“The thick detail of London life” is how Henry James described photographs taken by Camille Silvy during his seven year stay in the city (1859-68). And looking through this beautifully curated exhibition, his description cleverly suits the little-known Frenchman’s work. More than 100 prints are exhibited with priceless daybooks detailing his studio practice (a staff of 40 printed 70,000 images in that time).

Silvy’s early career as a lawyer and diplomat ended in 1859 when he moved to Bayswater where his studio rapidly established a flourishing trade in portrait photographs for the fashionable cartes de visite (calling cards). After he photographed Queen Victoria’s children, aristocrats, actors and opera singers flocked.

But Silvy, dressed with thought, also took self-portraits — not for narcissistic reasons but to experiment with lighting and dark-room techniques involving multiple negatives printed like passport photos. Mme Silvy and friends were models for his painterly studies in light and shade; a gorgeous crinoline is exhibited next to her portrait.

Silvy’s sense of composition and perspective is perfectly illustrated in La Vallée de l’Huisne. Its idyllic river scene was actually a set-up, built from several negatives and tonally altered, shaded and cropped. He even removed inconvenient clouds, pre-dating digital manipulation by over a century. Another multiple image, Studies of Light:Twilight shows a newsboy in a foggy London street and places him in historical context, close to Daguerre and other better-known, late 19th century pioneers.

It is impossible not to be dazzled by these time-pieces and by Silvy’s futuristic technical talent. Tragically, after closing his studio, he moved home, fought in the Franco-Prussian war, took a few more photos and was committed for life with manic-depression. That information adds terrible poignancy to such a magnificent, significant collection.
To October 24, npg.org.uk 020 7312 2463