Fenton was Robertson's contemporary and fellow Crimean War photographer who similarly used albumen print processes to document military landscapes and fortifications with an elevated, documentary perspective during the same 1855 conflict.

Beato was Robertson's direct collaborator and later independently photographed war torn architecture and siege aftermath in the Crimea and beyond, sharing the same sepia toned albumen print documentary style focused on military positions and devastated urban landscapes.

Le Gray was a pioneering 19th century photographer who mastered albumen and collodion processes to produce richly detailed landscape and architectural studies with comparable tonal depth and a similarly serious documentary approach to recording historical environments.