DOCSLIB.ORG

CALOTYPE Calotype Also Called Talbotype Was Developed in 1840 by William Henry Fox Talbot

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CALOTYPE Calotype Also Called Talbotype Was Developed in 1840 by William Henry Fox Talbot CALOTYPE Calotype also called talbotype was developed in 1840 by William Henry Fox Talbot. Calotype means beautiful impression and is an early photographic process using paper coated with silver iodide. This process was a refinement of the technique photogenic drawings. In this report I will do more research about calotype and the person that invented the process. I will also write about how Talbot’s work and technique is important for photography today. William Henry Fox Talbot William Henry Fox Talbot was born 11 February 1800 in Melbury, Dorset. He went to Cambridge University in 1817 was an English scientist, inventor and photography pioneer. The process he discovered formed the basis for both photography and photographic printing plates. He married his wife Constance in 1832 and she also participated in image making with Talbot. This makes her the first known woman photographer. Talbot enjoy painting but his lack of success made him dream about a new machine with light-sensitive paper that would make the sketches for him automatically. After a trip to Lake Como in Italy he returned to England and began working on this project. Fox Talbot developed the three primary elements of photography: developing, fixing and printing. This process required extremely long exposure time. By accident, he discovered that there was an image after a very short exposure. He couldn’t see it, but he found out that he could develop a useful negative with a chemical solution. The chemical solution removed the light-sensitive silver and enabled the picture to be viewed in bright light. He then realized that he could repeat the process of printing from the negative. His process could make any numbers of positive prints, unlike the Daguerreotypes. Talbot called this the calotype and patented the process in 1841. He was rewarded with a medal from the Royal Society for his work. He died on 11 September 1877. The Pencil of Nature by Henry William Fox Talbot was the first photographically illustrated book to be commercially published. Calotype Calotype means beautiful impression and it is the first negative-positive photographic process. Calotype was a refinement of the process of photogenic drawing and was invented by Fox Talbot in September 1840. Talbot was the first to apply to a paper-based process and to a negative-positive process, which have dominated non- electronic Calotype camera photography up to the present. The attraction of the calotype process was that you could transform the paper into an actual image after the paper had been removed from the camera. The process allowed much shorter exposures that photogenic drawing and this made portraits possible. The exposure time was around 1 to 3 minutes for a calotype and for the earlier process it required an hour. The negative calotype process: 1. Rather than the glass or film Talbot used high quality writing paper. The first stage was to prepare what he called iodized paper. The paper was washed over with a solution of silver nitrate and dried by gentle heat. When it was nearly dry the paper got soaked in a solution of potassium iodide for two or three minutes, rinsed and dried again. 2. Before taking a photograph a fresh solution of gallo-nitrate of silver was mixed up. Then under weak candlelight the iodized paper was coated with this solution and after thirty seconds dipped in water. It was then partially dried in the dark. The calotype paper could be employed dry, but was more sensitive when moist. 3. Under neat-total darkness the sensitive calotype paper was loaded in the camera. It was exposed to the scene, usually for a time closer to a minute. After taking the paper out of the camera you can’t see the image. An invisible latent image was formed by the action of lights. A fresh solution of gallo-nitrate of silver is washed over the sheet of paper in a darkened room. It developed a visible image, usually within a few seconds. When the operator judged that the development had proceeded far enough, the paper was washed over with a fixing liguid. Washing and drying completed the process. Calotype paper could be used to make positive prints from calotype negatives, but Talbot normally used salted paper for that purpose. It was simpler, more attractive and less expensive. Calotype negative and salted paper print by William Henry Fox Talbot. The picture is called An oak tree in winter, from 1842-43. Photography today Tablot invention was important for photography today because this was the first step to paper-based images. It was also the first negative-positive process which have dominated non-electronic photography until today. Negatives made it possible to make more than one image of the same photo. Calotype process allowed shorter exposure and made it possible to make portraits. So all this steps was importent for the development of the history of photography and what it is today. .
Load more

Recommended publications
  • JB Reade's Letters to Jabez Hogg
    J. B. Reade’s letters to Jabez Hogg – Reade’s last days R. DEREK WOOD [submitted to Quekett Journal of Microscopy] [submitted in Feb 2011 but NOT published] Introducing the Rev. Joseph Bancroft Xanthidia. Quite obviously Reade was Reade, FRS (1801-1870) technically adept with microscope optics and specimen manipulation, using such methods as As a vicar of the Church of England, J. B. micro-incineration. In the mid-1830s (when he Reade served his communities at the churches ran a small school in Peckham, south east of of Stone, Buckinghamshire, from 1839 until London) he used a method of microscopic 1859, then for four years at Ellesborough, also illumination, that he characterised as “oblique in Bucks, before becoming rector of refracted light” in being set up to stop direct Bishopsbourne, near Canterbury, Kent, from transmitted light entering the objective lens, 1862 until his death in December 1870. provided a black background to the specimen, In 1864 he signed ‘The Declaration of i.e. darkground-illumination. His paper on the Students of the Natural and Physical Sciences’ technique entitled ‘A New method of that “deplore that Natural Science should be Illuminating Microscopic Objects’ was looked upon with suspicion ... merely on published in 1837 as an appendix in the account of the unadvised manner in which influential book Micrographia by Goring and some are placing it in opposition to Holy Pritchard, and noticed in all books by various Writ”. Of course where religion is concerned authors on the Microscope in the following that Declaration could be interpreted in decades, including Quekett’s Practical contradictory ways, but there can be little Treatise on the Microscope (2nd edition of doubt that J.
    [Show full text]
  • The Art-Union and Photography, 1839-1854: the First Fifteen Years Of
    THE ART-UNION AND PHOTOGRAPHY, 1839-1854: THE FIRST FIFTEEN YEARS OF CRITICAL ENGAGEMENT BETWEEN TWO CULTURAL ICONS OF NINETEENTH-CENTURY BRITAIN Derek Nicholas Boetcher, B.A., M.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Denis Paz, Major Professor Denise Amy Baxter, Minor Professor Olga Velikanova, Committee Member Richard B. McCaslin, Chair of the Department of History James D. Meernik, Acting Dean of the Toulouse Graduate School Boetcher, Derek Nicholas. The Art-Union and Photography, 1839-1854: The First Fifteen Years of Critical Engagement between Two Cultural Icons of Nineteenth-Century Britain. Master of Arts (History), August 2011, 163 pp., bibliography, 69 titles. This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism- informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this study concerns the method through which the journal viewed photography—as an artistic or scientific enterprise. A second important focus of this study is the commodification of both the journal and photography in Britain. Also, it determines how the journal’s critical engagement with photography fits into the structure and development of a nineteenth-century British social collectivity focused on art and the photographic enterprise.
    [Show full text]
  • Session Outline: History of the Daguerreotype
    Fundamentals of the Conservation of Photographs SESSION: History of the Daguerreotype INSTRUCTOR: Grant B. Romer SESSION OUTLINE ABSTRACT The daguerreotype process evolved out of the collaboration of Louis Jacques Mande Daguerre (1787- 1851) and Nicephore Niepce, which began in 1827. During their experiments to invent a commercially viable system of photography a number of photographic processes were evolved which contributed elements that led to the daguerreotype. Following Niepce’s death in 1833, Daguerre continued experimentation and discovered in 1835 the basic principle of the process. Later, investigation of the process by prominent scientists led to important understandings and improvements. By 1843 the process had reached technical perfection and remained the commercially dominant system of photography in the world until the mid-1850’s. The image quality of the fine daguerreotype set the photographic standard and the photographic industry was established around it. The standardized daguerreotype process after 1843 entailed seven essential steps: plate polishing, sensitization, camera exposure, development, fixation, gilding, and drying. The daguerreotype process is explored more fully in the Technical Note: Daguerreotype. The daguerreotype image is seen as a positive to full effect through a combination of the reflection the plate surface and the scattering of light by the imaging particles. Housings exist in great variety of style, usually following the fashion of miniature portrait presentation. The daguerreotype plate is extremely vulnerable to mechanical damage and the deteriorating influences of atmospheric pollutants. Hence, highly colored and obscuring corrosion films are commonly found on daguerreotypes. Many daguerreotypes have been damaged or destroyed by uninformed attempts to wipe these films away.
    [Show full text]
  • Digital Camera Functions All Photography Is Based on the Same
    Digital Camera Functions All photography is based on the same optical principle of viewing objects with our eyes. In both cases, light is reflected off of an object and passes through a lens, which focuses the light rays, onto the light sensitive retina, in the case of eyesight, or onto film or an image sensor the case of traditional or digital photography. The shutter is a curtain that is placed between the lens and the camera that briefly opens to let light hit the film in conventional photography or the image sensor in digital photography. The shutter speed refers to how long the curtain stays open to let light in. The higher the number, the shorter the time, and consequently, the less light gets in. So, a shutter speed of 1/60th of a second lets in half the amount of light than a speed of 1/30th of a second. For most normal pictures, shutter speeds range from 1/30th of a second to 1/100th of a second. A faster shutter speed, such as 1/500th of a second or 1/1000th of a second, would be used to take a picture of a fast moving object such as a race car; while a slow shutter speed would be used to take pictures in low-light situations, such as when taking pictures of the moon at night. Remember that the longer the shutter stays open, the more chance the image will be blurred because a person cannot usually hold a camera still for very long. A tripod or other support mechanism should almost always be used to stabilize the camera when slow shutter speeds are used.
    [Show full text]
  • Photograpmc MATERIALS CONSERVATION CATALOG
    PHOTOGRAPmC MATERIALS CONSERVATION CATALOG The American Institute for Conservation of Historic and Artistic Works Photographic Materials Group FIRST EDmON November 1994 INPAINTING OUTLINE The Pbotographlc MaterIals CODServatioD Catalog is a publication of the Photographic Materials Group of the American Institute for CODBervation of Historic and Artistic Works. The Photographic MaterIals CoDServatioD Catalog is published as a convemence for the members of the Photographic Materials Group. Publication in DO way endorses or recommends any of the treatments, methods, or techniques described herein. First Edition copyright 1994. The Photographic Materials Group of the American Institute for CODBervation of Historic and Artistic Works. Inpa........ 0utIIDe. Copies of outline chapters of the Pbotograpble MaterIals CoaservatloD Catalog may be purchased from the American Institute for CODBervation of Historic and Artistic Works, 1717 K Street, NW., Suite 301, Washington, DC 20006 for $15.00 each edition (members, $17.50 non-members), plus postage. PHOTOGRAPIDC MATERIALS CONSERVATION CATALOG STATEMENT OF PURPOSE The purpose of the Photograpbic Materials Conservation Catalog is to compile a catalog of coDSe1'Vation treatment procedures and information pertinent to the preservation and exhibition of photographic materials. Although the catalog will inventory techniques used by photographic conservators through the process of compiling outlines, the catalog is not intended to establish definitive procedures nor to provide step-by-step recipes for the untrained. Inclusion of information in the catalog does not constitute an endorsement or approval of the procedure described. The catalog is written by conservators for CODSe1'Vators, as an aid to decision making. Individual conservators are solely responsible for determining the safety, adequacy, and appropriateness of a treatment for a given project and must understand the possible effects of the treatment on the photographic material treated.
    [Show full text]
  • Cameraless & Alternative Photographic Workshops
    Cameraless & Alternative photographic workshops All workshops listed below are tailored for your requirements, suitable for a range of ages and do no require any previous experience. Hannah Fletcher @hfletch www.hannahfletcher.com [email protected] Member of London Alternative Photography Collective @londnaltphoto Cyanotypes Lumen prints Workshops can range from drop-in 30 min sessions to 1 or 2 day classes and will result in finished prints to be taken away. The Cyanotype is a cameraless photographic printing process that produces a cyan-blue print. Absorbent materials -including papers, fabrics, woods and cardboards, are coated with a light sensitive solution and dried in a darkened space. Once dry, the material is layered with Workshops can range from drop-in 40 min sessions to full day classes objects or large format negatives and and will result in finished prints to be taken away. exposed to a source of ultraviolet light (either the sun or a UV exposure unit). Lumen printing is a cameraless photographic printing process that works Exposure time will vary depending on particularly well with organic materials. It can be done with any old, out of the strength of the UV light and can be date or fogged photographic paper or film. anywhere from 2 minutes to a few hours. Once thoughrouly washed in water, areas Materials and specimens are collected and picked for the workshop. These of the material that have been touched by are then placed onto the photographic paper or photographic film and light, remain blue, while any areas that weighted down inside a frame and exposed to a source of ultraviolet light were hidden from UV light source will (either the sun or a UV exposure unit).
    [Show full text]
  • Photographic Reproduction Processes by P.C
    The Project Gutenberg EBook of Photographic Reproduction Processes by P.C. Duchochois This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.guten- berg.org/license Title: Photographic Reproduction Processes Author: P.C. Duchochois Release Date: December 24, 2007 [Ebook 24016] Language: English ***START OF THE PROJECT GUTENBERG EBOOK PHOTOGRAPHIC REPRODUCTION PROCESSES*** Photographic Reproduction Processes A Practical Treatise of the Photo-Impressions Without Silver Salts By P.C. Duchochois New York The Scovill & Adams Company 423 Broome Street. 1891 Contents INTRODUCTION. 1 THE DESIGNS. 17 THE CYANOTYPE OR BLUE PROCESS. 23 THE CYANOFER. (Pellet's Process.) . 31 THE BLACK OR INK PROCESS. (Ferro-tannate Process.) 37 THE CUPROTYPE. (Burnett's Process.) . 41 THE ANILINE PROCESS. 43 THE PRIMULINE OR DIAZOTYPE PROCESS. 49 TRACING PROCESS ON METAL. 59 GRAPHOTYPY. 63 THE URANOTYPE. 67 THE PLATINOTYPE. 73 ARTIGUES' PROCESS . 85 THE CARBON PROCESS. 91 APPENDIX. 117 Illustrations A Tournette . 60 Chardon's method of coating . 94 Preparer's Note Please remember that this book was published over a century ago, long before today's chemical safety standards. Please get expert advice before attempting to perform any of the procedures described in this book. Authors Quoted Artigues. Bevan, E.J. Bingham Borlinetto Brasseur, Chs. Buckle. Burnett, C. J. Chardon Cheysson Colas. Cooper, H. Cross, C. F. De la Blanchère, H. De St. Florent Draper, Dr. John Ducos du Hauron Dumoulin, E.
    [Show full text]
  • 9780240809984 Cs.Pdf
    HISTORY AND EVOLUTION OF PHOTOGRAPHY MARK OSTERMAN George Eastman House International Museum of Photography and Film GRANT B. ROMER George Eastman House International Museum of Photography and Film CCH01-K80998.inddH01-K80998.indd 1 66/20/07/20/07 44:55:07:55:07 PPMM CCH01-K80998.inddH01-K80998.indd 2 66/20/07/20/07 44:55:15:55:15 PPMM ContemporaryA Different Thoughts Set on ofthe Questions History of for Photography a New Age 3 Contemporary Thoughts on the History of Photography GRANT B. ROMER George Eastman House and International Museum of Photography and Film All photographers work today with historical perspective. Th ey know that the technology they use has an origin in the distant past. Th ey know photography has progressed and transformed over time, and they believe the current system of photography must be superior to that of the past. Th ey are sure they will witness further progress in pho- tography. Th ese are the lessons of history understood by all, and none need inquire any further in order to photograph. Yet photography has a very rich and complex history, which has hidden within it the answers to the fundamentally difficult questions: “What is photography?” and “What is a photograph?” All true photogra- phers should be able to answer these ques- tions for themselves and for others. To do so, they must make deep inquiry into the history of photography. Recognition of the importance of his- tory to the understanding of photography is evidenced in the title and content of the very first manual of photography published FIG.
    [Show full text]
  • The Other Side of the Lens-Exhibition Catalogue.Pdf
    The Other Side of the Lens: Lewis Carroll and the Art of Photography during the 19th Century is curated by Edward Wakeling, Allan Chapman, Janet McMullin and Cristina Neagu and will be open from 4 July ('Alice's Day') to 30 September 2015. The main purpose of this new exhibition is to show the range and variety of photographs taken by Lewis Carroll (aka Charles Dodgson) from topography to still-life, from portraits of famous Victorians to his own family and wide circle of friends. Carroll spent nearly twenty-five years taking photographs, all using the wet-collodion process, from 1856 to 1880. The main sources of the photographs on display are Christ Church Library, the Metropolitan Museum, New York, National Portrait Gallery, London, Princeton University and the University of Texas at Austin. Visiting hours: Monday: 2:00 pm - 4.30 pm; Tuesday - Thursday: 10.00 am - 1.00 pm; 2:00 pm - 4.30 pm; Friday: 10:00 am - 1.00 pm. Framed photographs on loan from Edward Wakeling Photographic equipment on loan from Allan Chapman Exhibition catalogue and poster by Cristina Neagu 2 The Other Side of the Lens Lewis Carroll and the Art of Photography ‘A Tea Merchant’, 14 July 1873. IN 2155 (Texas). Tom Quad Rooftop Studio, Christ Church. Xie Kitchin dressed in a genuine Chinese costume sitting on tea-chests portraying a Chinese ‘tea merchant’. Dodgson subtitled this as ‘on duty’. In a paired image, she sits with hat off in ‘off duty’ pose. Contents Charles Lutwidge Dodgson and His Camera 5 Exhibition Catalogue Display Cases 17 Framed Photographs 22 Photographic Equipment 26 3 4 Croft Rectory, July 1856.
    [Show full text]
  • History of Communications Media
    History of Communications Media Class 5 History of Communications Media • What We Will Cover Today – Photography • Last Week we just started this topic – Typewriter – Motion Pictures • The Emergence of Hollywood • Some Effects of the Feature Film Photography - Origins • Joseph Nicephore Niepce –first photograph (1825) – Used bitumen and required an 8-hour exposure – Invented photoengraving • Today’s photolithography is both a descendent of Niepce’s technique and the means by which printed circuits and computer chips are made – Partner of Louis Daguerre Photography - Origins • Louis Daguerre – invented daguerreotype – Daguerre was a panorama painter and theatrical designer – Announced the daguerreotype system in 1839 • Daguerreotype – a photograph in which the image is exposed onto a silver mirror coated with silver halide particles – The first commercially practical photographic process • Exposures of 15 minutes initially but later shortened – The polaroid of its day – capable of only a single image Photography – Origins • William Henry Fox Talbot – invented the calotype or talbotype – Calotype was a photographic system that: • Used salted paper coated with silver iodide or silver chloride that was developed with gallic acid and fixed with potassium bromide • Produced both a photographic negative and any desired number of positive prints Photography – Origins • Wet Collodion Process - 1 – Invented in 1850 by Frederick Scott Archer and Gustave Le Grey – Wet plate process that required the photographer to coat the glass plate, expose it,
    [Show full text]
  • ARTS 2356 Photography I ASSIGNMENT: PHOTOGRAMS DUE
    ARTS 2356 Photography I ASSIGNMENT: PHOTOGRAMS DUE: Assignment: Photograms Photography is often associated with “reality” or the capturing of “reality”. For a beginning photographer, the significance of this assignment is to experience the photographic medium without the distraction of this familiar association between photography and “reality.” A photogram consists of a photographic print or image being made without the traditional use of a negative. A photogram is made by placing any two or three dimensional object or objects between a light source and light-sensitive photographic paper. A wide range of values and details may be achieved with this process depending on the nature (shape, opacity, reflective quality texture, etc.) of the objects used. While making photograms all elements of design (composition, form, line, value, etc.) should be considered. For this assignment you will make several photograms on 8x10 paper. Use the images of landscapes/environments/place and still-lifes that you have collected in your journal as a guide for your photograms. You may choose to emulate an individual image directly or use combinations of the images to build a new composition. You may find it helpful to make simplified sketches of the original images. Study the images and sketches in your journal, giving consideration to the following: value (lights/darks), line, shape, pattern, texture, and composition. Collect objects considering their physicals properties such as shape, contour, reflective quality, texture, and opacity and how you think light will react... reflect and/or pass-through these objects. Please do not bring liquids or fine powdery/grainy/gritty substances to use for your photogram assignment..
    [Show full text]
  • Evolution of Photography: Film to Digital
    University of North Georgia Nighthawks Open Institutional Repository Honors Theses Honors Program Fall 10-2-2018 Evolution of Photography: Film to Digital Charlotte McDonnold University of North Georgia, [email protected] Follow this and additional works at: https://digitalcommons.northgeorgia.edu/honors_theses Part of the Art and Design Commons, and the Fine Arts Commons Recommended Citation McDonnold, Charlotte, "Evolution of Photography: Film to Digital" (2018). Honors Theses. 63. https://digitalcommons.northgeorgia.edu/honors_theses/63 This Thesis is brought to you for free and open access by the Honors Program at Nighthawks Open Institutional Repository. It has been accepted for inclusion in Honors Theses by an authorized administrator of Nighthawks Open Institutional Repository. Evolution of Photography: Film to Digital A Thesis Submitted to the Faculty of the University of North Georgia In Partial Fulfillment Of the Requirements for the Degree Bachelor of Art in Studio Art, Photography and Graphic Design With Honors Charlotte McDonnold Fall 2018 EVOLUTION OF PHOTOGRAPHY 2 Acknowledgements I would like thank my thesis panel, Dr. Stephen Smith, Paul Dunlap, Christopher Dant, and Dr. Nancy Dalman. Without their support and guidance, this project would not have been possible. I would also like to thank my Honors Research Class from spring 2017. They provided great advice and were willing to listen to me talk about photography for an entire semester. A special thanks to my family and friends for reading over drafts, offering support, and advice throughout this project. EVOLUTION OF PHOTOGRAPHY 3 Abstract Due to the ever changing advancements in technology, photography is a constantly growing field. What was once an art form solely used by professionals is now accessible to every consumer in the world.
    [Show full text]