Julia Margaret Cameron at the V&A: The Woman Who Started Photography at 48 and Changed It Forever
Cameron picked up the camera late, and her 'out-of-focus portraits' drew ire. But the V&A own over 850 Cameron photos, and she's still a photography giant.

The Victoria and Albert Museum holds over 850 photographs by Julia Margaret Cameron in its collections. This is remarkable for several reasons, but perhaps the most striking is that Cameron didn’t touch a camera until she was 48 years old. She had less than two decades to create a body of work that established her as one of the most influential photographers in history.
She did it by ignoring almost everything professional photographers told her. Cameron worked in a converted henhouse, and created images so deliberately unfocused that the photographic establishment mocked her. Artists, however, recognized genius when they saw it. Within eighteen months of receiving her first camera as a gift, Cameron had sold eighty prints to the V&A and established a studio in two of its rooms.
This year, Cameron will finally receive a blue plaque, likely to be installed in Putney where she once lived. It’s about time. Her story is one of the most extraordinary in Victorian art. A middle-aged woman with no training who picked up a camera and revolutionised her medium.
The Plain Pattle Sister
Julia Margaret Cameron was born Julia Pattle in Calcutta on June 11, 1815, the fourth of ten children. Seven daughters survived to adulthood, all noted for their beauty, wit, charm, and utterly unconventional behaviour. Julia was considered the plain sister in a family of celebrated beauties. But “plain” by Pattle standards still meant striking and memorable.
The Pattle sisters became famous in Anglo-Indian and later British society. Their unorthodox dress, wit, and tendency to intervene in other people’s lives left an impact. Pattle interventions could be described as either generous or overbearing, depending on your perspective. The novelist William Makepeace Thackeray coined the term “Pattledom” to describe both their closeness and their domineering habits. The governor general of India once remarked that he divided humankind into “men, women, and Pattles.”
The Cameron Household
After being educated mainly in France, Julia returned to India in 1834. In 1838, while in South Africa, she met Charles Hay Cameron. Cameron was a Benthamite liberal reformer, classical scholar, and jurist. He was twenty years her senior, with a long white beard and snowy hair that tumbled down his back. They married, and Charles served as a member of the law commission stationed in India.
Julia became a noted conversationalist. During the 1840s she effectively served as first lady of Anglo-Indian society. She organised and hosted social engagements for the governor-general, Lord Henry Hardinge. But even in this role she demonstrated her unconventionality. Educated Indians were included on her guest lists, something that was not done in polite Anglo-Indian circles.
The Camerons moved to England in the late 1840s. They stayed first in Tunbridge Wells, then East Sheen and Putney in West London. In 1860, they settled in Freshwater on the Isle of Wight, in the house next to Alfred Lord Tennyson, who became one of Julia’s closest friends.
They had five children of their own and raised five belonging to relatives too. This brood of ten were joined by an Irish girl called Mary Ryan. Julia had found her begging on Putney Heath. Ryan eventually married Sir Henry Cotton after he fell in love with her upon seeing Cameron’s photograph “Prospero and Miranda.”

December 1863: The Life-Changing Gift
In December 1863, Julia Margaret Cameron’s daughter and son-in-law gave her a camera. The accompanying note suggested it might provide amusement during her solitude at Freshwater. Her husband Charles was in Ceylon attending to the family’s coffee plantations. Their sons were grown or away at boarding school. Her daughter had married and moved away.
Cameron was 48 years old, deeply religious, well-read, and somewhat eccentric. Her friends included the painter G.F. Watts, poet Robert Browning, the scientists Charles Darwin and Sir John Herschel, and the historian Thomas Carlyle. She had lived an interesting life, but nothing suggested she was about to revolutionise an entire artistic medium.
She later wrote in her unfinished autobiography: “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.“
But something about the camera captivated her immediately. She wrote: “From the first moment I handled my lens with a tender ardour, and it has become to me as a living thing, with voice and memory and creative vigour.”
Photography became more than an amusement. It became an obsession.
The Converted Henhouse
Cameron turned a coal house into her darkroom and a glazed fowl house into her glass house. The hens were liberated. She wrote in her autobiography: “The profit of my Boys upon newlaid Eggs was stopped & all hands & hearts sympathised in my new labour since the society of hens & chickens was soon changed for that of Poets, Prophets, Painters & lovely Maidens.”
She had no interest in establishing a commercial studio or making commissioned portraits. Instead, she enlisted friends, family, and household staff as subjects, often costuming them as if for amateur theatricals. A parlor maid became the Madonna. Her husband became Merlin. A neighbor’s child became the infant Christ or, with swan’s wings attached, Cupid or an angel from Raphael’s Sistine Madonna.
Posing for Cameron was famously uncomfortable. Tennyson called her models “victims.” One subject left a vivid description of a session: the studio was untidy and uncomfortable, the exposure lasted several minutes during which the model felt her eyes coming out of her head and her neck afflicted with palsy, and the crown Cameron had placed on her head kept slipping down her forehead. To make matters worse, Charles Cameron, who was quite elderly, had fits of hilarity that always came at the wrong moment, causing everyone to break down laughing.
Cameron’s great-niece Laura Troubridge recalled her dressed in dark clothes stained with chemicals and smelling of them, with a plump eager face and a voice that was husky and harsh yet somehow compelling and charming.
Cameron herself noted in her memoirs that the peasantry of the Isle of Wight was very handsome and provided her with lovely subjects.

Cameron’s ‘Fluke Successes’
Cameron’s photographs were unlike anything being produced in commercial studios. She aimed for neither the sharp focus and formalized poses of professional portrait photographers nor the elaborate staged narratives of other Victorian “high art” photographers. Her artistic goals were informed by fifteenth-century Italian painting. She wanted to capture something spiritual, something beyond mere technical accuracy.
She described her path to her characteristic soft-edged images: “My first successes in my out-of-focus pictures were a fluke. That is to say, that when focussing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist upon.“
The Soft Focus Controversy
The photographic establishment hated it. The Photographic Journal, reviewing her submissions to the annual exhibition of the Photographic Society of Scotland in 1865, delivered this condescending assessment: “Mrs. Cameron exhibits her series of out-of-focus portraits of celebrities. We must give this lady credit for daring originality, but at the expense of all other photographic qualities. A true artist would employ all the resources at his disposal, in whatever branch of art he might practise. In these pictures, all that is good in photography has been neglected and the shortcomings of the art are prominently exhibited.”
Cameron was furious but undeterred. She wrote in her autobiography that the Photographic Society’s criticism would have dispirited her had she not valued it at its worth. It was unsparing and manifestly unjust, so she ignored it. The more discerning judges gave her large space on their walls.
Artists understood what professional photographers didn’t. The following year in Berlin, her photographs provoked controversy but won Cameron a gold medal. Wilhelm Vogel reported that many photographers laughed at her large unsharp heads, spotty backgrounds, and deep opaque shadows, which looked like bungling pupils’ work. But artists praised their artistic value, which was so outstanding that technical shortcomings hardly counted.

‘Ennobling Photography’
Although Cameron may have taken up photography as an amateur, she immediately treated it professionally. She vigorously copyrighted, exhibited, published, and marketed her work. Within eighteen months she had sold eighty prints to the Victoria and Albert Museum, established a studio in two of its rooms, and made arrangements with the West End printseller Colnaghi’s to publish and sell her photographs.
Her husband Charles supported her completely, watching every picture with delight. Cameron made it her daily habit to run to him with every glass upon which fresh glory was newly stamped, eliciting his enthusiastic applause. She noted somewhat ruefully that this habit of running into the dining room with wet pictures had stained an immense quantity of table linen with nitrate of silver, indelible stains that would have gotten her banished from any less indulgent household.
Her aspirations were, she said, “to ennoble Photography and to secure for it the character and uses of High Art by combining the real and the Ideal and sacrificing nothing of the Truth by all possible devotion to poetry and beauty.”
She succeeded. Her mesmerizing portraits and figure studies on literary and biblical themes were unprecedented and remain among the most highly admired of Victorian photographs.

Virginia Woolf’s Great-Aunt
Virginia Woolf was Cameron’s great-niece. Her mother, Julia Stephen, was the subject of some of Cameron’s most arresting portraits. Woolf wrote an essay about her great-aunt in which she claimed Cameron as an artistic precursor while also gently mocking her earnestness, her worship of beauty, and her adoration of genius.
Woolf described Cameron dressed in robes of flowing red velvet, walking with friends while stirring a cup of tea, half-way to the railway station in hot summer weather. There was no eccentricity Cameron wouldn’t dare on behalf of her friends, no sacrifice she wouldn’t make to procure a few more minutes of their society. Indian shawls, turquoise bracelets, inlaid portfolios, and ivory elephants showered on the heads of Sir Henry and Lady Taylor, who suffered the extreme fury of her affection.
Woolf’s comic play Freshwater parodies Cameron and her circle. But together with Roger Fry, Woolf was also responsible for the first major book on Cameron’s work, Victorian Photographs of Famous Men and Fair Women, published in 1926.
Ceylon and the End
In 1875, the Camerons moved to Ceylon to live near four of their sons and the family’s coffee plantations. Cameron’s photographic production slowed considerably after the move. The botanical painter Marianne North was the only European to sit for her there.
Cameron died in Ceylon in 1879, at age 63. She had spent less than sixteen years as a photographer, starting at 48 and creating a body of work that would influence generations of artists.
The V&A Collection
The Victoria and Albert Museum holds over 850 of Cameron’s photographs in its collections, making it the largest repository of her work in the world. The collection includes her most famous portraits: Tennyson, Carlyle, Darwin, Herschel. It includes her allegorical and narrative photographs, her studies of children, her images of beauty and innocence.
Within two years of Cameron’s first exhibition at the South Kensington Museum (as the V&A was then known), the museum had acquired a significant collection of her prints. By the time of her death, the V&A held the most comprehensive collection of her photographs anywhere.
These images remain startling today. The soft focus that outraged professional photographers in 1865 looks deliberately artistic now, capturing something beyond surface appearance. The dramatic use of light and shadow, the spiritual intensity of her subjects, the compositional echoes of old master paintings: all of it works together to create photographs that feel timeless rather than dated.
Cameron proved that photography could be more than documentation. It could be art, as expressive and meaningful as painting or sculpture. She did this by ignoring the rules, trusting her eye, and stopping the focus when something looked beautiful to her rather than when it looked sharp to everyone else.

The Blue Plaque
This year, Julia Margaret Cameron will receive a blue plaque, likely to be installed in Putney where she once lived before moving to the Isle of Wight. It’s a recognition that has been too long in coming for a woman who revolutionised photography and proved that starting at 48 is not too late to become one of the most influential artists of your century.
Visiting the V&A with Cobble
Located on Cromwell Road in South Kensington, in a grand Victorian building that was already acquiring Cameron’s work during her lifetime, the Victoria and Albert Museum is well worth a visit – especially with your headphones on and Cobble in your pocket to give you an insight into the history of the building and the surrounding area. There are CobbleGo scenes focusing on the building’s construction and war tales, as well as Queen Victoria and Prince Albert’s connection to it, naturally. Opposite the main entrance, you’ll find the story of the man who invented the Christmas card, whilst nearby there are scenes about the Royal College of Music and the Royal Albert Hall. Download the Cobble app, and get onto the South Ken streets.
On the Cobbles
Cobble Scene Location: Victoria and Albert Museum, Cromwell Road, South Kensington, London SW7 2RL
Nearest Tube Station: South Kensington (District, Circle, and Piccadilly lines)
Museum Hours: Open daily 10:00-17:45, Fridays until 22:00
Admission: Free (some special exhibitions charge entry)
Cameron Collection: Over 850 photographs; selection on display varies
Blue Plaque: To be installed (most likely in Putney) in 2026
Discover Cameron’s revolutionary photography story – and more tales of Victorian innovators – with the Cobble app as you explore South Kensington. You’ll find CobbleGo scenes about the V&A’s construction, Queen Victoria and Prince Albert’s vision for the museum, and the man who invented the Christmas card, all triggered automatically as you walk the streets around this grand Victorian building.




