Rare and extraordinary fine salt print of Constantine.
This image from Constantine is from Greene's last group of photographs executed in Algeria in 1855-56.
Andre Jammes and Eugenia Parry Janis, writing in The Art of the French Calotype noted: 'Greene's work is atypicalHis monuments and especially landscapes seem distinctly distant. Nor do they really seem to be of anything in the normal sense. Greene also had an exceptional attitude toward the representation of landscape space. In the manner of Chinese landscape painters on scrolls, his lens seems to scan a terrain rather than extract it as a fixed whole from a single vantage point. The effect of this is greatly heightened by the emphasis on tonal nuance and an interest in slender sketches of transparent land masses rather than the usual emphasis on a solid monument surrounded by a site. In Greene's pictures, the monuments and the sites are organically fused and seem made of the same stuff. At age twenty-two, such insights were precocious in the extreme, and his invention regarding expanses of uncharted space takes on greater meaning in the light of the evidence that seems to place him in an American context. It had been rather difficult to imagine an insular English sensibility capable of conceiving such boundless horizons in photography. ' (p. 1212, no . 186)
Bruno Jammes was responsible for the reemergence of factual information onf Greene. In an article published sin the journal History of Photography (col. 5, no. 4, October 1981, pp. 305-324) titled 'John B. Greene, an American Calotypist', Jammes traces the few known sources on Greene's life and career and discovers others, illustrating the essay with more than a dozen views by the photographer and Egyptologist.