Charles Lutwidge Dodgson (January 27, 1832 – January 14, 1898), better known by the pen name Lewis Carroll, was a British author, mathematician, logician, Anglican clergyman and photographer. His most famous writings are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass, as well as the comic poem The Hunting of the Snark, and the nonsense poem Jabberwocky.
His facility at word play, logic, and fantasy has delighted audiences ranging from the most naïve to the most sophisticated. His works have remained popular since they were published and have influenced not only children's literature, but also a number of major 20th century writers such as James Joyce and Jorge Luis Borges.
The elder of these—yet another Charles—reverted to the other family business and took holy orders. He went to Westminster School, and thence to Christ Church, Oxford. He was mathematically gifted and won a double first degree which could have been the prelude to a brilliant academic career. Instead he married his first cousin in 1827 and retired into obscurity as a country parson.
Charles was born on 27 January 1832 in the little parsonage of Daresbury in Cheshire, the oldest boy but already the third child of the four-and-a-half year old marriage. Eight more were to follow and, incredibly for the time, all of them—seven girls and four boys— survived into adulthood. When Charles was 11 his father was given the living of Croft-on-Tees in north Yorkshire, and the whole family moved to the spacious Rectory. This remained their home for the next 25 years.
Dodgson senior made some progress through the ranks of the church: he published some sermons, translated Tertullian, became an Archdeacon of Ripon Cathedral, and involved himself, sometimes influentially, in the intense religious disputes that were dividing the Anglican church. He was High Church, inclining to Anglo-Catholicism, an admirer of Newman and the Tractarian movement, and he did his best to instil such views in his children.
In the early years young Charles was educated at home. His "reading lists" preserved in the family testify to a precocious intellect: at the age of seven the child was reading The Pilgrim's Progress. It is often said that he was naturally left-handed and suffered severe psychological trauma by being forced to counteract this tendency, but there is no documentary evidence to support this. Charles also suffered from another disability, a stutter that often influenced his social life throughout his years. At twelve he was sent away to a small private school at nearby Richmond, where he appears to have been happy and settled. But in 1845, young Dodgson moved on to Rugby School, where he was evidently less happy, for as he wrote some years after leaving the place:
I cannot say ... that any earthly considerations would induce me to go through my three years again ... I can honestly say that if I could have been ... secure from annoyance at night, the hardships of the daily life would have been comparative trifles to bear.
The nature of this nocturnal 'annoyance' will probably never now be fully understood, but it may be that he is delicately referring to some form of sexual molestation. Scholastically, though, he excelled with apparent ease. "I have not had a more promising boy his age since I came to Rugby" observed R.B. Mayor, the Maths master.
It is undisputed that throughout his growing wealth and fame, he continued to teach at Christ Church until 1881, and that he remained in residence there until his death. He published Through the Looking-Glass and what Alice Found There in 1872; his great Joycean mock-epic The Hunting of the Snark, in 1876 (inspired by and dedicated to his other great child-friend after Alice Liddell, Gertrude Chataway), and his last novel, the two-volume Sylvie and Bruno, in 1889 and 1893 respectively.
He also published many mathematical papers and books under his own name. 
In addition to his literary pursuits, Dodgson was a talented mathematician and logician. He wrote various works on mathematics, including The Fifth Book of Euclid Treated Algebraically (1858) and An Elementary Treatise on Determinants, With Their Application to Simultaneous Linear Equations and Algebraic Equations (1867). Lewis Carroll's fascination with logic and language is evident in his contributions to the field of symbolic logic. His logical works, such as The Game of Logic (1887) and Symbolic Logic (1896), demonstrated his ability to simplify complex concepts and make them accessible to a wider audience.
Dodgson soon excelled at the art, and it became an expression of his very personal inner philosophy; a belief in the divinity of what he called beauty, by which he seemed to mean a state of moral or aesthetic or physical perfection. He found this divine beauty not simply in the magic of theatre, but in the poetry of words, in a mathematical formula and perhaps supremely, in the human form; in the body-images that moved him.
When he took up photography he sought with his own representations to combine the ideals of freedom and beauty into the innocence of Eden, where the human body and human contact could be enjoyed without shame. In his middle age, he was to re-form this philosophy into the pursuit of beauty as a state of Grace, a means of retrieving lost innocence. This, along with his lifelong passion for the theatre, was to bring him into confrontation with Victorian morality and his own family's High Church beliefs. As his main biographer Morton Cohen noted... "He rejected outright the Calvinist principle of original sin and replaced it with the notion of inborn divinity."
The definitive work on his photography (Roger Taylor's Lewis Carroll, Photographer (2002) exhaustively lists every surviving print, and Taylor calculates that just over fifty percent of his surviving work depicts young girls. However it should be noted that less than a third of his original portfolio has survived (see below). His favourite girl model was Alexandra Kitchin ("Xie"), whom he photographed around fifty times from the age of four until the age of about 16. In 1880 he was striving to be allowed to photograph the 16 year old Xie in 'bathing dress', but was not allowed this liberty. Most of his girl subjects would write their name on the corner of the print in coloured ink. It's assumed that Dodgson either destroyed or returned the nude photographs to the families of the girls he had photographed. They were long presumed lost, but six nudes have since surfaced, four of which have been published and another two of which little is known. Dodgson's practice of photographing or sketching nude girls has added to speculation that he was a paedophile (see below). There is a clear difference between Dodgson's girls and depictions by other Victorian artists; in almost all of his solo portraits of girls they are depicted unburdened by the heavy weight of Victorian symbolism, and are simply and strongly themselves.
He also found photography to be a useful entré into higher social circles. Once he had a studio of his own, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron and Alfred, Lord Tennyson. He also made some landscapes and anatomy studies.
Dodgson abruptly ceased to photograph in 1880. Over 24 years he had completely mastered the medium, set up his own studio at the top of Tom Quad, and created around 3,000 images. Less than 1000 have survived time and deliberate destruction. He spent several hours each day creating a diary detailing the circumstances surrounding the making of each photograph, but this register was later destroyed.
With the advent of Modernism tastes changed, and his photography became forgotten from around 1920 until the 1960s. He is now considered one of the very best Victorian photographers, and is certainly the one who has had the most influence on modern art photographers.Inventions
Lewis Carroll seems to have thought a lot about how to solve some common technical problems of the day. The fact that he was able to understand and use new technologies is amply demonstrated by his use of the camera, which was not as user-friendly as it is today.
One such invention, as cited in his journal on September 24, 1891 and as published in, was a system of writing called Nyctography and a tool called the Nyctograph. He invented this because he would be unable to sleep at night and would want to write down his ideas to clear his head. But, wanting to go quickly back to bed, he did not want to go through all the mechanical steps involved in lighting a lamp. He designed a card with square holes in a regular grid. One would always make a dot in the upper-left corner and then make other dots and/or strokes. These symbols were designed to look somewhat like the letters or numbers they represented. This did not seem to be used for any longer writings, since no writings with these symbols survive. But it is probable that Lewis Carroll himself would use this to make short notes to jog his memory, and then he would probably write the idea out in his journal.
He also invented the pencil and paper game Word Ladder.
His facility at word play, logic, and fantasy has delighted audiences ranging from the most naïve to the most sophisticated. His works have remained popular since they were published and have influenced not only children's literature, but also a number of major 20th century writers such as James Joyce and Jorge Luis Borges.
Easton Press Lewis Carroll books
Alice's Adventures in Wonderland - 100 Greatest Books Ever Written - 1977
Through The Looking Glass - 1995
Through The Looking Glass - The Collector's Library of Famous Editions - 2004
Two volume set including:
Alice's Adventures in Wonderland
Through The Looking Glass
The Hunting of The Snark - 2015
Franklin Library Lewis Carroll books
Alice's Adventures in Wonderland - 100 Greatest Books of All Time - 1975
Alice in Wonderland and other stories - Collected Stories of the World's Greatest Writers - 1983
Alice's Adventures In Wonderland - World's Best Loved Books - 1981
The Adventures of Alice in Wonderland - Oxford Library of The World's Greatest Books - 1981
(This page contains affiliate links for which we may be compensated.)
About Lewis Carroll
Dodgson's family was predominantly northern English, with some Irish connections. Conservative and High Church Anglican, most of Dodgson's ancestors belonged to the two traditional English upper-middle class professions: the army and the Church. His great-grandfather, also Charles Dodgson, had risen through the ranks of the church to become a bishop; his grandfather, another Charles, had been an army captain, killed in action in 1803 while his two sons were hardly more than babies.The elder of these—yet another Charles—reverted to the other family business and took holy orders. He went to Westminster School, and thence to Christ Church, Oxford. He was mathematically gifted and won a double first degree which could have been the prelude to a brilliant academic career. Instead he married his first cousin in 1827 and retired into obscurity as a country parson.
Charles was born on 27 January 1832 in the little parsonage of Daresbury in Cheshire, the oldest boy but already the third child of the four-and-a-half year old marriage. Eight more were to follow and, incredibly for the time, all of them—seven girls and four boys— survived into adulthood. When Charles was 11 his father was given the living of Croft-on-Tees in north Yorkshire, and the whole family moved to the spacious Rectory. This remained their home for the next 25 years.
Dodgson senior made some progress through the ranks of the church: he published some sermons, translated Tertullian, became an Archdeacon of Ripon Cathedral, and involved himself, sometimes influentially, in the intense religious disputes that were dividing the Anglican church. He was High Church, inclining to Anglo-Catholicism, an admirer of Newman and the Tractarian movement, and he did his best to instil such views in his children.
In the early years young Charles was educated at home. His "reading lists" preserved in the family testify to a precocious intellect: at the age of seven the child was reading The Pilgrim's Progress. It is often said that he was naturally left-handed and suffered severe psychological trauma by being forced to counteract this tendency, but there is no documentary evidence to support this. Charles also suffered from another disability, a stutter that often influenced his social life throughout his years. At twelve he was sent away to a small private school at nearby Richmond, where he appears to have been happy and settled. But in 1845, young Dodgson moved on to Rugby School, where he was evidently less happy, for as he wrote some years after leaving the place:
I cannot say ... that any earthly considerations would induce me to go through my three years again ... I can honestly say that if I could have been ... secure from annoyance at night, the hardships of the daily life would have been comparative trifles to bear.
The nature of this nocturnal 'annoyance' will probably never now be fully understood, but it may be that he is delicately referring to some form of sexual molestation. Scholastically, though, he excelled with apparent ease. "I have not had a more promising boy his age since I came to Rugby" observed R.B. Mayor, the Maths master.
He left Rugby at the end of 1850 and, after an interval which remains unexplained, went on in January 1851 to Oxford, attending his father's old college, Christ Church. He had only been at Oxford two days when he received a summons home. His mother had died of "inflammation of the brain"—perhaps meningitis or a stroke—at the age of forty-seven.
Whatever Dodgson's feelings may have been about this death, he did not allow them to distract him too much from his purpose at Oxford. He may not always have worked hard, but he was exceptionally gifted and achievement came easily to him. The following year he received a first in Honour Moderations, and shortly after he was nominated to a Studentship (the Christ Church equivalent of a fellowship), by his father's old friend Canon Edward Pusey.
His early academic career veered between high-octane promise and irresistible distraction. Through his own laziness, he failed an important scholarship, but still his clear brilliance as a mathematician won him the Christ Church Mathematical Lectureship, which he continued to hold for the next 26 years. The income was good, but the work bored him and his stammer hampered him. Many of his pupils were older and richer than he was, and almost all of them were uninterested. They didn't want to be taught; he didn't want to teach them. Mutual apathy ruled.
At Oxford he was also diagnosed as an epileptic, then a considerable social stigma to bear. However, recently John R. Hughes, director of the University of Illinois at Chicago's epilepsy clinic, has argued that Carroll may have been misdiagnosed.
Whatever Dodgson's feelings may have been about this death, he did not allow them to distract him too much from his purpose at Oxford. He may not always have worked hard, but he was exceptionally gifted and achievement came easily to him. The following year he received a first in Honour Moderations, and shortly after he was nominated to a Studentship (the Christ Church equivalent of a fellowship), by his father's old friend Canon Edward Pusey.
His early academic career veered between high-octane promise and irresistible distraction. Through his own laziness, he failed an important scholarship, but still his clear brilliance as a mathematician won him the Christ Church Mathematical Lectureship, which he continued to hold for the next 26 years. The income was good, but the work bored him and his stammer hampered him. Many of his pupils were older and richer than he was, and almost all of them were uninterested. They didn't want to be taught; he didn't want to teach them. Mutual apathy ruled.
At Oxford he was also diagnosed as an epileptic, then a considerable social stigma to bear. However, recently John R. Hughes, director of the University of Illinois at Chicago's epilepsy clinic, has argued that Carroll may have been misdiagnosed.
The young adult Charles Dodgson was about six foot tall, slender and handsome in a soft-focused dreamy sort of way, with curling brown hair and blue eyes. At the unusually late age of seventeen, he suffered a severe attack of whooping cough which left him with poor hearing in his right ear and was probably responsible for his chronically weak chest in later life. The only overt defect he carried into adulthood was what he referred to as his "hesitation"—a stammer he had acquired in early childhood and which was to plague him throughout his entire life.
The stammer has always been a potent part of the myth. It is part of the mythology that Carroll only stammered in adult company, and was free and fluent with children, but there is no evidence to support this idea. Many children of his acquaintance remembered the stammer while many adults failed to notice it. It came and went for its own reasons, but not as a clichéd manifestation of fear of the adult world. Dodgson himself was far more acutely aware of it than most people he met. Although his stammer troubled him — even obsessed him sometimes — it was never bad enough to stop him using his other qualities to do well in society.
He was naturally gregarious and egoistic enough to relish attention and admiration. At a time when people devised their own amusements and singing and recitation were required social skills, the young Dodgson was well-equipped as an engaging entertainer. He could sing tolerably well and was not afraid to do so in front of an audience. He was adept at mimicry and story-telling. He was reputedly quite good at charades.
There are brief hints at a soaring sense of the spiritual and the divine; small moments that reveal a rich and intensely lived inner life. 'That is a wild and beautiful bit of poetry, the song of "call the cattle home",' he suddenly observed, in the midst of an analysis of Charles Kingsley's novel Alton Locke:
I remember hearing it sung at Albrighton: I wonder if any one there could have entered into the spirit of Alton Locke. I think not. I think the character of most that I meet is merely refined animal... How few seem to care for the only subjects of real interest in life.
He was also quite socially ambitious, anxious to make his mark on the world in some way, as a writer, or as an artist. It was perhaps the realisation that his talent as an artist was not sufficient that he eventually turned to photography. His scholastic career was seen as something of a stop-gap to other more exciting attainments that he desired.
In the interim between his early published writing and the success of Alice, he began to move in the Pre-Raphaelite social circle. He first met John Ruskin in 1857 and became friendly with him. Dodgson developed a close relationship with the Dante Gabriel Rossetti and his family, and also knew William Holman Hunt, John Everett Millais and Arthur Hughes among other artists. He also knew the fairy-tale author George MacDonald well - it was the enthusiastic reception of Alice by the young MacDonald daughters that convinced him to submit the work for publication.
The stammer has always been a potent part of the myth. It is part of the mythology that Carroll only stammered in adult company, and was free and fluent with children, but there is no evidence to support this idea. Many children of his acquaintance remembered the stammer while many adults failed to notice it. It came and went for its own reasons, but not as a clichéd manifestation of fear of the adult world. Dodgson himself was far more acutely aware of it than most people he met. Although his stammer troubled him — even obsessed him sometimes — it was never bad enough to stop him using his other qualities to do well in society.
He was naturally gregarious and egoistic enough to relish attention and admiration. At a time when people devised their own amusements and singing and recitation were required social skills, the young Dodgson was well-equipped as an engaging entertainer. He could sing tolerably well and was not afraid to do so in front of an audience. He was adept at mimicry and story-telling. He was reputedly quite good at charades.
There are brief hints at a soaring sense of the spiritual and the divine; small moments that reveal a rich and intensely lived inner life. 'That is a wild and beautiful bit of poetry, the song of "call the cattle home",' he suddenly observed, in the midst of an analysis of Charles Kingsley's novel Alton Locke:
I remember hearing it sung at Albrighton: I wonder if any one there could have entered into the spirit of Alton Locke. I think not. I think the character of most that I meet is merely refined animal... How few seem to care for the only subjects of real interest in life.
He was also quite socially ambitious, anxious to make his mark on the world in some way, as a writer, or as an artist. It was perhaps the realisation that his talent as an artist was not sufficient that he eventually turned to photography. His scholastic career was seen as something of a stop-gap to other more exciting attainments that he desired.
In the interim between his early published writing and the success of Alice, he began to move in the Pre-Raphaelite social circle. He first met John Ruskin in 1857 and became friendly with him. Dodgson developed a close relationship with the Dante Gabriel Rossetti and his family, and also knew William Holman Hunt, John Everett Millais and Arthur Hughes among other artists. He also knew the fairy-tale author George MacDonald well - it was the enthusiastic reception of Alice by the young MacDonald daughters that convinced him to submit the work for publication.
Writing
During his writing career, Carroll wrote poetry and short stories, sending them to various magazines and enjoying moderate success. Between 1854 and 1856, his work appeared in the national publications, The Comic Times and The Train, as well as smaller magazines like the Whitby Gazette and the Oxford Critic.
Most of his output was funny, sometimes satirical. But his standards and his ambitions were exacting. "I do not think I have yet written anything worthy of real publication (in which I do not include the Whitby Gazette or the Oxonian Advertiser), but I do not despair of doing so some day," he wrote in July 1855. Years before Alice, he was thinking up ideas for children's books that would make money: 'Christmas book [that would] sell well... Practical hints for constructing Marionettes and a theatre'. The ideas got better as he got older, but his canny mind, with an eye to income, was always there.
In 1856 he published his first piece of work under the name that would make him famous. A very predictable little romantic poem called "Solitude" appeared in The Train under the authorship of 'Lewis Carroll'. This pseudonym was a play on his real name, Lewis being the anglicised form of Ludovicus, which was the Latin for Lutwidge, and Carroll being an anglicised version of Carolus, the Latin for Charles.
n the same year, a new Dean, Henry Liddell, arrived at Christ Church, bringing with him a young wife and children, all of whom would figure largely in Dodgson's life over the following years. He became close friends with the mother and the children, particularly the three sisters Ina, Alice and Edith. It seems there became something of a tradition of his taking the girls out on the river for picnics at Godstow or Nuneham.
It was on one such expedition, in 1862, that Dodgson invented the outline of the story that eventually became his first and largest commercial success — the first Alice book. Having told the story and been begged by Alice Liddell to write it down, Dodgson was evidently struck by its potential to sell well. He took the manuscript — at this stage titled Alice's Adventures Under Ground — to Macmillan the publisher, who liked it immediately. After the possible alternative titles Alice Among the Fairies and Alice's Golden Hour were rejected, the work was finally published as Alice's Adventures in Wonderland in 1865 under the Lewis Carroll pen-name Dodgson had first used some nine years earlier.
With the immediate, phenomenal success of Alice, the story of the author's life becomes effectively divided in two: the continuing story of Dodgson's real life and the evolving myth surrounding "Lewis Carroll." Carroll quickly became a rich and detailed alter ego, a persona as famous and deeply embedded in the popular psyche as the story he told. To him belongs a large part of the image of little girls and strange otherworldliness that we know from the author of Alice.
Most of his output was funny, sometimes satirical. But his standards and his ambitions were exacting. "I do not think I have yet written anything worthy of real publication (in which I do not include the Whitby Gazette or the Oxonian Advertiser), but I do not despair of doing so some day," he wrote in July 1855. Years before Alice, he was thinking up ideas for children's books that would make money: 'Christmas book [that would] sell well... Practical hints for constructing Marionettes and a theatre'. The ideas got better as he got older, but his canny mind, with an eye to income, was always there.
In 1856 he published his first piece of work under the name that would make him famous. A very predictable little romantic poem called "Solitude" appeared in The Train under the authorship of 'Lewis Carroll'. This pseudonym was a play on his real name, Lewis being the anglicised form of Ludovicus, which was the Latin for Lutwidge, and Carroll being an anglicised version of Carolus, the Latin for Charles.
n the same year, a new Dean, Henry Liddell, arrived at Christ Church, bringing with him a young wife and children, all of whom would figure largely in Dodgson's life over the following years. He became close friends with the mother and the children, particularly the three sisters Ina, Alice and Edith. It seems there became something of a tradition of his taking the girls out on the river for picnics at Godstow or Nuneham.
It was on one such expedition, in 1862, that Dodgson invented the outline of the story that eventually became his first and largest commercial success — the first Alice book. Having told the story and been begged by Alice Liddell to write it down, Dodgson was evidently struck by its potential to sell well. He took the manuscript — at this stage titled Alice's Adventures Under Ground — to Macmillan the publisher, who liked it immediately. After the possible alternative titles Alice Among the Fairies and Alice's Golden Hour were rejected, the work was finally published as Alice's Adventures in Wonderland in 1865 under the Lewis Carroll pen-name Dodgson had first used some nine years earlier.
With the immediate, phenomenal success of Alice, the story of the author's life becomes effectively divided in two: the continuing story of Dodgson's real life and the evolving myth surrounding "Lewis Carroll." Carroll quickly became a rich and detailed alter ego, a persona as famous and deeply embedded in the popular psyche as the story he told. To him belongs a large part of the image of little girls and strange otherworldliness that we know from the author of Alice.
It is undisputed that throughout his growing wealth and fame, he continued to teach at Christ Church until 1881, and that he remained in residence there until his death. He published Through the Looking-Glass and what Alice Found There in 1872; his great Joycean mock-epic The Hunting of the Snark, in 1876 (inspired by and dedicated to his other great child-friend after Alice Liddell, Gertrude Chataway), and his last novel, the two-volume Sylvie and Bruno, in 1889 and 1893 respectively.
He also published many mathematical papers and books under his own name.
Lewis Carroll poems
Lewis Carroll was not only known for his whimsical and imaginative prose in works like Alice's Adventures in Wonderland and Through the Looking-Glass, but also for his playful and clever poems. A few notable Lewis Carroll poems include Jabberwocky (from Through the Looking-Glass) Perhaps Carroll's most famous poem, Jabberwocky is known for its nonsensical and inventive language. It tells the story of a young boy slaying the fearsome Jabberwock. The Walrus and the Carpenter (from Through the Looking-Glass) This poem is recited by Tweedledee and Tweedledum to Alice. It's a narrative poem about a Walrus and a Carpenter who invite oysters to take a walk, only to consume them in the end. The Hunting of the Snark is a longer narrative poem by Lewis Carroll, describing a bizarre and humorous "snark" hunt. The poem is known for its wordplay and absurdities. You Are Old, Father William (from Alice's Adventures in Wonderland) This poem is recited by Alice to the Caterpillar. It's a parody of The Old Man's Comforts and How He Gained Them by Robert Southey.
In addition to his literary pursuits, Dodgson was a talented mathematician and logician. He wrote various works on mathematics, including The Fifth Book of Euclid Treated Algebraically (1858) and An Elementary Treatise on Determinants, With Their Application to Simultaneous Linear Equations and Algebraic Equations (1867). Lewis Carroll's fascination with logic and language is evident in his contributions to the field of symbolic logic. His logical works, such as The Game of Logic (1887) and Symbolic Logic (1896), demonstrated his ability to simplify complex concepts and make them accessible to a wider audience.
Lewis Carroll photography
In 1856, Dodgson took up the new art form of photography; first under the influence of his uncle Skeffington Lutwidge, and later his Oxford friend Reginald Southey and art photography pioneer Oscar Rejlander.Dodgson soon excelled at the art, and it became an expression of his very personal inner philosophy; a belief in the divinity of what he called beauty, by which he seemed to mean a state of moral or aesthetic or physical perfection. He found this divine beauty not simply in the magic of theatre, but in the poetry of words, in a mathematical formula and perhaps supremely, in the human form; in the body-images that moved him.
When he took up photography he sought with his own representations to combine the ideals of freedom and beauty into the innocence of Eden, where the human body and human contact could be enjoyed without shame. In his middle age, he was to re-form this philosophy into the pursuit of beauty as a state of Grace, a means of retrieving lost innocence. This, along with his lifelong passion for the theatre, was to bring him into confrontation with Victorian morality and his own family's High Church beliefs. As his main biographer Morton Cohen noted... "He rejected outright the Calvinist principle of original sin and replaced it with the notion of inborn divinity."
The definitive work on his photography (Roger Taylor's Lewis Carroll, Photographer (2002) exhaustively lists every surviving print, and Taylor calculates that just over fifty percent of his surviving work depicts young girls. However it should be noted that less than a third of his original portfolio has survived (see below). His favourite girl model was Alexandra Kitchin ("Xie"), whom he photographed around fifty times from the age of four until the age of about 16. In 1880 he was striving to be allowed to photograph the 16 year old Xie in 'bathing dress', but was not allowed this liberty. Most of his girl subjects would write their name on the corner of the print in coloured ink. It's assumed that Dodgson either destroyed or returned the nude photographs to the families of the girls he had photographed. They were long presumed lost, but six nudes have since surfaced, four of which have been published and another two of which little is known. Dodgson's practice of photographing or sketching nude girls has added to speculation that he was a paedophile (see below). There is a clear difference between Dodgson's girls and depictions by other Victorian artists; in almost all of his solo portraits of girls they are depicted unburdened by the heavy weight of Victorian symbolism, and are simply and strongly themselves.
He also found photography to be a useful entré into higher social circles. Once he had a studio of his own, he made portraits of notable sitters such as John Everett Millais, Ellen Terry, Dante Gabriel Rossetti, Julia Margaret Cameron and Alfred, Lord Tennyson. He also made some landscapes and anatomy studies.
Dodgson abruptly ceased to photograph in 1880. Over 24 years he had completely mastered the medium, set up his own studio at the top of Tom Quad, and created around 3,000 images. Less than 1000 have survived time and deliberate destruction. He spent several hours each day creating a diary detailing the circumstances surrounding the making of each photograph, but this register was later destroyed.
With the advent of Modernism tastes changed, and his photography became forgotten from around 1920 until the 1960s. He is now considered one of the very best Victorian photographers, and is certainly the one who has had the most influence on modern art photographers.
Inventions
Lewis Carroll seems to have thought a lot about how to solve some common technical problems of the day. The fact that he was able to understand and use new technologies is amply demonstrated by his use of the camera, which was not as user-friendly as it is today.One such invention, as cited in his journal on September 24, 1891 and as published in, was a system of writing called Nyctography and a tool called the Nyctograph. He invented this because he would be unable to sleep at night and would want to write down his ideas to clear his head. But, wanting to go quickly back to bed, he did not want to go through all the mechanical steps involved in lighting a lamp. He designed a card with square holes in a regular grid. One would always make a dot in the upper-left corner and then make other dots and/or strokes. These symbols were designed to look somewhat like the letters or numbers they represented. This did not seem to be used for any longer writings, since no writings with these symbols survive. But it is probable that Lewis Carroll himself would use this to make short notes to jog his memory, and then he would probably write the idea out in his journal.
He also invented the pencil and paper game Word Ladder.
Source and additional information: Lewis Carroll