Abstract

In 1890, the famous Jena Glass Works of Carl Zeiss released the Anastigmat photographic lens to great fanfare. The nearly faultless realism it generated seemed to conclude a chapter in optical technology that had progressed in a predetermined manner since photography’s origins. But why exactly had Zeiss developed its expensive mechanism, and what drove photographers to buy it? This article proposes that the consistent focus and varied depth of field that the Anastigmat provided were not in and of themselves the desired goals of the new corrected lens, but that they were instead visible signals of a pictorial model that makers and consumers had been circling since the public introduction of photography in 1839. The goal was a strict verisimilitude that remained stubbornly external to the medium, an illusionistic standard that had largely been mediated by painting and was now apparently possible in photography as well. But this history of pictorial perfection and the Anagstimat was not inevitable. Other lenses developed around the same time answered to dramatically different technological and aesthetic imperatives. They tell an alternative story of photography’s identity that is less tethered to mimetic fidelity and the idealized human vision with which photography was increasingly associated.