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Author: William Henry Fox Talbot
Publisher: DigiCat
ISBN:
Category : Photography
Languages : en
Pages : 66
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Book Description
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.
Author: William Henry Fox Talbot
Publisher: DigiCat
ISBN:
Category : Photography
Languages : en
Pages : 66
Get Book Here
Book Description
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.
Author: William Henry Fox Talbot
Publisher: Createspace Independent Publishing Platform
ISBN: 9781725131934
Category :
Languages : en
Pages : 44
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Book Description
The Pencil of Nature, published in six installments between 1844 and 1846, was the "first photographically illustrated book to be commercially published" or "the first commercially published book illustrated with photographs". It was wholly executed by the new art of Photogenic Drawing, without any aid whatever from the artist's pencil and regarded as an important and influential work in the history of photography.Written by William Henry Fox Talbot and published by Longman, Brown, Green & Longmans in London, the book detailed Talbot's development of the calotype process and included 24 calotype prints, each one pasted in by hand, illustrating some of the possible applications of the new technology. Since photography was still very much a novelty and many people remained unfamiliar with the concept, Talbot felt compelled to insert the following notice into his book:
Author: John Hannavy
Publisher: Routledge
ISBN: 1135873275
Category : Photography
Languages : en
Pages : 1629
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Book Description
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.
Author: Vered Maimon
Publisher: U of Minnesota Press
ISBN: 1452944210
Category : Photography
Languages : en
Pages : 258
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Book Description
Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today’s prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot’s accounts on the removal of the “artist’s hand” in favor of “the pencil of nature” did not mark a shift from manual to “mechanical” and more accurate or “objective” systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
Author: William Henry Fox Talbot
Publisher:
ISBN:
Category :
Languages : en
Pages : 68
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Book Description
Differentiated book- It has a historical context with research of the time-The Pencil of Nature by William Henry Fox Talbot.Talbot's 'picture book' is a manifesto for photography, a controversy, an advertisement, a commitment to posterity, a chronicle of the past and a vision of the future. The Pencil of Nature, published between June 1844 and April 1846, was the first commercially published book to be illustrated with photographs. As such, it is a milestone not only in the history of photography but in the way we view our world. Its importance to the history of photography has been compared in print. In fact, until recently, surviving full copies were thought to be rarer. Fortunately, that has not been shown to be the case. However, although the exact number of copies produced is not known with certainty, surviving records indicate that the potential number of complete examples is probably less than 50, three of which are now in our collection. Nature's pencil is more than just a "picture book". It is a manifesto for photography, a controversy, an advertisement, a commitment to posterity, a chronicle of the past and a vision of the future. Above all, it is a testament to the creativity, imagination, and vision of a remarkable man: its author and illustrator, William Henry Fox Talbot, the "father of photography."
Author: Christine Elliott
Publisher: Springer Nature
ISBN: 3031389026
Category : Literary Criticism
Languages : en
Pages : 261
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Book Description
The Coffee-Table Book in the Post-War Anglophone World argues that coffee-table books appeared and became popular in the post-war era at the convergence of three important developments: advances in full colour printing technology, social change, and publishing entrepreneurism and innovation. Examining the coffee-table book through a book history lens acknowledges their significant contribution to post-war visual culture and illustrated publishing. Focussing on post-war America, Great Britain, and Australia during the “golden age” era of the 1950s, 1960s, and 1970s, this history of the coffee-table book takes an interdisciplinary approach to put the coffee-table book in context in regards to materiality, format, printing, status, and genre.
Author: Jennifer Green-Lewis
Publisher: Routledge
ISBN: 1000213145
Category : Art
Languages : en
Pages : 200
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Book Description
Analysing a broad range of texts by inventors, cultural critics, photographers, and novelists, this book argues that Victorian photography ultimately defined the concept of memory for generations to come – including our own. The book will be of interest to students of Victorian and modernist literature, visual culture and intellectual history, as well as scholars working within the emerging field of research at the intersection of photographic and literary studies.
Author: Anna Kornbluh
Publisher: University of Chicago Press
ISBN: 022665348X
Category : Literary Criticism
Languages : en
Pages : 230
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Book Description
In literary studies today, debates about the purpose of literary criticism and about the place of formalism within it continue to simmer across periods and approaches. Anna Kornbluh contributes to—and substantially shifts—that conversation in The Order of Forms by offering an exciting new category, political formalism, which she articulates through the co-emergence of aesthetic and mathematical formalisms in the nineteenth century. Within this framework, criticism can be understood as more affirmative and constructive, articulating commitments to aesthetic expression and social collectivity. Kornbluh offers a powerful argument that political formalism, by valuing forms of sociability like the city and the state in and of themselves, provides a better understanding of literary form and its political possibilities than approaches that view form as a constraint. To make this argument, she takes up the case of literary realism, showing how novels by Dickens, Brontë, Hardy, and Carroll engage mathematical formalism as part of their political imagining. Realism, she shows, is best understood as an exercise in social modeling—more like formalist mathematics than social documentation. By modeling society, the realist novel focuses on what it considers the most elementary features of social relations and generates unique political insights. Proposing both this new theory of realism and the idea of political formalism, this inspired, eye-opening book will have far-reaching implications in literary studies.
Author: University of Michigan. Museum of Art
Publisher: UM Libraries
ISBN:
Category : Archaeology
Languages : en
Pages : 470
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Book Description
Author: Arnaud Schmitt
Publisher: Springer Nature
ISBN: 3031088557
Category : Literary Criticism
Languages : en
Pages : 301
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Book Description
This book explores hybrid memoirs, combining text and images, authored by photographers. It contextualizes this sub-category of life writing from a historical perspective within the overall context of life writing, before taking a structural and cognitive approach to the text/image relationship. While autobiographers use photographs primarily for their illustrative or referential function, photographers have a much more complex interaction with pictures in their autobiographical accounts. This book explores how the visual aspect of a memoir may drastically alter the reader’s response to the work, but also how, in other cases, the visual parts seem disconnected from the text or underused.
