The Pencil of Nature

Last updated
Cover of The Pencil of Nature, 1844 The Pencil of Nature.jpg
Cover of The Pencil of Nature, 1844

The Pencil of Nature is an 1844 book by William Henry Fox Talbot. It is notable for being the first commercially published book to be illustrated with photographs. [1] [2]

Contents

Published by Longman, Brown, Green & Longmans in six fascicles between 1844 and 1846, the book detailed Talbot's development of the calotype photographic process and included 24 calotype prints, each one pasted in by hand, illustrating some of the possible applications of the new technology. It is regarded as an important and influential work in the history of photography and was described by the Metropolitan Museum of Art as "a milestone in the art of the book greater than any since Gutenberg's invention of moveable type." [3]

At the time of The Pencil of Nature's publication, photography was still an unfamiliar concept for most people—The Athenaeum, a contemporary British magazine, described Talbot's work as "modern necromancy" [4] —and the book was the first opportunity for the general public to see what photographs looked like. [5] [6] To avoid confusion, Talbot inserted the following notice into the book:

The plates of the present work are impressed by the agency of Light alone, without any aid whatever from the artist's pencil. They are the sun-pictures themselves, and not, as some persons have imagined, engravings in imitation.

The cover page of The Pencil of Nature eclectically clashed the Baroque, Celtic, and Medieval styles, as was characteristic of the Victorian era. [7] Its symmetrical design, letterforms, and intricate carpet pages are similar to and a pastiche of the Book of Kells.[ citation needed ]

The Pencil of Nature was published and sold one section at a time, without any binding. As with many books of the time, purchasers were expected to have it bound themselves once all the installments had been released. Talbot planned a large number of installments; however, the book was not a commercial success and he was forced to terminate the project after completing only six.[ citation needed ]

Photographs

View of the Boulevards at Paris A View of the Boulevards at Paris.jpg
View of the Boulevards at Paris
Articles of China Articles of China.jpg
Articles of China
The Open Door Talbot open door.jpg
The Open Door
Fac-simile of an Old Printed Page Fac-simile of an Old Printed Page.jpg
Fac-simile of an Old Printed Page
The Haystack The Haystack.jpg
The Haystack
The Ladder The Ladder.jpg
The Ladder

The 24 plates in the book were carefully selected to demonstrate a wide variety of potential applications for photography. They include a variety of architectural studies, scenes, still lifes, and closeups, as well as facsimiles of prints, sketches, and text. Due to the long exposure times required in early photography, however, Talbot only included one image depicting people, The Ladder (Plate XIV). Talbot also sought to demonstrate photography's potential as a new artistic medium with images like The Open Door (Plate VI).[ citation needed ]

The complete list of plates is as follows:

Text

Each plate is accompanied by a short text which describes the scene and the photographic processes involved in obtaining it. Talbot emphasized the practical implications of his images (for instance, "The whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way."), but he also recognized their artistic value ("The chief object of the present work is to place on record some of the early beginnings of a new art, before the period, which we trust is approaching, of its being brought to maturity by the aid of British talent.")

Given the novelty of the subject, Talbot pointed out in the text certain technical aspects that would be obvious to a current reader; for instance: "Groups of figures take no longer time to obtain than single figures would require, since the Camera depicts them all at once, however numerous they may be." He also speculated about such questions as (among others) whether photographs would stand up as evidence in court and whether a camera could be made to record ultraviolet light."

At the beginning of the book, Talbot included an incomplete history of his development of the calotype, titled "Brief Historical Sketch of the Invention of the Art." The history ends rather abruptly, and though Talbot expressed his intention to complete it at a later date, he never did."[ page needed ]

Editions

About 40 "substantially complete" copies of the original 1844-1846 edition still exist. [3] [6] At least two facsimile editions have been issued:

Related Research Articles

<span class="mw-page-title-main">Photography</span> Art and practice of creating images by recording light

Photography is the art, application, and practice of creating images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film. It is employed in many fields of science, manufacturing, and business, as well as its more direct uses for art, film and video production, recreational purposes, hobby, and mass communication.

<span class="mw-page-title-main">Calotype</span> Early photographic process

Calotype or talbotype is an early photographic process introduced in 1841 by William Henry Fox Talbot, using paper coated with silver iodide. Paper texture effects in calotype photography limit the ability of this early process to record low contrast details and textures. The term calotype comes from the Ancient Greek καλός, "beautiful", and τύπος, "impression".

<span class="mw-page-title-main">Henry Fox Talbot</span> English scientist, inventor and photography pioneer

William Henry Fox Talbot FRS FRSE FRAS was an English scientist, inventor, and photography pioneer who invented the salted paper and calotype processes, precursors to photographic processes of the later 19th and 20th centuries. His work in the 1840s on photomechanical reproduction led to the creation of the photoglyphic engraving process, the precursor to photogravure. He was the holder of a controversial patent that affected the early development of commercial photography in Britain. He was also a noted photographer who contributed to the development of photography as an artistic medium. He published The Pencil of Nature (1844–1846), which was illustrated with original salted paper prints from his calotype negatives and made some important early photographs of Oxford, Paris, Reading, and York.

<span class="mw-page-title-main">Lacock Abbey</span> House in Lacock, England

Lacock Abbey in the village of Lacock, Wiltshire, England, was founded in the early 13th century by Ela, Countess of Salisbury, as a nunnery of the Augustinian order. The abbey remained a nunnery until the suppression of Roman Catholic institutions in England in the 16th century; it was then sold to Sir William Sharington who converted the convent into a residence where he and his family lived. It was fortified and remained loyal to the crown during the English Civil War, but surrendered to the Parliamentary forces once Devizes had fallen in 1645.

<span class="mw-page-title-main">Johann Pucher</span>

Johann Augustin Pucher was a Slovene priest, scientist, photographer, artist, and poet who invented an unusual process for making photographs on glass.

<span class="mw-page-title-main">Louis Daguerre</span> French photographer, inventor of Daguerrotype (1787–1851)

Louis-Jacques-Mandé Daguerre was a French artist and photographer, recognized for his invention of the eponymous daguerreotype process of photography. He became known as one of the fathers of photography. Though he is most famous for his contributions to photography, he was also an accomplished painter, scenic designer, and a developer of the diorama theatre.

<span class="mw-page-title-main">David Octavius Hill</span> Scottish painter, photographer and arts activist

David Octavius Hill was a Scottish painter, photographer and arts activist. He formed Hill & Adamson studio with the engineer and photographer Robert Adamson between 1843 and 1847 to pioneer many aspects of photography in Scotland.

<span class="mw-page-title-main">Photogram</span> Photographic technique

A photogram is a photographic image made without a camera by placing objects directly onto the surface of a light-sensitive material such as photographic paper and then exposing it to light.

<span class="mw-page-title-main">Robert Adamson (photographer)</span> Scottish chemist and photographer

Robert Adamson was a Scottish chemist and pioneer photographer at Hill & Adamson. He is best known for his pioneering photographic work with David Octavius Hill and producing some 2500 calotypes, mostly portraits, within 5 years after being hired by Hill in 1843.

<span class="mw-page-title-main">History of photography</span>

The history of photography began with the discovery of two critical principles: The first is camera obscura image projection, the second is the discovery that some substances are visibly altered by exposure to light. There are no artifacts or descriptions that indicate any attempt to capture images with light sensitive materials prior to the 18th century.

The paper negative process consists of using a negative printed on paper to create the final print of a photograph, as opposed to using a modern negative on a film base of cellulose acetate. The plastic acetate negative enables the printing of a very sharp image intended to be as close a representation of the actual subject as is possible. By using a negative based on paper instead, there is the possibility of creating a more ethereal image, simply by using a type of paper with a very visible grain, or by drawing on the paper or distressing it in some way.

<span class="mw-page-title-main">Anna Atkins</span> British photographer (1799–1871)

Anna Atkins was an English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images. Some sources say that she was the first woman to create a photograph.

<span class="mw-page-title-main">Photo-book</span> Book in which photographs make a significant contribution to the overall content

A photo book or photobook is a book in which photographs make a significant contribution to the overall content. A photo book is related to and also often used as a coffee table book.

The following outline is provided as an overview of and topical guide to photography:

<span class="mw-page-title-main">Salt print</span>

The salt print was the dominant paper-based photographic process for producing positive prints from 1839 until approximately 1860.

<span class="mw-page-title-main">Henry Collen</span> English painter

Henry Collen was an English miniature portrait painter to Queen Victoria of the United Kingdom and the Duchess of Kent. Later in life he turned to photography and was the first professional calotypist in London.

<span class="mw-page-title-main">Mary Dillwyn</span> British photographer (1816–1906)

Mary Dillwyn (1816–1906) is considered to be the earliest female photographer in Wales, who took photographs of flowers, animals, family and friends in the 1840s and 1850s. She provided a raw insight to the domestic lives of women and children living in 19th century Britain, pushing the boundaries of what could be considered as worthy subjects to photograph.

<span class="mw-page-title-main">Jane Martha St. John</span> British photographer (1801–1882)

Jane Martha St. John was an early English photographer. She is remembered for her calotypes of Rome and other towns in Italy, now in the J. Paul Getty Museum and the Metropolitan Museum of Art.

<span class="mw-page-title-main">Peter Wickens Fry</span> English photographer

Peter Wickens Fry was a pioneering English amateur photographer, although professionally he was a London solicitor. In the early 1850s, Fry worked with Frederick Scott Archer, assisting him in the early experiments of the wet collodion process. He was also active in helping Roger Fenton to set up the Royal Photographic Society in 1853. Several of his photographs are in the Victoria and Albert Museum in London.

<span class="mw-page-title-main">Samuel Buckle</span>

Samuel Buckle was an early English photographer.

References

  1. Glasgow University Library, Special Collections Department. Book of the month. February 2007. William Henry Fox Talbot. The Pencil of Nature. Archived 2011-06-11 at the Wayback Machine Retrieved 6 October 2008.
  2. William Henry Fox Talbot: The Pencil of Nature (1994.197). In Timeline of Art History. New York: The Metropolitan Museum of Art, October 2006. Retrieved 6 October 2008.
  3. 1 2 "The Pencil of Nature". Metropolitan Museum of Art. Retrieved September 22, 2020.
  4. "New Publications". The Athenaeum (927): 771. August 2, 1845. Retrieved September 22, 2020.
  5. "The Pencil of Nature". The Athenaeum (904): 202–203. February 22, 1845. Retrieved September 22, 2020.
  6. 1 2 Harding, Colin (March 27, 2014). "P is for 'The Pencil of Nature': a wonderful illustration of necromancy". Science and Media Museum. Retrieved September 22, 2020.
  7. Meggs, Philip B., Purvis, Alston W. "Graphic Design and the Industrial Revolution" History of Graphic Design. Hoboken, N.J: Wiley, 2006. p.152-153.