Book contents
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Introduction: Colonization and the Camera
- Chapter 1 The Earliest Photographs of Vietnam and the Vietnamese
- Chapter 2 Commercial Studios (1860s–1870s)
- Chapter 3 Émile Gsell (1838–1879): Celebrated Photographer of Nineteenth-Century Vietnam
- Chapter 4 Commercial Studios (1880s–1890s)
- Chapter 5 Charles-Édouard Hocquard (1853–1911): Photographer of the 1884–5 SinoFrench War
- Chapter 6 Selection of Twentieth-Century Photographers
- Chronology of Photography in Vietnam (1845–1954)
- Appendix 1 Index of Photographers and Studios in Vietnam (1845–1954)
- Appendix 2 Number Lists: Raphael Moreau and Émile Gsell
- Appendix 3 Postcards
- Appendix 4 Royal Photographic Portraits
- Appendix 5 Cartes de Visite and Cabinet Cards
- Appendix 6 1863 Vietnamese Embassy to France
- Photographic Terms
- Select Bibliography
- Frontmatter
- Contents
- Preface
- Acknowledgements
- Introduction: Colonization and the Camera
- Chapter 1 The Earliest Photographs of Vietnam and the Vietnamese
- Chapter 2 Commercial Studios (1860s–1870s)
- Chapter 3 Émile Gsell (1838–1879): Celebrated Photographer of Nineteenth-Century Vietnam
- Chapter 4 Commercial Studios (1880s–1890s)
- Chapter 5 Charles-Édouard Hocquard (1853–1911): Photographer of the 1884–5 SinoFrench War
- Chapter 6 Selection of Twentieth-Century Photographers
- Chronology of Photography in Vietnam (1845–1954)
- Appendix 1 Index of Photographers and Studios in Vietnam (1845–1954)
- Appendix 2 Number Lists: Raphael Moreau and Émile Gsell
- Appendix 3 Postcards
- Appendix 4 Royal Photographic Portraits
- Appendix 5 Cartes de Visite and Cabinet Cards
- Appendix 6 1863 Vietnamese Embassy to France
- Photographic Terms
- Select Bibliography
Summary
The first half of the century saw the production, in Vietnam, of thousands of photographic postcards. The portraits and scenes depicted usually included the name of the publisher or photographer. This information was printed on the face of the cards, and shown above is an example from the Raphael Moreau studio. In the interests of photographer identification, it was tempting, therefore, to include here a representative sampling of images. Unfortunately, however, space would permit inclusion of only a small fraction of those available, and the result would have been unsatisfactory given the considerable number of publishers and photographers involved. It was decided, therefore, to include only those postcards which illustrate multiple images. These collages are helpful in that they show, in one view, many examples of the work of the publisher or photographer in question. And given that the images are very often copies of earlier large-format photographs, they can provide researchers with a handy resource, especially when trying to connect otherwise unidentifiable photos with their original authors. There have also been some books published on the subject of Vietnamese postcards and researchers will find them an invaluable source of supplementary information.
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- Information
- Early Photography in Vietnam , pp. 292 - 301Publisher: Amsterdam University PressPrint publication year: 2020