W. Fox Talbot - The Open Door

W. Fox Talbot The Open Door

Salt print from a calotype negative, April 1844. 18.8 x 23.1 cm.
source: http://foxtalbot.dmu.ac.uk/resources/opendoor.html

"The Open Door reveals a telling interest in the artistic treatment of the mundane." The image's "picturesque dimension suggests the inventor's familiarity with examples of Dutch genre painting of the 17th century"
Rosenblum, Naomi - World History of Photography, 1997 ( page 31)

It is interesting to note that, as Rosenblum herself explains, "soft definition", that is the "blurry" or "fuzzy" characteristics of the calotype image, contrasted the calotype print to the finesse of detail and sharpness of the daguerreotype. Talbot in fact referred to the effects of his early "photogenic drawings" as "Rembrandtish" (Rosenblum, page 29)

Although the negative-positive method of Talbot would point the way to future developments of photography, the quality of the early calotype images made it difficult to supplant public attachment to the daguerreotype both in Europe and in America.

Comments

Group f/64 Manifesto (1932)

Ansel Adams by Dorothea Lange

Group f/64 Manifesto
The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
Group f/64 limits its members and invitational names to those workers who are strivin…

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The Daguerreotype portrait: the aesthetics of the real

The notion of what we may call an “artless art” was applied at different times, and with different intentions, to photography and the Daguerreotype. The image produced “directly” by nature, bypassing the intervention of the hand of the artist, was the object of amazement at first, and praised for its astounding fidelity of detail: an “art form” therefore that “no painter could ever match”.
The popularization of the daguerreotype as the 19th century progressed, brought about by technical improvements allowing for the mass production of images and specially, for the first time, the mass production of portraits, produced also as a counter-current, a kind of “over familiarity” with the daguerreotype portrait. And with it, a relative weariness about the repetitious, the unstudied, the narrowly documentary and "vulgar" or commonplace qualities (issues only partially explained by inherent limitations of the Daguerreotype technique for portraiture, such as exposure time requiremen…

Introduction to the History of Photography

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