an area NASA nicknamed "Purgatory Dune"—the rover skirted wind-deposited drifts in the center of the Erebus Crater, heading west along the outcrop (the light-toned rock) on the crater's rim, and snapped this photo with its PanCam.

4. Opportunity rover captures Martian rock layers.

Opportunity rover's photo of layers on Mars
NASA/JPL/Cornell

Located on the western ledge of the Erebus Crater, this ledge—called "Payson"—has a diverse range of primary and secondary sedimentary layers formed billions of years ago. According to NASA, "these structures likely result from an interplay between windblown and water-involved processes." Opportunity snapped this photo on April 5, 2006.

5. Opportunity rover comes to Cape Verde.

Opportunity rover's photo of Cape Verde
NASA/JPL-Caltech/Cornell

On October 20, 2007, Opportunity celebrated its second Martian birthday (one Martian year = 687 Earth days) by snapping this photo of Cape Verde, a promontory that juts out of the wall of the Victoria Crater. Scattered light from dust on the front sapphire window of the rover's camera created the soft quality of the image and the haze in the right corner.

6. and 7. Opportunity rover is hard at work on Marquette Island.

Opportunity rover's photo of Marquette Island
NASA/JPL-Caltech

This photo shows Opportunity approaching a rock called "Marquette Island" on November 5, 2009. Because its dark color made it stick out, the rover team referred to the rock—which investigations suggested was a stony meterorite—as "Sore Thumb." But it was eventually renamed, according to NASA, using "an informal naming convention of choosing island names for the isolated rocks that the rover is finding as it crosses a relatively barren plain on its long trek from Victoria Crater toward Endeavour Crater."

On November 19, 2009, the rover used its rock abrasion tool to analyze a 2-inch diameter area of Marquette, which scientists called "Peck Bay."

8. Opportunity rover encounters SkyLab Crater.

Opportunity rover's photo of SkyLab Crater
NASA/JPL-Caltech

Opportunity snapped a photo of this small crater, informally called Skylab, on May 12, 2011. Scientists estimate that the 30-foot crater was formed within the past 100,000 years. Click the photo for a larger version. You can also see the crater in stereo if you have a pair of anaglyph glasses!

9. Opportunity rover sees its shadow.

Opportunity rover's selfie
NASA/JPL-Caltech

On its 3051st day on Mars (August 23, 2012), Opportunity snapped this photo of its own shadow stretching into the Endeavour Crater.

10. Opportunity rover sees its first dust devil.

Opportunity rover's photo of a dust devil
NASA/JPL-Caltech/Cornell University/Texas A&M

Though its twin rover, Spirit, had seen many dust devils by this point, Opportunity caught sight of one for the first time on July 15, 2010.

11. Opportunity rover snaps a selfie.

Opportunity rover's self-portrait
NASA/JPL-Caltech/Cornell University/Arizona State University

A girl sure can get dusty traversing the Martian plains! Opportunity snapped the images that comprise this self-portrait with its panoramic camera between January 3 and January 6, 2014, a few days after winds blew off some of the dust on its solar panels. The shadow belongs to the mast—which is not in the photo—that the PanCam is mounted on.

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