The involvement of women in photojournalism also had its beginnings in the early 1900s but slowly picked up during World War I.While the work of the English and French gentlemen involved in developing and pioneering the process of photography is well documented, the part played by women in the early days tends to be given less attention.
Together with her husband, André-Adolphe-Eugène Disdéri who is remembered for patenting the carte de visite process, she established a daguerrotype studio in Brest in the late 1840s.
After Disdéri left her for Paris in 1847, she continued to run the business alone.
Anna Atkins, a botanist, was also introduced to photography by Fox Talbot, who explained his "photogenic drawing" technique to her as well as his camera-based calotype process.
After learning about the cyanotype process from its inventor, John Herschel, she was able to produce cyanotype photograms of dried algae.
In Italy, Virginia Oldoini, a mistress of Napoleon III, became interested in photography in 1856, recording the signature moments of her life in hundreds of self-portraits, often wearing theatrical costumes.
After studying photography at the London Polytechnic, Alice Hughes (1857–1939) opened a studio in Gower Street, London, in 1891, quickly becoming a leading photographer of royalty, fashionable women and children.Thora Hallager, one of Denmark's earliest women photographers, probably practiced in Copenhagen from the beginning of the 1850s.She is however remembered above all for the fine portrait of Hans Christian Andersen she took in 1869.The participation of women in photography goes back to the very origins of the process.Several of the earliest women photographers, most of whom were from Britain or France, were married to male pioneers or had close relationships with their families.She published them in 1843 in her Photographs of British Algae: Cyanotype Impressions, said to be the first book with photographic illustrations.