Surgeon John McCosh, Bengal Medical Establishment, India, 1852
John McCosh or John MacCosh or James McCosh (Kirkmichael, Ayrshire, 5 March 1805 – 18 January[1] / 16 March[2] 1885) was a Scottish army surgeon who made documentary photographs whilst serving in India and Burma.[1][3] His photographs during the Second Anglo-Sikh War (1848–1849) of people and places associated with the British rule in India (for which he is best known), and of the Second Burmese War (1852–1853),[4][5] count as sufficient grounds, some historians maintain, to recognise him as the first war photographer known by name.[4][6] McCosh wrote a number of books on medicine and photography, as well as books of poetry. John McCosh took the earliest known photographs of Sikhs and their ruler, Duleep Singh.[7]
Roddy Simpson has written of McCosh's photographs that "Given the circumstances, these images are a considerable achievement and, regardless of artistic merit, are historically very important".[8] Taylor and Schaaf have written that "McCosh fashioned compositions that were exceptional for the period"[3]: 123 and that unlike his contemporaries "in his hands, photography was not merely a pastime but became the means of recording history."[3]: 123
On 11 October 1833, on sick leave with a tropical disease, the barque on which he was sailing from Madras to Hobart in Tasmania, Australia,[n 1] was wrecked off the desolate and remote Amsterdam Island in the southern Indian Ocean.[9] Of the 97 people aboard, 21 survived, with McCosh the only surviving passenger. They were rescued on 26 October by a US sealing schooner, General Jackson, and taken to Mauritius.[10] He wrote a book describing his experience, Narrative of the Wreck of the Lady Munro, on the Desolate Island of Amsterdam, October, 1833 (1835).
'Goalpara' (1837), lithograph, by John McCosh, from Topography of Assam
In 1840[2] / 1841 to 1842[3] he returned to Edinburgh for further training as a surgeon, studying military surgery, surgery and medical jurisprudence at Edinburgh University.[2]
In 1843 McCosh returned to India as assistant surgeon with the 31st Bengal Native Infantry, taking part in the Gwalior campaign and its battle of Maharajpur on 29 December 1843.[1] He was awarded the Gwalior Star for Maharajpoor.[9] McCosh began producing photographs either in 1843[8][11] or 1848.[2][n 2]
In 1848 in the Punjab, he took part in the Second Anglo-Sikh War (1848–1849) with the 5th Battery, Bengal Artillery[3] / 2nd Bengal European regiment,[3] where he was full surgeon. Mostly his photographs were portraits of fellow officers, key figures from the campaigns,[4] administrators and their wives and daughters, including Patrick Alexander Vans Agnew,[2]: 911 Hugh Gough, 1st Viscount Gough; the British commander General Sir Charles James Napier; and Dewan Mulraj / Mul Raj, the Diwan (governor) of the city of Multan (a key leader of the Sikh nation against the British).[1][3] He also photographed local people and architecture.[3] His prints from this period measure no larger than 10 cm × 8 cm and were likely made from a quarter-plate sized camera.[2]: 911–912
Captured guns in Rangoon, Burma during the Second Anglo-Burmese War, by John McCosh, 1852
In British Burma, he saw active service in Yangon (known by the British as Rangoon) and Prome. McCosh lived in Burma (now known as Myanmar) during the Second Burmese War (1852–1853), where he made portraits of colleagues, captured guns, temple architecture in Yangon and of Burmese people, using a larger and heavier camera and producing larger prints.[4] According to Taylor and Schaaf, McCosh was there in a "quasi-official capacity to photograph during that conflict".[3]: 127 His prints from this period are up to 20 cm × 22 cm, suggesting a camera measuring a whole plate in size.[2]: 912
McCosh took the first photographs of the Sikh people and palaces of Lahore;[12] the earliest known photograph of Samadhi of Ranjit Singh in 1849.[13] His fifty photographs of Burma from 1852 are the earliest images of the country to have survived[14] and his were the earliest photographic studies of Burmese people.[14]
McCosh predominantly used the calotype process for his photography, the first practicable negative and positive process, using paper, patented by Henry Fox Talbot in 1841.[9] This process produced a translucent original negative image, a paper negative, from which multiple positives could be made by simple contact printing. McCosh also used the later collodion process,[2]: 911 though he also continued with the calotype process for larger prints, because of its fidelity.
Memorial to Dr John McCosh, Dean Cemetery, Edinburgh
He gave up photography either in the early 1850s,[8] or as late as 1856[2]: 912 and retired from the army on 31 January 1856.[2][15]
In 1856, McCosh advised assistant-surgeons serving in India to take-up photography:[16]
I would strongly recommend every assistant-surgeon to make himself master of photography in all its branches, on paper, on plate glass, and on metallic plates. I have practised it for many years, and know of no extra professional pursuit that will more repay him for all the expense and trouble (and both are very considerable) than this fascinating study—especially the new process by Collodion for the stereoscope. During the course of his service in India, he may make such a faithful collection of representations of man and animals, of architecture and landscape, that would be a welcome contribution to any museum. The camera should be made of good substantial mahogany, clamped with brass, made to stand extremes of heat. The flimsy, folding portable cameras, made light for Indian use, soon become useless. It is a great mistake to make things light and portable for Indian use, as if the owner himself had to carry them. Carriage for every piece of apparatus is cheap, safe, and abundant. French paper, Canson frères is the best, and does not get damaged by damp so soon as English paper.
— John McCosh, Advice to Officers in India (1856), page 7
In 1862, he became a fellow of the Royal Geographical Society.[1] According to acquisition records, John McCosh deposited the photos he took whilst in Punjab at the Art Library in 1884.[7]
McCosh died in London in 1885. A stone to his memory stands on the north wall of the first northern extension to Dean Cemetery in west Edinburgh, where his siblings are buried.
Roddy Simpson, in The Photography of Victorian Scotland (2012), wrote of McCosh that "these photographs do not have significant aesthetic quality, but show the desire to document likenesses. Given the circumstances, these images are a considerable achievement and, regardless of artistic merit, are historically very important".[8] Taylor and Schaaf, in Impressed by Light: British Photographs from Paper Negatives, 1840–1860, wrote that "McCosh fashioned compositions that were exceptional for the period"[3]: 123 and that unlike his contemporaries "in his hands, photography was not merely a pastime, but became the means of recording history."[3]: 123 Taylor and Schaaf have also written that "the kind of work done by McCosh, [John] Murray and [Linnaeus] Tripe was echoed in a wide pattern of photographic activity throughout India, and in many ways, these three can be regarded as role models to whom others looked for inspiration." ... "Few photographers in the calotype era came close to matching the sustained output of these three, and in visual sensitivity and technical bravado they remain unequalled."[3]: 131
According to Ray McKenzie, John McCosh cannot truly be considered a war photographer because he just happened to take photographs whilst a military campaign was occurring rather than having the intentions to capture a war with photography.[16] Furthermore, McKenzie states that McCosh never snapped images of live combat zones.[16]
The Oxford Companion to the Photograph. Oxford: Oxford University, 2005. Edited by Robin Lenman. Includes a short biography on McCosh.
Impressed by Light: British Photographs from Paper Negatives, 1840–1860. New York: Metropolitan Museum of Art, 2007. By Roger Taylor with Larry John Schaaf. ISBN978-0300124057. Includes a profile of McCosh.[3]
Impressed by Light: British Photographs from Paper Negatives, 1840–1860,Musée d'Orsay, 1 January 2005 – 7 September 2008. National Gallery of Art, Washington DC, 1 March 2002 – 4 May 2008. Metropolitan Museum of Art, New York 31 December 2007 – 31 December 2009.[21]
^It is referred to as "jungle fever", which is what tropical diseases, such as malaria, were known as.
^Simpson (2012) claims McCosh began producing images in 1843, as does McKenzie (1987), describing one of McCosh's earliest photographs of Lt Stewart who was killed in 1843. However Hannavy (2007) claims his first datable photograph to be from 1848.
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Photograph of Maharaha Duleep Singh during his reign as a child monarch of the Sikh Empire, Lahore, ca.1848
Photograph of Bikram Singh Bedi, a direct descendant of Guru Nanak, ca.1847–1849
Sikh man wearing a 'sidhi pagh' style of turban, ca.1847–1849
Gateway of Badshahi Mosque in the aftermath of the Second-Anglo Sikh War, Lahore, ca.1849
Captured Sikh guns parked in Ambala cantonment in the aftermath of the Second Anglo-Sikh War, circa April 1849.jpg)
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'Great Pagoda Prome (very ancient)', Burma, by John McCosh, 1852.
North-east view of the Great Pagoda (Shwesandaw or Temple of the Golden Hair Relic) at Prome, Burma, by John McCosh, 1852
Burmese girl, by John McCosh, 1852
Burmese woman, by John McCosh, 1852
East vestibule of the Great Pagoda (Shwesandaw or Temple of the Golden Hair Relic) at Rangoon, Burma, by John McCosh, 1852%27,_Burma,_by_John_McCosh,_1852.jpg)
_at_Prome,_Burma,_by_John_McCosh,_1852.jpg)
_at_Rangoon,_Burma,_by_John_McCosh,_1852.jpg)
