Julia Margaret Cameron
Julia Margaret Cameron (née Pattle; 11 June 1815 – 26 January 1879) was a British photographer known for her portraits of celebrities and for images with Arthurian and other legendary or heroic themes.
Julia Margaret Cameron
Portrait of Julia Margaret Cameron by Henry Herschel Hay Cameron, her son, in 1870
Julia Margaret Pattle
11 June 1815
|Died||26 January 1879 (aged 63)|
Cameron's photographic career was short, spanning eleven years of her life (1864–1875). She took up photography at the relatively late age of 48, when she was given a camera as a present.
Her style was not widely appreciated in her own day. Her choice to use soft focus and to treat photography as an art as well as a science caused her works to be viewed as "slovenly", marred by "mistakes". She found more acceptance among pre-Raphaelite artists than among photographers.
Early life and educationEdit
On 11 June 1815, Julia Margaret Cameron was born Julia Margaret Pattle at Garden Reach, Calcutta, India, to Adeline Marie de l'Etang and James Peter Pattle. Her father was a British official from England, in India while working for the East India Company. Her mother was a French aristocrat—the daughter of Chevalier Ambrose Pierre Antoine de l'Etang, who had been a page of Marie Antoinette and an officer in the Garde du Corps of King Louis XVI. Julia was the fourth of ten children, and one of seven to survive to adulthood; three of her siblings died as infants.
Her father's family had been involved with the East India Company for many years, though he traced his line to a 17th century ancestor living in Chancery Lane, London.At age 14, James joined the Indian Civil Service and, over time, rose to a high rank.:12 A memorable story about her parents' end recounts her father succumbing to alcoholism in 1854, his body then shipped to England in a cask of rum, but the cask then exploding, causing his window to literally be scared to death and causing the ship to be destroyed after the rum caught fire.
The seven Prattle sisters—known for their closeness, proud dispositions, unusual behaviour and dress, as well as their "charm, wit and beauty"—were all sent to France as children to be educated (all of the sisters spoke Hindustani and French:12). Julia lived there with her maternal grandmother from 1818 to 1834, after which she returned to India.
South Africa and CalcuttaEdit
In 1835, after suffering several illnesses, Julia visited the Cape of Good Hope in South Africa with her parents to recover. It was common for Europeans living in India to visit South Africa to convalesce after an illness. While there, she met British astronomer and photo chemist Sir John Herschel, who was observing the southern celestial hemisphere. She also met Charles Hay Cameron, twenty years her senior, an Indian law and education reformer who later invested in coffee plantations in what is now Sri Lanka. Charles Hay was also there to convalesce, likely from a particularly virulent malarial fever which often spread during the Indian monsoon season. This illness caused recurring kidney trouble and diarrhea for the rest of his life.:14
Two years after meeting, on 1 February 1838, they were married in Calcutta. In December of that same year, they gave birth to their first child; John Herschel was the godfather.:15 Between 1839 and 1852, they had six children, one of whom was adopted. In all, the Cameron raised 11 children, five of her own, five orphaned children of relatives, and an Irish girl named Mary Ryan whom they found begging on Putney Heath and whom Cameron used as a model in her photographs. Their son, Henry Herschel Hay Cameron, would also become a photographer.
Through the early 1840s, as organiser of the social engagements of governor-general Lord Henry Hardinge, Cameron became a prominent hostess in Anglo-Indian society. During this time she also corresponded with Herschel about the latest developments in photographic technology. In 1939, Herschel was the first to inform Cameron about the invention of photography.[a]:14 In 1842, Herschel sent her two dozen calotypes and daguerrotypes, the first photographs she encountered.:42
Perhaps to be closer to their two children,:15 the Camerons retired to England in 1845, where they took part in London's artistic and cultural scene. Julia often visited her sister, Sara Prinsep, who oversaw a literary and artistic salon "of Pre-Raphaelite painters, poets, and aristocrats with artistic pretensions" at Little Holland House, Kensington, London. It was here that she met many of the well-known subjects of her later portraits, including Henry Taylor and Alfred Tennyson.
Daphne Du Maurier describes the scene:
The nobilitee, the gentree, the litherathure, polithics and art of the counthree, by jasus! It's a nest of proraphaelites, where Hunt, Millais, Rossetti, Watts, Leighton etc, Tennyson, the Brownings and Thackeray etc and tutti quanti receive dinners and incense, and cups of tea handed to them by these women almost kneeling.
Benjamin Jowett echoed this when describing Cameron's reverence to these creative personalities after a later visit to the same salon-like atmosphere at Freshwater:
She is a sort of hero-worshipper, and the hero is not Mr Tennyson—he only occupies second place—but Henry Taylor.:27
In 1847, she was writing poetry, started a novel, and published a translation of Gottfried August Bürger’s Leonora. In 1848, Charles Cameron retired fully and invested in coffee and rubber plantations in Ceylon, becoming one of the island's largest landowners.:483 The Camerons then settled down in England, first to Tunbridge Wells in Kent, where she was neighbors with Sir Henry Taylor,:16 then to East Sheen, London in 1850.:7
During this time, Cameron became a member of a society for art education and appreciation and George Frederic Watts starts working on a painting of Cameron.:7
In 1860, after an extended visit with Alfred Tennyson at the seaside village of Freshwater, Isle of Wight, Julia hastily purchased a property next door to Tennyson and the family moved there, naming the property "Dimbola" after one of the coffee plantations in Ceylon. A private gate connected the residences, and the two families soon began entertaining well-known personalities with music, poetry readings, and amateur plays, creating an artistic scene much as what was previously found at Little Holland House. She lived there until 1875.
Around 1863, her daughter Julia and her son-in-law gave her her first camera (a sliding-box camera) as a Christmas present. The gift was meant to provide a diversion while her husband was away in Ceylon tending to his coffee plantations. Of the gift, her daughter stated "It may amuse you, Mother, to try to photograph during your solitude at Freshwater."
After receiving the camera, she cleared out a chicken coop and converted it into studio space. In an unfinished autobiographical manuscript titled Annals of my Glasshouse, Cameron wrote:
I turned my coal-house into my dark room, and a glazed fowl house I had given my children became my glass house. The hens were liberated, I hope and believe not eaten. The profit of my boys upon new laid eggs was stopped, and all hands and hearts sympathised in my new labour, since the society of hens and chickens was soon changed for that of poets, prophets, painters and lovely maidens, who all in turn have immortalized the humble little farm erection.
She also wrote:
I began with no knowledge of the art... I did not know where to place my dark box, how to focus my sitter, and my first picture I effaced to my consternation by rubbing my hand over the filmy side of the glass.
On 29 January 1864 she captured the photo of a 9‐year‐old Annie Philpot. She dubbed the image her "first success". She sent the photograph to the subject's father with the note:
My first perfect success in the complete Photograph owing greatly to the docility & sweetness of my best & fairest sitter. This Photograph was taken by me at 1 p.m. Friday Jan. 29th. Printed—Toned—fixed and framed all by me I given as it is now by 8 p.m. this same day.
That same year, she compiled albums of her images for Watts and Herschel, registered her work and prepared it for exhibition and sale,:7–8 and was elected to the Photographic Society of London (remaining a member until her death), where she displayed work at their yearly exhibitions.
Though Cameron took up photography as an amateur and considered herself an artist, and despite never making commissioned portraits nor establishing a commercial studio, she thought of her photographic activity as a professional endeavor, actively copyrighting, publishing, and marketing her work. Her family did not see substantial profits from their coffee plantations in Ceylon and Cameron may have seen photography as a medium through which to make some income. Her seeking to create portraits of celebrities, the copyrighting of her images, and the high volume of her photographic output may indicate commercial aspirations.:25,41–42,496
In 1865, she became a member of the Photographic Society of Scotland and arranged to have her prints sold through the London dealers P. & D. Colnaghi. She presented a series of photographs, The Fruits of the Spirit, to the British Museum,:8 and held her first solo exhibition in November 1865. Her prints generated robust demand and she showed her work throughout Europe, securing awards in Berlin in 1865 and 1866, and honourable mention in Dublin.:8
Her photographic activity was supported by her husband; Cameron wrote in the later unpublished manuscript Annals of my Glass House:
My husband from first to last has watched every picture with delight, and it is my daily habit to run to him with every glass upon which a fresh glory is newly stamped, and to listen to his enthusiastic applause.
In August 1865, the South Kensington Museum, now the Victoria and Albert Museum, purchased 80 of her photographs.:8 Three years later, the museum offered her two rooms to use as a portrait studio, essentially making her the museum's first artist-in-residence.
By 1868, she was generating sales through P. & D. Colnaghi and a second London agent, William Spooner.
In 1869, she produces The Kiss of Peace, which she considers her finest work.:8
In the early 1870s, Cameron's work matured. Her elaborate illustrative tableaus involving religious, literary, and classical figures peaked in a series of images for Tennyson's Idylles of the King, published in 1874 and 1875, evidently at her expense. During this time, she also writes Annals of my Glass House, the memoir recounting her photographic career.:9
In October 1873, during childbirth, her daughter died. Two years later, because of her husband's ill health, because of the lower cost of living,:483 and to be nearer to their sons who managed the family coffee plantations (which had been badly harmed by a fungus),:35 Cameron and her husband left Freshwater for Ceylon with "a cow, Cameron’s photographic equipment, and two coffins, in case such items should not be available in the East".
Henry Taylor recounts the departure:
Mr. and Mrs. Cameron have taken their departure for Ceylon, there to live and die. He had bought an estate there some thirty years ago when he was serving the Crown there and elsewhere in the East, and he had a passionate love for the island, to which he had rendered an important service in providing it with a code of procedure . . . he never ceased to yearn after the island as his place of abode, and thither in his eighty-first year he has betaken himself, with a strange joy. The design was kept secret, — I believe even from their dearest relatives.:36
V.C. Scott O'Connor later wrote about the absence at their vacated home in Freshwater:
The house is silent now and tenantless. All its old feverish life and bustle are stilled as is the heart which beat here in true sympathy with every living creature that came within its reach needing such succor. Her pretty maids, her scholars, her poets, her philosophers, astronomers, and divines, all those men of genius who came and sat willingly to her while in a fever of artistic emotion she plied the instruments of her art, — they have all gone, and silence is the only tenant left at Dimbola.:37
The move effectively marked the end of Cameron's photography career; she took few photographs afterwards, mostly of Tamil servants and workers.[b]:9 Fewer than 30 images survive from this period. Cameron's output may have dropped in part because of the difficulty working with collodion in the insect-friendly heat where fresh water was less available for washing prints.:483 The botanical painter and biologist Marianne North recounted her time visiting Cameron In Ceylon:
The walls of the room were covered with magnificent photographs; others were tumbling about the tables, chairs, and floors with quantities of damp books, all untidy and picturesque; the lady herself with a lace veil on her head and flowing draperies. Her oddities were most refreshing . . . She also made some studies of natives while I was there, and took such a fancy to the back of one of them (which she said was absolutely superb) that she insisted on her son retaining him as her gardener, though she had no garden and he did not know even the meaning of the word.:483
In February 1876, Macmillan's Magazine publishes her poem, On a Portrait. The following year, her image The Parting of Sir Lancelot and Queen Guinevere appears on the cover Harper's Weekly as a wood engraving.:9
After a short visit to England six months earlier, Cameron falls ill with a dangerous chill and dies on 26 January 1879 at the Glencairn estate in Ceylon. It is often reported that her last word was "Beauty" or "Beautiful".
In her 12-year career, Cameron produced around 900 photographs.
Style, technique, and receptionEdit
In 1869 she collated and gave what is now known as The Norman Album to her daughter and son-in-law in gratitude for having introduced her to photography. The album was later deemed by the Reviewing Committee on the Export of Works of Art to be of "outstanding aesthetic importance and significance to the study of the history of photography and, in particular, the work of Julia Margaret Cameron—one of the most significant photographers of the 19th century."
The basic techniques of soft-focus "fancy portraits", which she later developed, were taught to her by David Wilkie Wynfield. She later wrote that "to my feeling about his beautiful photography I owed all my attempts and indeed consequently all my success".
Many of Cameron's portraits are significant in part because they are the only existing photograph of historical figures.
The bulk of Cameron's photographs fit into two categories: closely framed portraits and illustrative allegories based on religious and literary works. In the allegorical works in particular, her artistic influence was clearly Pre-Raphaelite, with far-away looks, limp poses, and soft lighting.
Her images were unconventional in their intimacy and their use of blur created both through long exposures and by leaving the lens intentionally out of focus. This led some of her contemporaries to complain and even ridicule her work, but friends and family were supportive.
Ellen Terry 1864
Among Cameron's lesser-known models was Mary Emily ('May') Prinsep, wife of Hallam Tennyson, 2nd Baron Tennyson, a British colonial administrator and the elder son of Alfred Tennyson. Cameron's portraits of May Prinsep, taken on the Isle of Wight, include both more conventional portraits and images of the sitter as allegorical subjects drawn from Romantic poetry.
Tennyson asked Cameron to photograph illustrations for his Idylls of the King. These photographs are designed to resemble oil paintings from the same time period, including rich details such as historical costumes and intricate draperies.
Cameron's niece Julia Prinsep Stephen (née Jackson; 1846–1895) wrote the biography of Cameron that appeared in the first edition of the Dictionary of National Biography, 1886. Julia Stephen, the mother of Virginia Woolf, wrote a comic portrayal of the "Freshwater circle" in her only play Freshwater. Woolf, in collaboration with Roger Fry, edited a collection of Cameron's photographs that was published in 1926.
It was not until 1948, however, that Cameron's photography became more widely known, when Helmut Gernsheim wrote a book on her work.He later noted that although a great photographer, Cameron had "left no mark" on the aesthetic history of photography because her work was not appreciated by her fellow photographers and thus not imitated.
Her standing has since changed; in 1975, Imogen Cunningham commented "I'd like to see portrait photography go right back to Julia Margaret Cameron. I don't think there's anyone better." Cunningham went on to say her own work had not been influenced by Cameron as she had not been aware of it when she was starting out.
In 2003, the J. Paul Getty Museum published a complete catalogue of Cameron's known and surviving photographs. One caption of a portrait of Alice Liddell (whom Cameron photographed as Alethea, Pomona, Ceres, and St. Agnes in 1872) claims that "Cameron's photographic portraits are considered among the finest in the early history of photography".
In 2015 the Victoria and Albert Museum in London drew on their extensive collection of her work for a 200th anniversary retrospective of Cameron's career that also travelled to Sydney, Australia. Another exhibition at the National Portrait Gallery in London in March 2018 placed her work in relationship to the work of her Victorian contemporaries, Lady Clementina Hawarden, Oscar Rejlander, and Lewis Carroll.
Portraits of Julia Margaret CameronEdit
This section does not cite any sources. (April 2019) (Learn how and when to remove this template message)
There are seven known portraits of Julia Margaret Cameron. Many are held by the National Portrait Gallery, London.
Charles Somers-Cocks, c. 1860
The following retrospective exhibitions have focused on Cameron's oeuvre.
|Julia Margaret Cameron||16 December, 1960 – 31 January, 1961||Limelight Gallery||United States|
|Mrs. Cameron's photographs from the life||22 January 1974 – 10 March 1974||Stanford University Museum of Art||United States|
|Whisper of the Muse||10 September 1986 – 16 November 1986||Getty Villa||United States|
|Whisper of the Muse at Loyola Marymount University||12 September 1986 – 25 October 1986||Laband Gallery||United States|
|Portrait Photographs by Julia Margaret Cameron||25 November 1987 – 14 February 1988||National Portrait Gallery||United States|
|Julia Margaret Cameron: The Creative Process||15 October 1996 – 5 January 1997||Getty Villa||United States|
|4 February 1998 – 3 May 1998||Art Gallery of Ontario||Canada|
|Julia Margaret Cameron: Nineteenth Century Photographic Genius||6 February 2003 – 26 May 2003||National Portrait Gallery, London||United Kingdom|
|5 June 2003 – 30 August 2003||National Media Museum||United Kingdom|
|Julia Margaret Cameron, Photographer||21 October 2003 – 11 January 2004||Getty Center||United States|
|Julia Margaret Cameron||19 August 2013 – 5 January 2014||Metropolitan Museum of Art||United States|
|Julia Margaret Cameron||15 August 2015 – 25 October 2015||Art Gallery of New South Wales||Australia|
|Julia Margaret Cameron: Influence and Intimacy||24 September 2015 – 28 March 2016||Science Museum, London||United Kingdom|
|Julia Margaret Cameron||28 November 2015 – 21 February 2016||Victoria and Albert Museum||United Kingdom|
|Julia Margaret Cameron: A Woman who Breathed Life into Photographs||2 July 2016 – 19 September 2016||Mitsubishi Ichigokan Museum||Japan|
List of selected publicationsEdit
- Cameron, Julia Margaret (1973) . Victorian photographs of famous men & fair women. Introductions by Virginia Woolf and Roger Fry. D. R. Godine. ISBN 978-0-87923-076-0.
- — (1994) . For my best beloved sister, Mia: an album of photographs by Julia Margaret Cameron. The University of New Mexico Art Museum. ISBN 978-0-944282-17-5.
- Cameron, J. M. P. (1875). Illustrations by Julia Margaret Cameron of Alfred Tennyson's Idylls of the King and other poems
- Cameron, J. M. P. (1889). Unfinished autobiography "Annals of my glass house" by Julia Margaret Cameron, written 1874, first published 1889
- Cameron, J. M. (1975). The Herschel album: an album of photographs. London (2 St Martin's Place, WC2H 0HE): National Portrait Gallery
- Cameron, J. M., & Ford, C. (1975). The Cameron Collection: an album of photographs. Wokingham: Van Nostrand Reinhold for the National Portrait Gallery
- Cameron, J. M. P., & Weaver, M. (1986). Whisper of the muse: the Overstone album & other photographs. Malibu: J. Paul Getty Museum
- Cameron, J. M. P. (1994). For my best beloved sister, Mia: an album of photographs by Julia Margaret Cameron : an exhibition of works from the Hochberg-Mattis collection organized by the University of New Mexico Art Museum. Albuquerque: University of New Mexico Art Museum
- Crompton, Sarah (6 May 2016). "She takes a good picture: six forgotten female pioneers of photography". The Guardian. London. Retrieved 9 May 2016.
- J. Paul Getty Museum. Julia Margaret Cameron. Archived 10 February 2008 at the Wayback Machine Retrieved 13 September 2008.
- Ruggeri, Amanda (12 January 2016). "When mistakes make the art". BBC. Retrieved 23 January 2016.
- Nan Goldin (2016). Nan Goldin on Julia Margaret Cameron (Audio file). New York: The Metropolitan Museum of Art (The Artist Project).
- Barlow, Helen (2017). "Cameron [née Pattle], Julia Margaret (1815–1879), photographer". Oxford Dictionary of National Biography. Oxford University Press.
- The Art Story Contributors; Baillie, Rebecca (7 August 2018). "Julia Margaret Cameron". The Art Story. Retrieved 3 May 2019.
- The Intersecting Realities and Fictions of Virginia Woolf and Colette – Helen Southworth – Google Boeken. Books.google.com. Retrieved 1 August 2013.
- Ford, Colin (2008). "Cameron, Julia Margaret, 1815–1879". In Hannavy, John (ed.). Encyclopedia of Nineteenth-Century Photography. London, UK: Routledge. Retrieved 28 April 2019.
- Malcolm, Janet (4 February 1999). "The Genius of the Glass House". The New York Review of Books. ISSN 0028-7504. Retrieved 5 May 2019.
- Cox, Julian; Ford, Colin (2003). Julia Margaret Cameron: The Complete Photographs. Los Angeles, CA: Getty Publications. ISBN 0-89236-681-8.
- Higgins, Charlotte (22 September 2015). "Julia Margaret Cameron: soft-focus photographer with an iron will". The Guardian. ISSN 0261-3077. Retrieved 3 May 2019.
- Weiss, Marta. "Julia Margaret Cameron – an introduction". Victoria and Albert Museum. Retrieved 30 April 2019.
- Lukitsh, Joanne. "Cameron [Pattle], Julia Margaret". Grove Art Online.
- Thurman, Judith (10 February 2003). "Angels and Instincts". The New Yorker. ISSN 0028-792X. Retrieved 30 April 2019.
- Ford, Colin (2005). "Cameron, Julia Margaret". The Oxford Companion to the Photograph. Oxford University Press. ISBN 978-0-19-866271-6. Retrieved 28 April 2019.
- Daphne Du Maurier, ed., The Young George Du Maurier: A Selection of His Letters, 1860–67 (Garden City, N.Y.: Doubleday, 1952), p. 112, quoted in Leonee Ormond, George Du Maurier (London: Routledge and Kegan Paul, 1969), p. 103, quoted in Cox, Julian; Ford, Colin (2003). Julia Margaret Cameron: The Complete Photographs. Los Angeles, CA: Getty Publications. ISBN 0-89236-681-8.
- "Julia Margaret Cameron". National Gallery of Art. Retrieved 3 May 2019.
- "NPG 5046; Julia Margaret Cameron - Portrait Extended". National Portrait Gallery. Retrieved 8 May 2019.
- Birch, Dinah BirchDinah (1 January 2009). "Cameron, Julia Margaret". In Dinah Birch (ed.) (eds.). The Oxford Companion to English Literature. Oxford University Press. ISBN 978-0-19-280687-1. Retrieved 28 April 2019.CS1 maint: Uses editors parameter (link)
- Daniel, Malcolm. "Julia Margaret Cameron (1815–1879)". The Met’s Heilbrunn Timeline of Art History. Retrieved 4 May 2019.
- "Julia Margaret Cameron". Britannica Academic. Retrieved 28 April 2019.
- "Members of the Royal Photographic Society, 1853–1901". The Royal Photographic Society. 2013. Retrieved 27 October 2015.
- "Julia Margaret Cameron". International Center of Photography. 31 January 2018. Retrieved 3 May 2019.
- Ford, Colin (2008). "Cameron, Julia Margaret, 1815–1879". In Hannavy, John (ed.). Encyclopedia of Nineteenth-Century Photography. London, UK: Routledge. Retrieved 28 April 2019.}
- AskOxford: The Cod and the Camera Quote is taken from her unpublished autobiography, "Annals of My Glass House."
- "The Norman Album". | Charles | Saumarez | Smith |. 22 May 2016. Retrieved 9 February 2018.
- "Famed photography album at risk of leaving the UK – GOV.UK". www.gov.uk. Retrieved 9 February 2018.
- "Julia Margaret Cameron: Related Photographers". Victoria and Albert Museum. 2016. Retrieved 25 March 2018.
- Rosenblum, Naomi. A History of Women Photographers. Third ed. New York: Abbeville Press Publishers, 2010. p. 52.
- 'Christabel' Mary Prinsep images at the National Portrait Gallery, London.
- Stephen, L. (1886). Dictionary of national biography: vol. VIII. Burton – Cantwell. London: Smith, Elder, & Co.
- Woolf, V., & Fry, R. E. (1926). Victorian photographs of famous men & women. New York: Harcourt, Brace.
- Gernsheim, H. (1948). Julia Margaret Cameron; her life and photographic work. Famous photographers. London: Fountain Press; distributed in the USA by Transatlantic Arts, New York.
- Dialogue With Photography by Paul Hill & Thomas Cooper, Thames & Hudson 1979
- "Photograph by Julia Margaret Cameron of Alice Liddell: Getty Images #90762993". Getty Images. Retrieved 5 March 2013.
- Lane, Anthony, Names and Faces, the portraits of Julia Margaret Cameron, The New Yorker, 2 September 2013, pages 69–73.
- "Victorian Giants: The Birth of Art Photography 1 March – 20 May 2018" (Museum exhibition). National Portrait Gallery, London. Retrieved 26 March 2018.
- Mozley, Anita Ventura (1974). "Mrs. Cameron's photographs from the life" : [exhibition] 22 January-10 March 1974. Palo Alto, California: Department of Art, Stanford University. OCLC 33005764.
- Cameron, Julia Margaret; Howard, Jeremy (1990). Whisper of the muse : the world of Julia Margaret Cameron. London: Colnaghi. ISBN 978-0-89236-088-8.
- "The Whisper of the Muse / Portrait of G.F. Watts". The J. Paul Getty Museum. Retrieved 29 November 2015.
- "Julia Margaret Cameron, Photographer". The J. Paul Getty Museum. Retrieved 29 November 2015.
- "Julia Margaret Cameron". The Metropolitan Museum of Art. Retrieved 29 November 2015.
- "Julia Margaret Cameron". Art Gallery of New South Wales. Retrieved 29 November 2015.
- "Julia Margaret Cameron: Influence and Intimacy". Science Museum. Retrieved 29 November 2015.
- "Julia Margaret Cameron". Victoria and Albert Museum. Retrieved 29 November 2015.
- "Julia Margaret Cameron: A Woman who Breathed Life into Photographs". Mitsubishi Ichigokan Museum. Retrieved 25 March 2018.
- Ford, Colin (2003). Julia Margaret Cameron: A Critical Biography. Getty Publications. ISBN 978-0-89236-707-8.
- Douglas-Fairhurst, Robert (January 2016). "The Taker of Chances". Apollo. 183 (638): 48–54.
- Lukitsh, Joanne (2006). Julia Margaret Cameron. Phaidon.
- Olsen, Victoria (2003). From Life: Julia Margaret Cameron & Victorian Photography. Palgrave Macmillan. ISBN 978-1-4039-6019-1.
- Nordstrom, Alison Devine (1 April 2001). "Julia Margaret Cameron's Women (review)". Victorian Studies. 43 (3): 499–501. doi:10.1353/vic.2001.0072. ISSN 1527-2052.
- Rosen, Jeff (2016). Julia Margaret Cameron's 'Fancy Subjects' Manchester University Press
- Wolf, Sylvia, ed. (1998). Julia Margaret Cameron's Women. Art Institute of Chicago. ISBN 978-0-300-07781-0. also available through MOMA here
|Wikimedia Commons has media related to Photographs by Julia Margaret Cameron.|
- Julia Margaret Cameron in the collection of The Museum of Modern Art
- Finding Aid for Julia Margaret Cameron family papers at the Getty Research Institute
- Media related to Julia Margaret Cameron at Wikimedia Commons