Henry Peach Robinson took an interest in photography in his twenties and promptly adapted the aesthetic views of John Ruskin and the Pre-Raphaelites as well as Turner’s romantic landscapes to his practice: creating theatrical medieval settings that anticipated the enigmatic feel of the Symbolists. In order to create a pictorial effect, the photographer privileged artificial compositions and pioneered the making of photo-montages. He would stage his outdoor scenes in a studio and hired actors or costumed society ladies to pose, defending the idea that photography was to mimic the creativity of painting. One of his most popular picture, Fading Away, was as popular as morbid as it narrated an intimate family tragedy, staging a young woman dying of tuberculosis and surrounded by the worried members of her family. With this photography, Henry Peach Robinson mingled the artificiality of its technique with the painful reality of its subject that although it was considered macabre, seduced the public, in particular Prince Albert who purchased a print. Henry Peach Robinson believed that since photography now delivered such realistic facts about humanity, it needed to be provided with a little mystery.