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    The Pencil of Nature
    The Pencil of Nature
    The Pencil of Nature
    Ebook112 pages44 minutes

    The Pencil of Nature

    By William Henry Fox Talbot

    4.5/5

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateDec 1, 1968
    The Pencil of Nature

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    4.5/5

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    • 5/5
      A fun little book, sort of an introduction to photography by one of the folks who invented photography. Pictures, of course; and an explanation of how he discovered and solved the technical problems photography posed. Every photo has a commentary, which sometimes leads to related discussion. A surprisingly interesting book.

    Book preview

    The Pencil of Nature - William Henry Fox Talbot

    The Project Gutenberg EBook of The Pencil of Nature by William Henry Fox Talbot

    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.gutenberg.org/license

    Title: The Pencil of Nature

    Author: William Henry Fox Talbot

    Release Date: August 16, 2010 [Ebook #33447]

    Language: English

    ***START OF THE PROJECT GUTENBERG EBOOK THE PENCIL OF NATURE

    ***

    The Pencil of Nature

    H. Fox Talbot

    Longman, Brown, Green and Longmans, London

    1844

    Contents

    Introductory Remarks

    Brief Historical Sketch of the Invention of the Art

    PLATE I. PART OF QUEEN'S COLLEGE, OXFORD.

    PLATE II. VIEW OF THE BOULEVARDS AT PARIS.

    PLATE III. ARTICLES OF CHINA.

    PLATE IV. ARTICLES OF GLASS.

    PLATE V. BUST OF PATROCLUS.

    PLATE VI. THE OPEN DOOR.

    PLATE VII. LEAF OF A PLANT.

    PLATE VIII. A SCENE IN A LIBRARY.

    PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.

    PLATE X. THE HAYSTACK.

    PLATE XI. COPY OF A LITHOGRAPHIC PRINT.

    PLATE XII. THE BRIDGE OF ORLEANS.

    PLATE XIII. QUEEN'S COLLEGE, OXFORD.

    PLATE XIV. THE LADDER.

    PLATE XV. LACOCK ABBEY IN WILTSHIRE.

    PLATE XVI. CLOISTERS OF LACOCK ABBEY.

    PLATE XVII. BUST OF PATROCLUS.

    PLATE XVIII. GATE OF CHRISTCHURCH.

    PLATE XIX. THE TOWER OF LACOCK ABBEY

    PLATE XX. LACE

    PLATE XXI. THE MARTYRS' MONUMENT

    PLATE XXII. WESTMINSTER ABBEY

    PLATE XXIII. HAGAR IN THE DESERT.

    PLATE XXIV. A FRUIT PIECE.

    Illustrations

    PLATE I. PART OF QUEEN'S COLLEGE, OXFORD.

    PLATE II. VIEW OF THE BOULEVARDS AT PARIS.

    PLATE III. ARTICLES OF CHINA.

    PLATE IV. ARTICLES OF GLASS.

    PLATE V. BUST OF PATROCLUS.

    PLATE VI. THE OPEN DOOR.

    PLATE VII. LEAF OF A PLANT.

    PLATE VIII. A SCENE IN A LIBRARY.

    PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.

    PLATE X. THE HAYSTACK.

    PLATE XI. COPY OF A LITHOGRAPHIC PRINT.

    PLATE XII. THE BRIDGE OF ORLEANS.

    PLATE XIII. QUEEN'S COLLEGE, OXFORD, Entrance Gateway

    PLATE XIV. THE LADDER.

    PLATE XV. LACOCK ABBEY IN WILTSHIRE.

    PLATE XVI. CLOISTERS OF LACOCK ABBEY.

    PLATE XVII. BUST OF PATROCLUS.

    PLATE XVIII. GATE OF CHRISTCHURCH.

    PLATE XIX. THE TOWER OF LACOCK ABBEY

    PLATE XX. LACE

    PLATE XXI. THE MARTYRS' MONUMENT

    PLATE XXII. WESTMINSTER ABBEY

    PLATE XXIII. HAGAR IN THE DESERT.

    PLATE XXIV. A FRUIT PIECE.

    Introductory Remarks

    The little work now presented to the Public is the first attempt to publish a series of plates or pictures wholly executed by the new art of Photogenic Drawing, without any aid whatever from the artist's pencil.

    The term Photography is now so well known, that an explanation of it is perhaps superfluous; yet, as some persons may still be unacquainted with the art, even by name, its discovery being still of very recent date, a few words may be looked for of general explanation.

    It may suffice, then, to say, that the plates of this work have been obtained by the mere action of Light upon sensitive paper. They have been formed or depicted by optical and chemical means alone, and without the aid of any one acquainted with the art of drawing. It is needless, therefore, to say that they differ in all respects, and as widely us possible, in their origin, from plates of the ordinary kind, which owe their existence to the united skill of the Artist and the Engraver.

    They are impressed by Nature's hand; and what they want as yet of delicacy and finish of execution arises chiefly from our want of sufficient knowledge of her laws. When we have learnt more, by experience, respecting the formation of such pictures, they will doubtless be brought much nearer to perfection; and though we may not be able to conjecture with any certainty

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