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Relevant bibliographies by topics / William Henry Fox Talbot

Academic literature on the topic 'William Henry Fox Talbot'

Author: Grafiati

Published: 4 June 2021

Last updated: 19 February 2022

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Journal articles on the topic "William Henry Fox Talbot"

1

Ione, Amy. "William Henry Fox Talbot: Beyond Photography." Leonardo 50, no. 2 (April 2017): 218–20. http://dx.doi.org/10.1162/leon_r_01394.

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Hamber, Anthony. "William Henry Fox Talbot: Beyond Photography." History of Photography 39, no. 1 (January 2, 2015): 100–102. http://dx.doi.org/10.1080/03087298.2014.981418.

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Clayton, Owen. "William Henry Fox Talbot: Beyond Photography." Journal of Victorian Culture 20, no. 4 (September 30, 2015): 552–55. http://dx.doi.org/10.1080/13555502.2015.1090207.

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LANE, GUY. "WILLIAM HENRY FOX TALBOT BY GEOFFREY BATCHEN." Art Book 16, no. 3 (August 2009): 61–62. http://dx.doi.org/10.1111/j.1467-8357.2009.01045.x.

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Belknap, Geoffrey. "William Henry Fox Talbot. BEYOND PHOTOGRAPHY: A review." Studies in History and Philosophy of Science Part A 51 (June 2015): 105–7. http://dx.doi.org/10.1016/j.shpsa.2015.01.002.

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Kusnerz, Peggy Ann. "Current research on William Henry Fox Talbot: Select Bibliography." History of Photography 25, no. 1 (March 2001): 107–9. http://dx.doi.org/10.1080/03087298.2001.10443442.

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MESCHIARI, ALBERTO. "PER UN ARCHIVIO DELLA CORRISPONDENZA DEGLI SCIENZIATI ITALIANI." Nuncius 18, no. 1 (2003): 201–42. http://dx.doi.org/10.1163/182539103x00611.

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Abstracttitle SUMMARY /title William Henry Fox Talbot, pioneer of photography and discoverer of the negative-positive method, was in intermittent correspondence with Giovanni Battista Amici from 1822 to 1844. His original letters, kept by the Biblioteca Estense in Modena together with Amici's copies, are published here completely for the first time.

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Bear, Jordan. "William Henry Fox Talbot: Beyond Photography by Mirjam Brusius et al." Victorian Review 41, no. 1 (2016): 181–83. http://dx.doi.org/10.1353/vcr.2016.0016.

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Liberman, Anatoly. "William Henry Fox Talbot (1800–1877) and the “Interim Period” in the history of English etymology." Grammarians, Skalds and Rune Carvers I 69, no. 1 (March 3, 2016): 95–112. http://dx.doi.org/10.1075/nowele.69.1.03lib.

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Henry Fox Talbot, the father of photography, was a polymath, and among his many publications we find works on mathematics, physics, astronomy, chemistry, archeology, ancient history, mythology, and Assyrian cuneiform inscriptions. He was also at home in botany. In 1847 he brought out a thick book titled English Etymologies. His archive at Cambridge allows one to trace the preparatory stages for this work. Talbot’s book is instructive as an example of how some talented, brilliantly educated, and industrious Englishmen in the forties of the nineteenth century went about discovering the origin of Hebrew, Greek, Latin, and English words. Talbot was aware of sound correspondences but did not feel bound by them. A list of his sources gives a good idea of the state of the art in England. Talbot’s etymologies are interesting only from this point of view. They should be studied as we study the efforts of much earlier researchers, that is, as part of the history of science.

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McCormack, Kathleen. "George Eliot, Julia Cameron, and William Henry Fox Talbot: Photography andDaniel Deronda." Word & Image 12, no. 2 (April 1996): 175–79. http://dx.doi.org/10.1080/02666286.1996.10434247.

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Dissertations / Theses on the topic "William Henry Fox Talbot"

1

Brusius, Mirjam Sarah. "Preserving the forgotten : William Henry Fox Talbot, photography and the antique." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609959.

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Minek, Joseph. "Some Account of the Art of Photogenic Drawing." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/2994.

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This thesis is an overview of the processes and procedures used in the production of my artistic practice. In my work, I explore notions such as the ambiguity of the photographic image, what constitutes an image or object as photographic, and the unexplored possibilities of the medium through surface and mark making. In addition, I draw inspiration from artists Wolfgang Tillmans, William Henry Fox Talbot, and Marco Breuer as entrance points to my conceptual interests. For viewers, my work generates an internal dialogue about the limits of the photographic medium.

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Pennisi, Paola. "Victor Cousin e l’estetica fotografica nella Francia del XIX secolo." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100026/document.

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Cette thèse est organisé en trois chapitres: le premier chapitre traite de la naissance du daguerréotype et de sa propagation, de conditionnement, d'abord, à partir des besoins du progrès scientifique déterminés, pour une courte période, une plus grand diffusion des gravures de daguerréotype plutôt que ceux de calotype. D'où notre hypothèse d'un véritable art de la photographie a en effet pu commencer qu'avec la propagation de la procédure de Talbot , rendu public et mis au point par Blanquart Evrard.Le deuxième chapitre analyse le contexte philosophique contemporain à la diffusion des premières représentations photographiques.Cette œuvre se concentre, en particulier , sur la figure de Victor Cousin. Ce travail révèle en partie le climat historique et culturel dans lequel on va définir l'objet problématique de cette recherche. En fait , le beau de cette philosophe est une représentation vague de la nature qui, cependant, ne donnerait pas une relation directe avec les données des sens toujours présents.Le dernier chapitre conclut en examinant la dichotomie entre le beau et l’utile. La distinction est plus subtile qu'il n'y paraît à une première vue du traité: si les catégorisations traditionnelles parlaient de “arts utiles” et “beaux-arts”, Cousin garda seulement "utile" et "beau", cette position va permettre à tous les produits fabriqués la possibilité d'entrer dans le monde des arts, y compris la photographie. Il faut considérer que –dans le contexte– il été très diffusé la Scienza Nuova (traduit par Michelet ) de Vico, œuvre que Cousin commenta pendent ces leçons
Cette thèse est organisé en trois chapitres: le premier chapitre traite de la naissance du daguerréotype et de sa propagation, de conditionnement, d'abord, à partir des besoins du progrès scientifique déterminés, pour une courte période, une plus grand diffusion des gravures de daguerréotype plutôt que ceux de calotype. D'où notre hypothèse d'un véritable art de la photographie a en effet pu commencer qu'avec la propagation de la procédure de Talbot , rendu public et mis au point par Blanquart Evrard.Le deuxième chapitre analyse le contexte philosophique contemporain à la diffusion des premières représentations photographiques.Cette œuvre se concentre, en particulier , sur la figure de Victor Cousin. Ce travail révèle en partie le climat historique et culturel dans lequel on va définir l'objet problématique de cette recherche. En fait , le beau de cette philosophe est une représentation vague de la nature qui, cependant, ne donnerait pas une relation directe avec les données des sens toujours présents.Le dernier chapitre conclut en examinant la dichotomie entre le beau et l’utile. La distinction est plus subtile qu'il n'y paraît à une première vue du traité: si les catégorisations traditionnelles parlaient de “arts utiles” et “beaux-arts”, Cousin garda seulement "utile" et "beau", cette position va permettre à tous les produits fabriqués la possibilité d'entrer dans le monde des arts, y compris la photographie. Il faut considérer que –dans le contexte– il été très diffusé la Scienza Nuova (traduit par Michelet ) de Vico, œuvre que Cousin commenta pendent ces leçons

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Young, Eleanor Dawn, and ellie@goldstreetstudios com au. "Mechanisms of Controlling Colour and Aesthetic Appearance of the Photographic Salt Print." RMIT University. Applied Science, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080901.142948.

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Abstract The salt print is an important part of photography, both in its historic value and in the tonal range it can provide. This tonal range is greater than any other photographic printing process available to date attributed to the inherent masking ability of the metallic silver. However the intrinsic production problems have made it a 'forgotten' process. There are five key problems. 1. The difficulties in achieving the potential extensive tonal range. 2. The varying colour of the print. 3. Staining that appears in the print, during and after processing. 4. Instability and longevity of the salt print. 5. Contradictory and inaccurate information in material published on the salt print. Although the emphasis of the research is on exploring and controlling the colour and tonal range, the staining problems and stability of the print are also addressed. The materials used for contact negatives today vary in both capture and output, from analogue film processed in the traditional wet darkroom to a variety of transparent film printed from digital files. Inadequate density and tonal range can affect all types of negatives. To provide sufficient exposure time for the salt prints extended tonal range adjustments to the negative were necessary. These long exposures then converted sufficient silver salts to the image making metallic silver, utilising the intrinsic self-masking process. Ultimately this research has uncovered ways to control colour and tonal range and certain aesthetic qualities of the salt print, while simultaneously resolving some of the conflicts in published information. Accurate and consistent methods of processing eliminate staining, providing some stability to the print. The activities and steps carried out to make a salt print are manual; precise duplication is therefore almost unattainable. Nevertheless, although tests on a densitometer may display numeric differences, visual differences are barely noticeable.

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Schaaf, Larry J. "A love of light : Herschel, Talbot & photography." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/15089.

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William Henry Fox Talbot (1800-1877), the inventor of photography on paper, was given crucial support by his colleague Sir John Herschel (1792- 1871). Fellows of The Royal Society, the two men made fundamental contributions to optics, chemistry, light, and mathematics. Both were humanists of diverse interests and had strong role models in women. For Talbot, it was his mother, Lady Elisabeth Feilding. Herschel learned some of his earliest science from his Aunt, Caroline Herschel; his wife, Margaret, was an active participant in his work. During the pre-history of photography, Mrs. Fulhame, Thomas Wedgwood, Sir Humphry Davy, and Nicephore Niepce demonstrated its potential. The question is why, rather than how, was photography invented and announced in 1839? The camera and the chemistry necessary for the art's invention co-existed for many decades. Frustrated in trying to sketch with Wollaston's camera lucida, Talbot conceived of photography; Herschel avoided making photographs because he was an expert draughtsman adept with the camera lucida. Herschel, following inductive reasoning, made seminal contributions to the field of photochemistry; he invented the cyanotype process and was the first to apply hypo to fix photographs. Talbot learned from his own photographs and grew into being the first photographic artist. Talbot and his rival, Louis Daguerre, mirrored the competitive economic race and differences in support of science and art between France and Great Britain. By the Great Exhibition in 1851, Herschel and Talbot had been forcefully removed from work in photography. Herschel's health was broken in service as Master of the Mint. He remained an important influence on other photographers, including Anna Atkins, Charles Piazzi Smyth, and Julia Margaret Cameron. Talbot learned from experience in photographic book publishing that silver photographs could never be made permanent. He applied his efforts to perfecting photoglyphic engraving, a forerunner of photogravure; he also invented the photographic halftone.

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Books on the topic "William Henry Fox Talbot"

1

Hedtmann, Sophie. William Henry Fox Talbot. Paris: Éditions de l'Amateur, 2003.

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Batchen, Geoffrey. William Henry Fox Talbot. London: Phaidon, 2008.

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3

Hawkyard, Alasdair. William Henry Fox Talbot: Scientist inventor, classilist. Harrow (5 High Street, Harrow on the Hill, Middx): A. Hawkyard, 1989.

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Hawkyard, Alasdair. William Henry Fox Talbot: Scientist, inventor, classicist. [Harrow?: Harrow School?], 1989.

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5

Schaaf, Larry J. The correspondence of William Henry Fox Talbot: A draft calendar. 3rd ed. Glasgow: Glasgow University Library, 1995.

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6

Michael, Gray, Ollman Arthur, and McCusker Carol, eds. First photographs: William Henry Fox Talbot and the birth of photography. New York: PowerHouse Books in association with the Museum of Photographic Arts, San Diego, 2002.

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Talbot, William Henry Fox. First photographs: William Henry Fox Talbot and the birth of photography. New York: PowerHouse Books in association with the Museum of Photographic Arts, San Diego, 2002.

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J. Paul Getty Museum. William Henry Fox Talbot: Photographs from the J. Paul Getty Museum. Los Angeles: Getty Publications, 2002.

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Schaaf, Larry J. (Larry John), 1947- and Talbot, William Henry Fox, 1800-1877, eds. Sun pictures: William Henry Fox Talbot, selections from a private collection. New York: H.P. Kraus, Jr., 2007.

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Talbot, William Henry Fox. Huellas de luz: El arte y los experimentos de William Henry Fox Talbot. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2001.

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Book chapters on the topic "William Henry Fox Talbot"

1

Lampe, Gerhard. "Reflexionen zu William Henry Fox Talbots Photographie Die offene Tür." In Randgänge der Mediengeschichte, 49–57. Wiesbaden: VS Verlag für Sozialwissenschaften, 2010. http://dx.doi.org/10.1007/978-3-531-91957-7_3.

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"William Henry Fox Talbot." In Neues Licht, 103–54. Wilhelm Fink Verlag, 2014. http://dx.doi.org/10.30965/9783846757369_005.

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"William Henry Fox Talbot." In Sous la lumière, les hommes, 123–28. EDP Sciences, 2020. http://dx.doi.org/10.1051/978-2-7598-1205-9.c023.

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"Nature as Drawing Mistress." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.006.

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"Bel and the Dragons: Deciphering Cuneiform after Decipherment." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.009.

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"From Photographic Science to Scientific Photography: Talbot and Decipherment at the British Museum around 1850." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.010.

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"Lacock Abbey and the Country House Archive." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.002.

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"“The Most Transitory of Things”: Talbot and the Science of Instantaneous Vision." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.011.

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"Talbot’s First Lens: Botanical Vision as an Exact Science." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.003.

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"“Merely a Speculation of the Mind”?: William Henry Fox Talbot and Mathematics." In William Henry Fox Talbot: Beyond Photography. Yale Center for British Art, 2013. http://dx.doi.org/10.37862/aaeportal.00251.004.

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