Victorian photographer Julia Margaret Cameron stood at the dynamic centre of an unconventional circle of influential nineteenth-century artists and writers who gathered at Little Holland House and her salons at Dimbola. United by a shared commitment to Platonic ideals of beauty and a rejection of Victorian empiricism, this circle drew inspiration from the intellectual and aesthetic legacy of early German Romanticism. Romanticism and Julia Margaret Cameron's photographic vision reconsiders Cameron and her milieu, arguing that she was among the first artists to translate Romantic ideas into the emerging medium of photography. Situating Cameron's work within a transnational network of philosophical, literary and aesthetic influences, the book traces connections between her photographic practice and the idealist traditions of German Romantic thought. This study proposes that Cameron's photography operates as a form of visual philosophy in which images do not simply illustrate ideas but actively think through them, using the camera as a medium of philosophical reflection. In doing so, Cameron responds to the Romantic call for a 'new mythology': a project of imaginative renewal in which art becomes a means of re-enchanting the modern world. For Cameron, this was not simply a philosophical ideal but a lived artistic practice--an attempt to reimagine the self, spirituality and society in response to the disenchantments of modern empiricism.