Studies exploring the link between the representation of judges, photography and mass media tend to focus on the appearance of cameras in courtrooms and the reproduction of the resulting photographs in the press at the beginning of the twentieth century. But more than fifty years separate these developments from the birth of photography in the late 1830s. This study examines a previously unexplored encounter between the English judiciary and photography that began in the 1860s. The pictures where known as ‘carte de visite’. They were the first type of photographic image capable of being mass produced. It is a form of photography that, for a period of almost twenty years, attracted a frenzy of interest. Drawing upon a number of archives, including the library of Lincoln's Inn, London's National Portrait Gallery and my own personal collection this paper has two objectives. The first is to examine the carte portraits of senior members of the judiciary that were produced during that time. What appears within the frame of this new form of judicial portraiture? Of particular interest is the impact the chemical and technological developments that come together in carte photographs had on what appears within the frame of portraits. The second objective is to examine the manner in which they were displayed. This engages a commonplace of scholarship on portraiture; the location and mode of display shape the meaning of what lies within the frame of the picture. Carte portraits were produced with a particular display in mind: the album. They were to be viewed not in isolation, but as part of an assemblage of portraits. Few albums survive. Those that do offer a rare opportunity to examine the way carte portraits of judges were used and the meanings they generated through their display. Three albums containing carte portraits of judges will be considered.

中文翻译：

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以前未曾探索过的遭遇：英国司法机构、访问权和摄影作为一种大众媒体形式

探索法官代表、摄影和大众媒体之间联系的研究往往集中在 20 世纪初法庭上摄像机的出现以及由此产生的照片在媒体上的复制。但是，这些发展与 1830 年代后期摄影的诞生相隔了 50 多年。本研究探讨了始于 1860 年代的英国司法机构与摄影之间的一次未曾探索过的相遇。这些照片被称为“carte de visite”。它们是第一种能够批量生产的摄影图像。这是一种摄影形式，在近二十年的时间里，引起了人们的狂热兴趣。借鉴了许多档案，包括伦敦林肯旅馆的图书馆 s National Portrait Gallery 和我自己的个人收藏 本文有两个目的。首先是检查当时制作的司法机构高级成员的全权委托肖像。在这种新形式的司法肖像的框架内出现了什么？特别令人感兴趣的是，在单张照片​​中融合的化学和技术发展对肖像画框内出现的东西的影响。第二个目标是检查它们的显示方式。这涉及肖像画的学术常识。显示的位置和方式决定了图片框架内的含义。Carte 肖像的制作考虑到了一个特定的展示：专辑。他们不能被孤立地看待，而是作为一组肖像的一部分。很少有专辑幸存下来。那些确实提供了一个难得的机会来检查法官的单点肖像的使用方式以及它们通过展示产生的含义。将考虑三张包含评委肖像的专辑。