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Photography emerged in 1839 in two forms simultaneously. In France, Louis Daguerre produced photographs on silvered sheets of copper, while in Great Britain, William Henry Fox Talbot put forward a method of capturing an image on ordinary writing paper treated with chemicals. Talbot’s invention, a paper negative from which any number of positive prints could be made, became the progenitor of virtually all photography carried out before the digital age. Talbot named his perfected invention "calotype," a term based on the Greek word for beauty. Calotypes were characterized by a capacity for subtle tonal distinctions, massing of light and shadow, and softness of detail. In the 1840s, amateur photographers in Britain responded with enthusiasm to the challenges posed by the new medium. Their subjects were wide-ranging, including landscapes and nature studies, architecture, and portraits. Glass-negative photography, which appeared in 1851, was based on the same principles as the paper negative but yielded a sharper picture, and quickly gained popularity. Despite the rise of glass negatives in commercial photography, many gentlemen of leisure and learning continued to use paper negatives into the 1850s and 1860s. These amateurs did not seek the widespread distribution and international reputation pursued by their commercial counterparts, nearly all of whom favored glass negatives. As a result, many of these calotype works were produced in a small number of prints for friends and fellow photographers or for a family album. This richly illustrated, landmark publication tells the first full history of the calotype, embedding it in the context of Britain’s changing fortunes, intricate class structure, ever-growing industrialization, and the new spirit under Queen Victoria. Of the 118 early photographs presented here in meticulously printed plates, many have never before been published or exhibited.
DigiCat Publishing presents to you this special edition of "The Pencil of Nature" by William Henry Fox Talbot. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
The Middle East played a critical role in the development of photography as a new technology and an art form. Likewise, photography was instrumental in cultivating and maintaining Europe’s distinctively Orientalist vision of the Middle East. As new advances enhanced the versatility of the medium, nineteenth-century photographers were able to mass-produce images to incite and satisfy the demands of the region’s burgeoning tourist industry and the appetites of armchair travelers in Europe. In this way, the evolution of modern photography fueled an interest in visual contact with the rest of the world. Photography’s Orientalism offers the first in-depth cultural study of the works of European and non- European photographers active in the Middle East and India, focusing on the relationship between photographic, literary, and historical representations of this region and beyond. The essays explore the relationship between art and politics by considering the connection between the European presence there and aesthetic representations produced by traveling and resident photographers, thereby contributing to how the history of photography is understood.
Salted Paper Printing: A Step-by-Step Manual Highlighting Contemporary Artists makes one of the oldest known photographic processes easy for the 21st century using simple digital negative methods. Christina Z. Anderson’s in-depth discussion begins with a history of salted paper printing, then covers the salted paper process from beginner to intermediate level, with step-by-step instructions and an illustrated troubleshooting guide. Including cameraless imagery, hand-coloring, salt in combination with gum, and printing on fabric, Salted Paper Printing contextualizes the practice within the varied alternative processes. Anderson offers richly-illustrated profiles of contemporary artists making salted paper prints, discussing their creative process and methods. Salted Paper Printing is perfect for the seasoned photographer looking to dip their toe into alternative processes, or for the photography student eager to engage with photography’s rich history.
"Roger Fenton (1819-1869) was England's most celebrated photographer during the 1850s, the young medium's most glorious moment. After studying law and painting, Fenton took up the camera in 1851 and immediately began to produce highly original images. During a decade of work he mastered every photographic genre he attempted: architectural photography, landscape, portraiture, still life, reportage, and tableau vivant." "This volume presents ninety of Fenton's finest photographs, exactingly reproduced. Six leading scholars have contributed nine illustrated essays that address every aspect of Fenton's career, as well as a comprehensive, documented chronology."--BOOK JACKET.
The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come. Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena. Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century. The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
In January 1839, photography was announced to the world. Two years prior, a young Queen Victoria ascended to the throne of Great Britain and Ireland. These two events, while seemingly unrelated, marked the beginnings of a relationship that continued throughout the nineteenth century and helped construct the image of an entire age. A Royal Passion explores the connections between photography and the monarchy through Victoria’s embrace of the new medium and her portrayal through the lens. Together with Prince Albert, her beloved husband, the Queen amassed one of the earliest collections of photographs, including works by renowned photographers such as Roger Fenton, Gustave Le Gray, and Julia Margaret Cameron. Victoria was also the first British monarch to have her life recorded by the camera: images of her as wife, mother, widow, and empress proliferated around the world at a time when the British Empire spanned the globe. The featured essays consider Victoria’s role in shaping the history of photography as well as photography’s role in shaping the image of the Queen. Including more than 150 color images—several rarely seen before—drawn from the Royal Collection and the J. Paul Getty Museum, this volume accompanies an exhibition of the same name, on view at the J. Paul Getty Museum from February 4 to June 20, 2014.
As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium
How do photographs compel belief and endow knowledge? To understand the impact of photography in a given era, we must study the adjacent forms of visual persuasion with which photographs compete and collaborate. In photography’s early days, magic shows, scientific demonstrations, and philosophical games repeatedly put the visual credulity of the modern public to the test in ways that shaped, and were shaped by, the reality claims of photography. These venues invited viewers to judge the reliability of their own visual experiences. Photography resided at the center of a constellation of places and practices in which the task of visual discernment—of telling the real from the constructed—became an increasingly crucial element of one’s location in cultural, political, and social relations. In Disillusioned: Victorian Photography and the Discerning Subject, Jordan Bear tells the story of how photographic trickery in the 1850s and 1860s participated in the fashioning of the modern subject. By locating specific mechanisms of photographic deception employed by the leading mid-century photographers within this capacious culture of discernment, Disillusioned integrates some of the most striking—and puzzling—images of the Victorian period into a new and expansive interpretive framework.