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The Pencil of Nature (1844-46)

by William Henry Fox Talbot

Part V (cont.): PLATE XX. LACE

About The Pencil of Nature
Part I.
Publisher's note, frontispiece, and title page.
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.

Part II.
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.
Part III.
Plate XIII. Queen's College, Oxford, Entrance Gateway
Plate XIV. The Ladder.
Plate XV. Lacock Abbey in Wiltshire.

Part IV.
Plate XVI. Cloisters of Lacock Abbey.
Plate XVII. Bust of Patroclus.
Plate XVIII. Gate of Christchurch
Part V.
Plate XIX. The Tower of Lacock Abbey
Plate XX. Lace
Plate XXI. The Martyr's Monument
Part VI.
Plate XXII. Westminster Abbey
Plate XXIII. Hagar in the Desert.
Plate XXIV. A Fruit Piece.


PLATE XX. LACE

AS this is the first example of a negative image that has been introduced into this work, it may be necessary to explain, in a few words, what is meant by that expression, and wherein the difference consists.

The ordinary effect of light upon white sensitive paper is to blacken it. If therefore any object, as a leaf for instance, be laid upon the paper, this, by intercepting the action of the light, preserves the whiteness of the paper beneath it, and accordingly when it is removed there appears the form or shadow of the leaf marked out in white upon the blackened paper; and since shadows are usually dark, and this is the reverse, it is called in the language of photography a negative image.

This is exemplified by the lace depicted in this plate; each copy of it being an original or negative image: that is to say, directly taken from the lace itself. Now, if instead of copying the lace we were to copy one of these negative images of it, the result would be a positive image of the lace: that is to say, the lace would be represented black upon a white ground. But in this secondary or positive image the representation of the small delicate threads which compose the lace would not be quite so sharp and distinct, owing to its not being taken directly from the original. In taking views of buildings, statues, portraits, &c. it is necessary to obtain a positive image, because the negative images of such objects are hardly intelligible, substituting light for share, and vice versâ.

But in copying such things as lace or leaves of plants, a negative image is perfectly allowable, black lace being as familiar to the eye as white lace, and the object being only to exhibit the pattern with accuracy.

In the commencement of the photographic art, it was a matter of great difficulty to obtain good positive images, because the original or negative pictures, when exposed to the sunshine, speedily grew opaque in their interior, and consequently would not yield any positive copies, or only a very few of them. But, happily, this difficulty has been long since surmounted, and the negative or original pictures now always remain transparent during the process of copying them.

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