Topic
Calotype
About: Calotype is a research topic. Over the lifetime, 45 publications have been published within this topic receiving 295 citations. The topic is also known as: talbotype.
Papers
Book•
[...]
21 Mar 1969
TL;DR: The Pencil of Nature as mentioned in this paper was the first book to be illustrated entirely with photographs and it has been said that the importance of this book is comparable to that of the Gutenberg Bible in the history of printing.
Abstract: Originally published as a serial between 1844 and 1846, The Pencil of Nature was the first book to be illustrated entirely with photographs. Early enthusiast William Henry Fox Talbot hoped to spur public interest in photography but was forced to cease publication after just six installments. In its time, the serial was not a commercial success; however, more than 165 years later, it is recognized as a major contribution to the history of photography. Indeed, it has been said that the importance of this book is comparable to that of the Gutenberg Bible in the history of printing. In 1840 Fox Talbot invented the Calotype process--the precursor to film cameras--transforming everyday subjects into works of art. His twenty-four resulting prints, which include architectural studies, local landscapes, still lifes, close-ups, and even a carefully executed portrait, remain strikingly modern and quietly beautiful. The Pencil of Nature has been published in several different incarnations, yet this edition is the first to have been reproduced from the original plates held in England's National Media Museum, each page of the original work published here as Fox Talbot had intended. A 44-page illustrated introduction by Colin Harding gives shape to Fox Talbot's life and times, how he became interested in the notion of a "photogenic drawing" process, how he invented the Calotype, and how he conceived of The Pencil of Nature--the means by which he could show the art of photography to the world for the first time in a book. This is an essential volume for historians, photographers, and anyone interested in the development of photography.
119 citations
TL;DR: In this paper, the authors present a sketch of the more important developments in the practice and uses of photography in Africa and conclude with the Second World War, since to have pursued the subject further would have asked too much of the authors' knowledge and readers' patience.
Abstract: Photographs are attracting growing interest among Africanists. A bibliographical essay in the Cambridge History of Africa, vol. 7, drew attention to the value and availability of photographs of colonial Africa. The critical use of such documents has been discussed in this journal by Christraud Geary, and historical photographs have been a prominent feature of several recent publications. In May 1988 an international workshop at SOAS considered the problems and possibilities of using photographs as sources for African history. It is hoped that a larger conference on photographs and Africa will be convened in the near future. Meanwhile, the papers for the SOAS meeting have been distributed to interested scholars, librarians, and archivists. A version of the present paper forms part of this collection; since there is as yet no recommendable history of photography in Africa, it seemed worthwhile to republish this modest sketch of the more important developments in the practice and uses of photography in Africa. We conclude with the Second World War, since to have pursued the subject further would have asked too much of the authors' knowledge and readers' patience.It may be helpful to begin with a reminder of the major technical developments in photography during the nineteenth century. The daguerreotype, introduced in 1839, yielded only a single image, on a sensitized metal plate. The calotype, introduced two years later, yielded multiple paper positives from a paper negative, but like the daguerreotype required exposures of one to three minutes.
31 citations
Book•
1 Jan 2009
TL;DR: In this paper, the Daguerreotype and its evolution in the 20th century are discussed, including its role in the development of the digital camera, the introduction of the camera phone, and the use of a digital camera as a tool for self-expression.
Abstract: Preface CHAPTER ONE - Advancing toward Photography: The Birth of Modernity A Desire for Visual Representation Perspective Thinking of Photography Camera Vision The Demand for Picturemaking Systems Proto-Photographers: Chemical Action of Light Modernity: New Visual Realities Optical Devices Images through Light: A Struggle for Permanence Other Distinct Originators CHAPTER TWO - The Daguerreotype: Image and Object What Is a Daguerreotype? The Daguerreotype Comes to America The Early Practitioners Early Daguerrean Portrait Making Technical Improvements Expanding U.S. Portrait Studios The Art of the Daguerrean Portrait Daguerrean Portrait Galleries and Picture Factories African-American Operators Rural Practice Post-Mortem Portraits The Daguerreotype and the Landscape The Daguerreotype and Science CHAPTER THREE - Calotype Rising: The Arrival of Photography The Calotype Early Calotype Activity Calotypists Establish a Practice Calotype and Architecture: Mission Heliographique The End of the Calotype and the Future of Photography CHAPTER FOUR - Pictures on Glass: The Wet-Plate Process The Albumen Process The New Transparent Look The Ambrotype Pictures on Tin The Carte-de-Visite and the Photo Album The Cabinet Photograph: The Picture Gets Bigger The Studio Tradition Retouching and Enlargements The Stereoscope The Stereo Craze CHAPTER FIVE - Prevailing Events/Picturing Calamity Current Events Early War Coverage The American Civil War How Photographs Were Circulated CHAPTER SIX - A New Medium of Communication Photography: Art or Industry? Discovering a Photographic Language Americans and the Art of Nature Positivism CHAPTER SEVEN - Standardizing the Practice: A Transparent Truth Mechanical Photography The Traveling Camera Picturing Industrialization Urban Life The American West: The Narrative and the Sublime CHAPTER EIGHT - New Ways of Visualizing Time and Space The Inadequacy of Human Vision Locomotion Transforming Aesthetics: Technical Breakthroughs The Hand-Held Camera and the Snapshot Time and Motion as an Extended Continuum Moving Pictures Color and Photography CHAPTER NINE - Suggesting the Subject: The Evolution of Pictorialism Roots of Pictorialism Pictorialism and Naturalism The Development of Pictorial Effect The Secession Movement and the Rise of Photography Clubs The Aesthetic Club Movement Working Pictorially: A Variety of Approaches American Perspectives The Photo-Secession The Decadent Movement and Tonalism Women Pictorialists The Pictorial Epoch/The Stieglitz Group The Decline of Pictorialism CHAPTER TEN - Modernism's Innovations Industrial Beauty Cubism High and Low Art Futurism Time, Movement, and the Machine Towards a Modern Practice: Distilling Form Dada Exploring Space and Time: The Return of the Photogram Surrealism Collage Suprematism Art, Technology, and a New Faith Paul Strand and Straight Photography: Purity of Use CHAPTER ELEVEN - The New Culture of Light Teaching Modernism: The American Impulse Stieglitz's "Equivalents" Steichen Goes Commercial Form as Essence Straight, Modernistic Photography Film und Foto and New Objectivity Experimentally Modern New Vision Pathways of Light: Time, Space, and Form Surrealistic Themes CHAPTER TWELVE - Social Documents An American Urge: Social Uplift Ethnological Approaches Emerging Ethnic Consciousness The Physiognomic Approach The Great Depression: The Economics of Photography The FAP Project: Changing New York The Photo Booth: Self-Portraits for All Mass Observation The Film and Photo League CHAPTER THIRTEEN - Nabbing Time Anticipating the Moment CHAPTER FOURTEEN - From Halftones to Bytes Pictures and Printers Ink The Photo Magazine The Separation of Art and Commerce: Advertising and Fashion Newspapers War Reportage The New Subjective Journalism Bytes of News CHAPTER FIFTEEN - The Atomic Age: New Light/Fresh Methods The Surrealistic Metaphor The Photograph as Spirit Photo Education as Self-Expression Family of Man Photography and Alienation Making a Big Jump The Subjective Documentary The Terror of Riches CHAPTER SIXTEEN - New Frontiers: Expanding Boundaries Structuralism: Reading a Photograph The Found Image: The Beginnings of Postmodernism The Rise of Pop Art Challenging the Code The Social Landscape New Journalism Multiple Points of View The Rapid Growth of Photographic Education CHAPTER SEVENTEEN - Changing Realities Alternative Visions Turning the Straight Photograph on Itself Personal Accounts: Documentary Fiction The Snapshot Post-Structuralism/New Topographics The Rephotographic Survey Project/Time Changes Color Rising Artists' Books Reconfiguring Information Expanding Markets Critical Writing CHAPTER EIGHTEEN - Thinking About Photography Conceptual Art: The Act of Choosing Performance Art A Return to Typologies Postmodernism Deconstructing Myths Gender Issues Fabrication Altering Time and Space Investigating the Body Multiculturalism: Exploring Identity & History A Personal Cultural Landscape The Digital Future Is Now The Postphotographic Age Bibliography Individual Artists Technology Sources of Artists Books Index
27 citations
Book•
1 Jan 1998
TL;DR: The "PhotoSpeak" series as discussed by the authors is the first reference to provide satisfying, easily accessible information not only about the diverse techniques that have been explored since photography was invented more than 150 years ago, but also about the ideas and the influences that were central to those making and interpreting photographs.
Abstract: "PhotoSpeak" is the first reference to provide satisfying, easily accessible information not only about the diverse techniques that have been explored since photography was invented more than 150 years ago but also about the ideas and the influences that have been central to those making and interpreting photographs. The complexities of photographic techniques from the calotype to the photogram to digital imaging are explained in clear, straightforward language, indicating how the processes work and how they shape the appearance of the resulting image. The international styles and movements within photography, from Pictorialism to postmodernism, are described using the same effective who-when-where-what format that has made the other volumes in this series ( "AntiqueSpeak," "ArtSpeak," and "ArtSpoke" ) so useful. Photography's many distinctive contributions to various subjects such as art, fashion, science, and travel are intelligently explored. And the aesthetic concepts and critical terms that have been used to explain (and occasionally obscure) photography over the last century and a half are demystified.
17 citations
TL;DR: In this article, the benefits of negative-based photography would find an audience in antebellum America, Frederick and William Langenheim refined their ability to make calotypes by the beginning of 1849, bought the patent for the process in the United States, and sought a number of methods to create interest in the format.
Abstract: Believing that the benefits of negative-based photography would find an audience in antebellum America, Frederick and William Langenheim refined their ability to make calotypes by the beginning of 1849, bought the patent for the process in the United States, and sought a number of methods to create interest in the format. Although they improved the quality of their paper images and demonstrated the flexibility of the medium over succeeding years, an inadequate advertising campaign could not generate enough commercial or public interest to offset the expenses they had accrued.
16 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
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| 2020 | 1 |
| 2017 | 1 |
| 2015 | 2 |
| 2014 | 3 |
| 2012 | 1 |
| 2011 | 1 |