Editing Julia Margaret Cameron (section)

=== 21st century reception ===
Colin Ford, in the ''Encyclopedia of Nineteenth-Century Photography'' calls her images "extraordinarily powerful" and "arguably the first 'close-up' photographs in history".<ref name="Encyclopedia of Nineteenth-Century Photography" /> He continues:<blockquote>Her visualisations of poetry are different in style and achievement from those of any other photographer of the time. Her contemporaries decorated books of poetry by [[Robert Burns|Burns]], Gray, Milton, Scott, Shakespeare and others with picturesque landscapes, occasionally peopling these with attractively disposed figures in the scenery, but rarely illustrating actual characters or incidents from the story.<ref name="Encyclopedia of Nineteenth-Century Photography" /></blockquote>For the [[Metropolitan Museum of Art]]'s ''Heilbrunn Timeline of Art History'', Malcolm Daniel writes:<blockquote>Her artistic goals for photography, informed by the outward appearance and spiritual content of fifteenth-century Italian painting, were wholly original in her medium. She aimed for neither the finish and formalized poses common in the commercial portrait studios, nor for the elaborate narratives of other Victorian "high art" photographers such as [[Henry Peach Robinson|H. P. Robinson]] and [[Oscar Gustave Rejlander|O. G. Rejlander]].<ref name="Met's Heilbrunn Timeline of Art History" /></blockquote>Janet Malcolm, in "The Genius of the Glass House" writes that "Cameron's compositions have more connection to the family album pictures of recalcitrant relatives who have been herded together for the obligatory group picture than they do to the masterpieces of Western painting" but that "The beauty that Cameron found, and in a surprising number of cases was able to arrest, among the aging and aged men of the Victorian literary and art establishment is a cornerstone of her achievement".<ref name="Genius of the Glass House" />

In 2003, the [[J. Paul Getty Museum]] published a catalogue of Cameron's known surviving photographs. One caption of a portrait of Alice Liddell (whom Cameron photographed as [[Alethea]], [[Pomona (mythology)|Pomona]], [[Ceres (mythology)|Ceres]], and [[Agnes of Rome|St. Agnes]] in 1872) claims that "Cameron's photographic portraits are considered among the finest in the early history of photography".<ref name="gettyimages90762993">{{cite web|url=http://www.gettyimages.com/detail/news-photo/photograph-by-julia-margaret-cameron-of-alice-liddell-who-news-photo/90762993|title=Photograph by Julia Margaret Cameron of Alice Liddell: Getty Images #90762993|date=15 September 2009 |publisher=Getty Images|access-date=5 March 2013}}</ref>
[[File:Alethea, by Julia Margaret Cameron.jpg|thumb|upright|[[Alice Liddell]] as "Alethea", 1872]]
In 2018, Cameron's ''[[The Norman Album|Norman Album]]'' from 1869 was deemed by the [[Reviewing Committee on the Export of Works of Art|UK government's advisory committee on the export of works of art]] to be of "outstanding aesthetic importance and significance to the study of the history of photography and, in particular, the work of Julia Margaret Cameron—one of the most significant photographers of the 19th century".<ref>{{Cite web|url=https://www.gov.uk/government/news/famed-photography-album-at-risk-of-leaving-the-uk|title=Famed photography album at risk of leaving the UK|publisher=Government of the United Kingdom|access-date=9 February 2018}}</ref>

In 2019 Cameron was inducted into the [[International Photography Hall of Fame and Museum]].<ref>{{Cite web |title=Julia Margaret Cameron |url=https://iphf.org/inductees/julia-margaret-cameron/ |access-date=25 July 2022 |website=International Photography Hall of Fame |language=en-US |archive-date=30 July 2023 |archive-url=https://web.archive.org/web/20230730225610/https://iphf.org/inductees/julia-margaret-cameron/ |url-status=dead }}</ref>