Dickens was a public figure who was constantly in demand – particularly after he embarked on his public reading tours in 1858; he said that he hoped this enterprise “could drop into some hearts, some new expression of the meaning of my books, that would touch [the public] in a new way” (Letters 11: 354). Another means by which he reached out to his admirers was through the hundreds of images of him that circulated in his lifetime – particularly photographic portraits, which, according to Malcolm Andrews, served as “further projections of Dickens’s multifaceted persona that had begun with the voice, or voices, of Boz back in the 1830s and were to culminate in the physical presence of the man before his public” (2006: 158). Photography was a burgeoning phenomenon in the 1850s: it attracted huge numbers of followers, and produced a “dramatic change in the practices of visual communication and visual understanding in the nineteenth century” (Curtis 1995: 217). In an article in the Quarterly Review Lady Eastlake (whose husband Charles was the first President of the Photographic Society) contemplated the extensive reach and pervasive influence of what she called this “new and mysterious art”:

中文翻译：

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狄更斯为后人摆姿势：赫伯特·沃特金斯的照片

狄更斯是一位广受欢迎的公众人物——尤其是在他于 1858 年开始他的公共阅读之旅之后；他说，他希望这项事业“能够落入一些人心中，对我的书的意义进行一些新的表达，以一种新的方式触动[公众]”（信函11：354）。他与崇拜者接触的另一种方式是通过他一生中流传的数百张他的照片——尤其是肖像照，据马尔科姆安德鲁斯说，这些照片是“狄更斯从声音开始的多方面人格的进一步投射”。或声音，早在 1830 年代，Boz 就会在他的公众面前出现在他的面前”（2006：158）。摄影是 1850 年代的一种新兴现象：它吸引了大量的追随者，并产生了“十九世纪视觉交流和视觉理解实践的巨大变化”（Curtis 1995：217）。在季刊评论中，伊斯特莱克夫人（她的丈夫查尔斯是摄影协会的第一任主席）的一篇文章考虑了她所谓的这种“新的神秘艺术”的广泛影响和普遍影响：