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Paper and calotype Stock Photos and Images
Bay of Baia. Rev. Calvert R. Jones; Welsh, 1804-1877. Date: 1846. Dimensions: 16.7 x 22.5 cm (image); 19.5 x 23. 7 (paper). Salted paper print from a calotype negative, printed by William Henry Fox Talbot. Origin: Welsh. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/bay-of-baia-rev-calvert-r-jones-welsh-1804-1877-date-1846-dimensions-167-x-225-cm-image-195-x-23-7-paper-salted-paper-print-from-a-calotype-negative-printed-by-william-henry-fox-talbot-origin-welsh-museum-the-chicago-art-institute-image240165766.htmlRMRXMDTP–Bay of Baia. Rev. Calvert R. Jones; Welsh, 1804-1877. Date: 1846. Dimensions: 16.7 x 22.5 cm (image); 19.5 x 23. 7 (paper). Salted paper print from a calotype negative, printed by William Henry Fox Talbot. Origin: Welsh. Museum: The Chicago Art Institute.
Hugh Miller, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1848, Salted paper print from a Calotype negative, 15.4 × 11.1 cm (6 1/16 × 4 3/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hugh-miller-hill-adamson-scottish-active-1843-1848-18431848-salted-paper-print-from-a-calotype-negative-154-111-cm-6-116-4-38-in-image261271275.htmlRMW51X4Y–Hugh Miller, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1848, Salted paper print from a Calotype negative, 15.4 × 11.1 cm (6 1/16 × 4 3/8 in
Portrait of an Man, British, about 1845, Salted paper print from a Calotype negative, 8.1 x 6.4 cm (3 3,16 x 2 1,2 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-an-man-british-about-1845-salted-paper-print-from-a-calotype-negative-81-x-64-cm-3-316-x-2-12-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046451.htmlRF2B9DYPY–Portrait of an Man, British, about 1845, Salted paper print from a Calotype negative, 8.1 x 6.4 cm (3 3,16 x 2 1,2 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
The Royal Porcelain Factory at Sèvres, c. 1851-1852. A chemist and physicist known for his studies in thermodynamics and the properties of gases, Henri-Victor Regnault was director of France's renowned Sèvres porcelain factory from 1852 to 1871. He was also a master of early scientific, portrait, and landscape photography. Aside from a technical interest in its practical application, Regnault accepted photography as a means of personal expression. In this poetic image, the aerial viewpoint and soft light and shadow unite the strong, geometric forms of the town and factory buildings w Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-royal-porcelain-factory-at-sxe8vres-c-1851-1852-a-chemist-and-physicist-known-for-his-studies-in-thermodynamics-and-the-properties-of-gases-henri-victor-regnault-was-director-of-frances-renowned-sxe8vres-porcelain-factory-from-1852-to-1871-he-was-also-a-master-of-early-scientific-portrait-and-landscape-photography-aside-from-a-technical-interest-in-its-practical-application-regnault-accepted-photography-as-a-means-of-personal-expression-in-this-poetic-image-the-aerial-viewpoint-and-soft-light-and-shadow-unite-the-strong-geometric-forms-of-the-town-and-factory-buildings-w-image330130151.htmlRM2A52MAF–The Royal Porcelain Factory at Sèvres, c. 1851-1852. A chemist and physicist known for his studies in thermodynamics and the properties of gases, Henri-Victor Regnault was director of France's renowned Sèvres porcelain factory from 1852 to 1871. He was also a master of early scientific, portrait, and landscape photography. Aside from a technical interest in its practical application, Regnault accepted photography as a means of personal expression. In this poetic image, the aerial viewpoint and soft light and shadow unite the strong, geometric forms of the town and factory buildings w
Arch in Farmyard, Swansea, 1845. Calvert Richard Jones (British, 1804-1877). Salted paper print from calotype negative, gold-toned; image: 23.2 x 18.7 cm (9 1/8 x 7 3/8 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/arch-in-farmyard-swansea-1845-calvert-richard-jones-british-1804-1877-salted-paper-print-from-calotype-negative-gold-toned-image-232-x-187-cm-9-18-x-7-38-in-matted-508-x-406-cm-20-x-16-in-image448106732.htmlRM2H110KT–Arch in Farmyard, Swansea, 1845. Calvert Richard Jones (British, 1804-1877). Salted paper print from calotype negative, gold-toned; image: 23.2 x 18.7 cm (9 1/8 x 7 3/8 in.); matted: 50.8 x 40.6 cm (20 x 16 in.).
Arcade in Quadrangle. Linnaeus Tripe; English, 1822-1902. Date: 1858. Dimensions: 31.7 × 29.5 cm (image); 33.5 × 30.5 cm (paper). Salted paper print or diluted albumen print from calotype negative, plate III from Photographic Views in Madura, part IV. Origin: England. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/arcade-in-quadrangle-linnaeus-tripe-english-1822-1902-date-1858-dimensions-317-295-cm-image-335-305-cm-paper-salted-paper-print-or-diluted-albumen-print-from-calotype-negative-plate-iii-from-photographic-views-in-madura-part-iv-origin-england-museum-the-chicago-art-institute-image239998121.htmlRMRXCT1D–Arcade in Quadrangle. Linnaeus Tripe; English, 1822-1902. Date: 1858. Dimensions: 31.7 × 29.5 cm (image); 33.5 × 30.5 cm (paper). Salted paper print or diluted albumen print from calotype negative, plate III from Photographic Views in Madura, part IV. Origin: England. Museum: The Chicago Art Institute.
Robert Liston, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 21 x 15.9 cm (8 1/4 x 6 1/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/robert-liston-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-21-x-159-cm-8-14-x-6-14-in-image261291724.htmlRMW52T78–Robert Liston, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 21 x 15.9 cm (8 1/4 x 6 1/4 in
Dr. Moir, British, about 1850, Salted paper print from a Calotype negative, 18.7 x 14.3 cm (7 3,8 x 5 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/dr-moir-british-about-1850-salted-paper-print-from-a-calotype-negative-187-x-143-cm-7-38-x-5-58-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046445.htmlRF2B9DYPN–Dr. Moir, British, about 1850, Salted paper print from a Calotype negative, 18.7 x 14.3 cm (7 3,8 x 5 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Sphinxes with a Human Head and with a Ram Head at Point Y. Karnak (Thebes), 1851-1852. The monumental sphinx at Giza, which has the head of a man and the body of a lion, is one of the most iconic symbols of ancient Egypt. The country contains other, humbler versions of this mythical creature. The one here with the head of a ram is only nine feet long and held a statue of a human between its paws. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sphinxes-with-a-human-head-and-with-a-ram-head-at-point-y-karnak-thebes-1851-1852-the-monumental-sphinx-at-giza-which-has-the-head-of-a-man-and-the-body-of-a-lion-is-one-of-the-most-iconic-symbols-of-ancient-egypt-the-country-contains-other-humbler-versions-of-this-mythical-creature-the-one-here-with-the-head-of-a-ram-is-only-nine-feet-long-and-held-a-statue-of-a-human-between-its-paws-image330120837.htmlRM2A528DW–Sphinxes with a Human Head and with a Ram Head at Point Y. Karnak (Thebes), 1851-1852. The monumental sphinx at Giza, which has the head of a man and the body of a lion, is one of the most iconic symbols of ancient Egypt. The country contains other, humbler versions of this mythical creature. The one here with the head of a ram is only nine feet long and held a statue of a human between its paws.
Rocks at Livermead near Torquay (England), c. 1852. Attributed to John Dillwyn Llewelyn (British, 1810-1882). Salted paper print from calotype negative; image: 28.5 x 21.4 cm (11 1/4 x 8 7/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/rocks-at-livermead-near-torquay-england-c-1852-attributed-to-john-dillwyn-llewelyn-british-1810-1882-salted-paper-print-from-calotype-negative-image-285-x-214-cm-11-14-x-8-716-in-matted-508-x-406-cm-20-x-16-in-image448119403.htmlRM2H11GTB–Rocks at Livermead near Torquay (England), c. 1852. Attributed to John Dillwyn Llewelyn (British, 1810-1882). Salted paper print from calotype negative; image: 28.5 x 21.4 cm (11 1/4 x 8 7/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.).
James Gordon, William Hanna D.D. and 'Mr. Cowan'. David Octavius Hill; Scottish, 1802-1870; Robert Adamson; Scottish, 1821-1848; William Henry Fox Talbot (Formerly attributed to); English, 1800 -1877. Date: 1843-1847. Dimensions: 15.9 x 11.6 cm (image/paper); 29 x 39.2 cm (mount). Calotype negative. Origin: Scotland. Museum: The Chicago Art Institute. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/james-gordon-william-hanna-dd-and-mr-cowan-david-octavius-hill-scottish-1802-1870-robert-adamson-scottish-1821-1848-william-henry-fox-talbot-formerly-attributed-to-english-1800-1877-date-1843-1847-dimensions-159-x-116-cm-imagepaper-29-x-392-cm-mount-calotype-negative-origin-scotland-museum-the-chicago-art-institute-image240137100.htmlRMRXK590–James Gordon, William Hanna D.D. and 'Mr. Cowan'. David Octavius Hill; Scottish, 1802-1870; Robert Adamson; Scottish, 1821-1848; William Henry Fox Talbot (Formerly attributed to); English, 1800 -1877. Date: 1843-1847. Dimensions: 15.9 x 11.6 cm (image/paper); 29 x 39.2 cm (mount). Calotype negative. Origin: Scotland. Museum: The Chicago Art Institute.
Mrs. Harcourt, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 21 x 14.3 cm (8 1/4 x 5 5/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-harcourt-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-21-x-143-cm-8-14-x-5-58-in-image261291726.htmlRMW52T7A–Mrs. Harcourt, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 21 x 14.3 cm (8 1/4 x 5 5/8 in
Professor John Reid, British, 1843 - 1845, Salted paper print from a Calotype negative, 15.2 x 9.5 cm (6 x 3 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/professor-john-reid-british-1843-1845-salted-paper-print-from-a-calotype-negative-152-x-95-cm-6-x-3-34-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046433.htmlRF2B9DYP9–Professor John Reid, British, 1843 - 1845, Salted paper print from a Calotype negative, 15.2 x 9.5 cm (6 x 3 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Winter Trees Reflected in a Pond, 1841-42. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/winter-trees-reflected-in-a-pond-1841-42-image330135275.htmlRM2A52XWF–Winter Trees Reflected in a Pond, 1841-42.
Scots Guards at Edinburgh Castle, 1846. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 14 x 19.5 cm (5 1/2 x 7 11/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/scots-guards-at-edinburgh-castle-1846-david-octavius-hill-british-1802-1870-and-robert-adamson-british-1821-1848-salted-paper-print-from-calotype-negative-image-14-x-195-cm-5-12-x-7-1116-in-matted-356-x-457-cm-14-x-18-in-image448107329.htmlRM2H111D5–Scots Guards at Edinburgh Castle, 1846. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 14 x 19.5 cm (5 1/2 x 7 11/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.).
Patio de los Arrayanes, Alhambra, Granada, Spain. Artist: Alphonse Delaunay (French, 1827-1906). Dimensions: Image: 10 in. × 13 5/8 in. (25.4 × 34.6 cm). Date: 1854. One of the most talented students of famed French photographer Gustave Le Gray, Delaunay was virtually unknown before a group of his photographs appeared at auction in 2007. Subsequent research led to the identification of several bodies of work, including the documentation of contemporary events through instantaneous views captured on glass negatives. Delaunay also was a particular devotee of the calotype (or paper negative) pro Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/patio-de-los-arrayanes-alhambra-granada-spain-artist-alphonse-delaunay-french-1827-1906-dimensions-image-10-in-13-58-in-254-346-cm-date-1854-one-of-the-most-talented-students-of-famed-french-photographer-gustave-le-gray-delaunay-was-virtually-unknown-before-a-group-of-his-photographs-appeared-at-auction-in-2007-subsequent-research-led-to-the-identification-of-several-bodies-of-work-including-the-documentation-of-contemporary-events-through-instantaneous-views-captured-on-glass-negatives-delaunay-also-was-a-particular-devotee-of-the-calotype-or-paper-negative-pro-image213500907.htmlRMPB9PGB–Patio de los Arrayanes, Alhambra, Granada, Spain. Artist: Alphonse Delaunay (French, 1827-1906). Dimensions: Image: 10 in. × 13 5/8 in. (25.4 × 34.6 cm). Date: 1854. One of the most talented students of famed French photographer Gustave Le Gray, Delaunay was virtually unknown before a group of his photographs appeared at auction in 2007. Subsequent research led to the identification of several bodies of work, including the documentation of contemporary events through instantaneous views captured on glass negatives. Delaunay also was a particular devotee of the calotype (or paper negative) pro
Jimmy Miller, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 21 x 15.9 cm (8 1/4 x 6 1/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jimmy-miller-hill-adamson-scottish-active-1843-1848-scotland-1843-1846-salted-paper-print-from-a-calotype-negative-21-x-159-cm-8-14-x-6-14-in-image261291550.htmlRMW52T12–Jimmy Miller, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 21 x 15.9 cm (8 1/4 x 6 1/4 in
Mrs. James Brewster, British, about 1845, Salted paper print from a Calotype negative, 12.7 × 17.1 cm (5 × 6 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-james-brewster-british-about-1845-salted-paper-print-from-a-calotype-negative-127-171-cm-5-6-34-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046048.htmlRF2B9DY8G–Mrs. James Brewster, British, about 1845, Salted paper print from a Calotype negative, 12.7 × 17.1 cm (5 × 6 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
The King's Palace, Naples, before 1852. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-kings-palace-naples-before-1852-image330128393.htmlRM2A52J3N–The King's Palace, Naples, before 1852.
The Photographic Album for the Year 1855: Gateway to Borwick Hall, Lancashire, 1855. Rev. John Richardson Major (British, 1821-1871). Salted paper print from calotype negative; image: 16.9 x 22 cm (6 5/8 x 8 11/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-photographic-album-for-the-year-1855-gateway-to-borwick-hall-lancashire-1855-rev-john-richardson-major-british-1821-1871-salted-paper-print-from-calotype-negative-image-169-x-22-cm-6-58-x-8-1116-in-matted-356-x-457-cm-14-x-18-in-image448119751.htmlRM2H11H8R–The Photographic Album for the Year 1855: Gateway to Borwick Hall, Lancashire, 1855. Rev. John Richardson Major (British, 1821-1871). Salted paper print from calotype negative; image: 16.9 x 22 cm (6 5/8 x 8 11/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.).
![[Carpenter and Apprentice]. Artist: Attributed to William Henry Fox Talbot (British, Dorset 1800-1877 Lacock). Dimensions: 15.5 x 14.9 cm (6 1/8 x 5 7/8 in. ). Date: ca. 1844. Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent m Stock Photo](https://c8.alamy.com/comp/PAKMTR/carpenter-and-apprentice-artist-attributed-to-william-henry-fox-talbot-british-dorset-1800-1877-lacock-dimensions-155-x-149-cm-6-18-x-5-78-in-date-ca-1844-though-lacking-the-absolute-precision-of-the-daguerreotype-and-later-photographic-processes-the-paper-negative-admirably-rendered-blocks-of-tone-describing-form-and-space-in-terms-of-shaded-planes-a-quality-exploited-here-to-enhance-the-highly-geometric-structure-of-the-image-even-with-the-reduced-exposure-time-of-talbots-calotype-process-instantaneous-or-stop-action-views-were-beyond-the-grasp-of-the-nascent-m-PAKMTR.jpg "[Carpenter and Apprentice]. Artist: Attributed to William Henry Fox Talbot (British, Dorset 1800-1877 Lacock). Dimensions: 15.5 x 14.9 cm (6 1/8 x 5 7/8 in. ). Date: ca. 1844. Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent m Stock Photo")
[Carpenter and Apprentice]. Artist: Attributed to William Henry Fox Talbot (British, Dorset 1800-1877 Lacock). Dimensions: 15.5 x 14.9 cm (6 1/8 x 5 7/8 in. ). Date: ca. 1844. Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent m Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/carpenter-and-apprentice-artist-attributed-to-william-henry-fox-talbot-british-dorset-1800-1877-lacock-dimensions-155-x-149-cm-6-18-x-5-78-in-date-ca-1844-though-lacking-the-absolute-precision-of-the-daguerreotype-and-later-photographic-processes-the-paper-negative-admirably-rendered-blocks-of-tone-describing-form-and-space-in-terms-of-shaded-planes-a-quality-exploited-here-to-enhance-the-highly-geometric-structure-of-the-image-even-with-the-reduced-exposure-time-of-talbots-calotype-process-instantaneous-or-stop-action-views-were-beyond-the-grasp-of-the-nascent-m-image213104439.htmlRMPAKMTR–[Carpenter and Apprentice]. Artist: Attributed to William Henry Fox Talbot (British, Dorset 1800-1877 Lacock). Dimensions: 15.5 x 14.9 cm (6 1/8 x 5 7/8 in. ). Date: ca. 1844. Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent m
The Castle, St. Andrews, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20.3 x 14.6 cm (8 x 5 3/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-castle-st-andrews-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-203-x-146-cm-8-x-5-34-in-image261291738.htmlRMW52T7P–The Castle, St. Andrews, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20.3 x 14.6 cm (8 x 5 3/4 in
Mrs. Moir, British, about 1850, Salted paper print from a Calotype negative, 18.7 x 14.4 cm (7 3,8 x 5 11,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-moir-british-about-1850-salted-paper-print-from-a-calotype-negative-187-x-144-cm-7-38-x-5-1116-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046446.htmlRF2B9DYPP–Mrs. Moir, British, about 1850, Salted paper print from a Calotype negative, 18.7 x 14.4 cm (7 3,8 x 5 11,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Southern Portion of the Rock-cut Temple of Hathor, Abu Simbel, 1850. Du Camp was the first photographer to depict the marvels of ancient Egypt. In 1849 a scholarly association commissioned the young writer to document Egyptian monuments and their hieroglyphics. He learned to photograph shortly before embarking for Egypt in the company of the young novelist Gustave Flaubert. In 1852 Du Camp published an album of photographs of Egypt, Nubia, Palestine, and Syria, which brought him widespread recognition. Just as Du Camp followed in the footsteps of earlier painters and scholars, later photograph Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/southern-portion-of-the-rock-cut-temple-of-hathor-abu-simbel-1850-du-camp-was-the-first-photographer-to-depict-the-marvels-of-ancient-egypt-in-1849-a-scholarly-association-commissioned-the-young-writer-to-document-egyptian-monuments-and-their-hieroglyphics-he-learned-to-photograph-shortly-before-embarking-for-egypt-in-the-company-of-the-young-novelist-gustave-flaubert-in-1852-du-camp-published-an-album-of-photographs-of-egypt-nubia-palestine-and-syria-which-brought-him-widespread-recognition-just-as-du-camp-followed-in-the-footsteps-of-earlier-painters-and-scholars-later-photograph-image330120559.htmlRM2A5283Y–Southern Portion of the Rock-cut Temple of Hathor, Abu Simbel, 1850. Du Camp was the first photographer to depict the marvels of ancient Egypt. In 1849 a scholarly association commissioned the young writer to document Egyptian monuments and their hieroglyphics. He learned to photograph shortly before embarking for Egypt in the company of the young novelist Gustave Flaubert. In 1852 Du Camp published an album of photographs of Egypt, Nubia, Palestine, and Syria, which brought him widespread recognition. Just as Du Camp followed in the footsteps of earlier painters and scholars, later photograph
James Nasmyth (1808-1890), 1843-1847. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 19.7 x 14.6 cm (7 3/4 x 5 3/4 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/james-nasmyth-1808-1890-1843-1847-david-octavius-hill-british-1802-1870-and-robert-adamson-british-1821-1848-salted-paper-print-from-calotype-negative-image-197-x-146-cm-7-34-x-5-34-in-matted-457-x-356-cm-18-x-14-in-image448107260.htmlRM2H111AM–James Nasmyth (1808-1890), 1843-1847. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 19.7 x 14.6 cm (7 3/4 x 5 3/4 in.); matted: 45.7 x 35.6 cm (18 x 14 in.).
![[The Colossus of Memnon]. Date/Period: 1854. Salted paper, from a calotype negative. Width: 23 cm. Height: 29.8 cm. Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PND8W7/the-colossus-of-memnon-dateperiod-1854-salted-paper-from-a-calotype-negative-width-23-cm-height-298-cm-author-john-beasly-greene-PND8W7.jpg "[The Colossus of Memnon]. Date/Period: 1854. Salted paper, from a calotype negative. Width: 23 cm. Height: 29.8 cm. Author: John Beasly Greene. Stock Photo")
[The Colossus of Memnon]. Date/Period: 1854. Salted paper, from a calotype negative. Width: 23 cm. Height: 29.8 cm. Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-colossus-of-memnon-dateperiod-1854-salted-paper-from-a-calotype-negative-width-23-cm-height-298-cm-author-john-beasly-greene-image219724547.htmlRMPND8W7–[The Colossus of Memnon]. Date/Period: 1854. Salted paper, from a calotype negative. Width: 23 cm. Height: 29.8 cm. Author: John Beasly Greene.
Mrs Grace Ramsay and four unknown women, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1848, Salted paper print from a Calotype negative, 15.2 × 20.3 cm (6 × 8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-grace-ramsay-and-four-unknown-women-hill-adamson-scottish-active-1843-1848-18431848-salted-paper-print-from-a-calotype-negative-152-203-cm-6-8-in-image261267764.htmlRMW51NKG–Mrs Grace Ramsay and four unknown women, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1848, Salted paper print from a Calotype negative, 15.2 × 20.3 cm (6 × 8 in
Photographic Reproduction of a Miniature, British, 1840s, Salted paper print from a Calotype negative, 6 x 4.9 cm (2 3,8 x 1 15,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photographic-reproduction-of-a-miniature-british-1840s-salted-paper-print-from-a-calotype-negative-6-x-49-cm-2-38-x-1-1516-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046485.htmlRF2B9DYT5–Photographic Reproduction of a Miniature, British, 1840s, Salted paper print from a Calotype negative, 6 x 4.9 cm (2 3,8 x 1 15,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. Hill and Adamson’s four-year collaboration yielded around 3,000 photographs, including portraits of members of the middle and upper classes and, in what may be the first social documentary project, of the working class. Included in their survey of contemporary life were numerous portraits of the fishermen’s wives in the villages around Edinburgh. The women, garbed in distinctive striped skirts and aprons, cleaned their husbands’ catch, then carried it in wicker baskets to the city where they offered it for sale. The Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/newhaven-fishwives-jeanie-wilson-and-annie-linton-1845-hill-and-adamsonx2019s-four-year-collaboration-yielded-around-3000-photographs-including-portraits-of-members-of-the-middle-and-upper-classes-and-in-what-may-be-the-first-social-documentary-project-of-the-working-class-included-in-their-survey-of-contemporary-life-were-numerous-portraits-of-the-fishermenx2019s-wives-in-the-villages-around-edinburgh-the-women-garbed-in-distinctive-striped-skirts-and-aprons-cleaned-their-husbandsx2019-catch-then-carried-it-in-wicker-baskets-to-the-city-where-they-offered-it-for-sale-the-image330108317.htmlRM2A51MEN–Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. Hill and Adamson’s four-year collaboration yielded around 3,000 photographs, including portraits of members of the middle and upper classes and, in what may be the first social documentary project, of the working class. Included in their survey of contemporary life were numerous portraits of the fishermen’s wives in the villages around Edinburgh. The women, garbed in distinctive striped skirts and aprons, cleaned their husbands’ catch, then carried it in wicker baskets to the city where they offered it for sale. The
Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/newhaven-fishwives-jeanie-wilson-and-annie-linton-1845-david-octavius-hill-british-1802-1870-and-robert-adamson-british-1821-1848-salted-paper-print-from-calotype-negative-image-295-x-144-cm-11-58-x-5-1116-in-matted-457-x-356-cm-18-x-14-in-image448106718.htmlRM2H110KA–Newhaven Fishwives, Jeanie Wilson and Annie Linton, 1845. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 29.5 x 14.4 cm (11 5/8 x 5 11/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.).
![[Ruins of Aqueduct]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 226 mm (8.89 in); Width: 304 mm (11.96 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDP65/ruins-of-aqueduct-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-226-mm-889-in-width-304-mm-1196-in-author-john-beasly-greene-PNDP65.jpg "[Ruins of Aqueduct]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 226 mm (8.89 in); Width: 304 mm (11.96 in). Author: John Beasly Greene. Stock Photo")
[Ruins of Aqueduct]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 226 mm (8.89 in); Width: 304 mm (11.96 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ruins-of-aqueduct-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-226-mm-889-in-width-304-mm-1196-in-author-john-beasly-greene-image219734989.htmlRMPNDP65–[Ruins of Aqueduct]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 226 mm (8.89 in); Width: 304 mm (11.96 in). Author: John Beasly Greene.
St. Salvator's College Chapel from the Southeast., Robert Adamson (Scottish, 1821 - 1848), 1842, Salted paper print from a Calotype negative, 8.4 × 8.3 cm (3 5/16 × 3 1/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/st-salvators-college-chapel-from-the-southeast-robert-adamson-scottish-1821-1848-1842-salted-paper-print-from-a-calotype-negative-84-83-cm-3-516-3-14-in-image261271154.htmlRMW51X0J–St. Salvator's College Chapel from the Southeast., Robert Adamson (Scottish, 1821 - 1848), 1842, Salted paper print from a Calotype negative, 8.4 × 8.3 cm (3 5/16 × 3 1/4 in
Major Hugh Lyon Playfair, British, about 1843, Salted paper print from a Calotype negative, 9.5 x 7 cm (3 3,4 x 2 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/major-hugh-lyon-playfair-british-about-1843-salted-paper-print-from-a-calotype-negative-95-x-7-cm-3-34-x-2-34-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046072.htmlRF2B9DY9C–Major Hugh Lyon Playfair, British, about 1843, Salted paper print from a Calotype negative, 9.5 x 7 cm (3 3,4 x 2 3,4 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Unknown Woman, c. 1844. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/unknown-woman-c-1844-image330132615.htmlRM2A52REF–Unknown Woman, c. 1844.
Photographic views of Ryakotta and other places in the Salem district, pl. IX: Avenue of the Banian Trees, Seringham, India, 1858. Captain Linnaeus Tripe (British, 1822-1902). Salted paper print, albumenized, from calotype negative; image: 24.6 x 37 cm (9 11/16 x 14 9/16 in.); matted: 50.8 x 61 cm (20 x 24 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/photographic-views-of-ryakotta-and-other-places-in-the-salem-district-pl-ix-avenue-of-the-banian-trees-seringham-india-1858-captain-linnaeus-tripe-british-1822-1902-salted-paper-print-albumenized-from-calotype-negative-image-246-x-37-cm-9-1116-x-14-916-in-matted-508-x-61-cm-20-x-24-in-image448107636.htmlRM2H111T4–Photographic views of Ryakotta and other places in the Salem district, pl. IX: Avenue of the Banian Trees, Seringham, India, 1858. Captain Linnaeus Tripe (British, 1822-1902). Salted paper print, albumenized, from calotype negative; image: 24.6 x 37 cm (9 11/16 x 14 9/16 in.); matted: 50.8 x 61 cm (20 x 24 in.).
![[View of Constantine]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 224 mm (8.81 in); Width: 297 mm (11.69 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDYX8/view-of-constantine-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-224-mm-881-in-width-297-mm-1169-in-author-john-beasly-greene-PNDYX8.jpg "[View of Constantine]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 224 mm (8.81 in); Width: 297 mm (11.69 in). Author: John Beasly Greene. Stock Photo")
[View of Constantine]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 224 mm (8.81 in); Width: 297 mm (11.69 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-constantine-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-224-mm-881-in-width-297-mm-1169-in-author-john-beasly-greene-image219739472.htmlRMPNDYX8–[View of Constantine]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 224 mm (8.81 in); Width: 297 mm (11.69 in). Author: John Beasly Greene.
Master Grierson, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.7 x 14.6 cm (7 3/4 x 5 3/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/master-grierson-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-197-x-146-cm-7-34-x-5-34-in-image261291710.htmlRMW52T6P–Master Grierson, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.7 x 14.6 cm (7 3/4 x 5 3/4 in
A Group of Five Dogs, British, 1840s, Salted paper print from a Calotype negative, 18.4 x 14.3 cm (7 1,4 x 5 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-group-of-five-dogs-british-1840s-salted-paper-print-from-a-calotype-negative-184-x-143-cm-7-14-x-5-58-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046063.htmlRF2B9DY93–A Group of Five Dogs, British, 1840s, Salted paper print from a Calotype negative, 18.4 x 14.3 cm (7 1,4 x 5 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
A Priory, Lyminge, 1853. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-priory-lyminge-1853-image330070787.htmlRM2A500JB–A Priory, Lyminge, 1853.
Elizabeth Rigby, later Lady Eastlake (1809-1893), c. 1844-1845. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 21.5 x 15.6 cm (8 7/16 x 6 1/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/elizabeth-rigby-later-lady-eastlake-1809-1893-c-1844-1845-david-octavius-hill-british-1802-1870-and-robert-adamson-british-1821-1848-salted-paper-print-from-calotype-negative-image-215-x-156-cm-8-716-x-6-18-in-matted-457-x-356-cm-18-x-14-in-image448106214.htmlRM2H1101A–Elizabeth Rigby, later Lady Eastlake (1809-1893), c. 1844-1845. David Octavius Hill (British, 1802-1870), and Robert Adamson (British, 1821-1848). Salted paper print from calotype negative; image: 21.5 x 15.6 cm (8 7/16 x 6 1/8 in.); matted: 45.7 x 35.6 cm (18 x 14 in.).
![[The Colossus of Memnon]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 217 mm (8.54 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDN61/the-colossus-of-memnon-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-289-mm-1137-in-width-217-mm-854-in-author-john-beasly-greene-PNDN61.jpg "[The Colossus of Memnon]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 217 mm (8.54 in). Author: John Beasly Greene. Stock Photo")
[The Colossus of Memnon]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 217 mm (8.54 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-colossus-of-memnon-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-289-mm-1137-in-width-217-mm-854-in-author-john-beasly-greene-image219734201.htmlRMPNDN61–[The Colossus of Memnon]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 217 mm (8.54 in). Author: John Beasly Greene.
Jacob Abbot, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 14.3 x 10.8 cm (5 5/8 x 4 1/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jacob-abbot-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-143-x-108-cm-5-58-x-4-14-in-image261291723.htmlRMW52T77–Jacob Abbot, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 14.3 x 10.8 cm (5 5/8 x 4 1/4 in
Unrecognizable image, British, n.d, Salted paper print from a Calotype negative, 9.5 × 6.7 cm (3 3,4 × 2 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/unrecognizable-image-british-nd-salted-paper-print-from-a-calotype-negative-95-67-cm-3-34-2-58-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046049.htmlRF2B9DY8H–Unrecognizable image, British, n.d, Salted paper print from a Calotype negative, 9.5 × 6.7 cm (3 3,4 × 2 5,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Amiens, Northern Façade of the Transept, 1852. A pioneering French photographer, Le Secq is best known for his elaborate photographic studies of French architecture. His extensive photographic portrait of Amiens began in 1850 and continued for several years. This detail of the cathedral’s exterior beautifully describes his skill at expressively interpreting historic architecture. The photograph not only displays Le Secq’s preference and talent for isolating fragments of buildings, but even more impressively attests to his ability to capture the play of light and shade over s Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/amiens-northern-faxe7ade-of-the-transept-1852-a-pioneering-french-photographer-le-secq-is-best-known-for-his-elaborate-photographic-studies-of-french-architecture-his-extensive-photographic-portrait-of-amiens-began-in-1850-and-continued-for-several-years-this-detail-of-the-cathedralx2019s-exterior-beautifully-describes-his-skill-at-expressively-interpreting-historic-architecture-the-photograph-not-only-displays-le-secqx2019s-preference-and-talent-for-isolating-fragments-of-buildings-but-even-more-impressively-attests-to-his-ability-to-capture-the-play-of-light-and-shade-over-s-image330073751.htmlRM2A504C7–Amiens, Northern Façade of the Transept, 1852. A pioneering French photographer, Le Secq is best known for his elaborate photographic studies of French architecture. His extensive photographic portrait of Amiens began in 1850 and continued for several years. This detail of the cathedral’s exterior beautifully describes his skill at expressively interpreting historic architecture. The photograph not only displays Le Secq’s preference and talent for isolating fragments of buildings, but even more impressively attests to his ability to capture the play of light and shade over s
A Scene in York, 1845. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.1 x 20.3 cm (6 5/16 x 8 in.); paper: 18.5 x 22.5 cm (7 5/16 x 8 7/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-scene-in-york-1845-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-161-x-203-cm-6-516-x-8-in-paper-185-x-225-cm-7-516-x-8-78-in-matted-356-x-457-cm-14-x-18-in-image448117237.htmlRM2H11E31–A Scene in York, 1845. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.1 x 20.3 cm (6 5/16 x 8 in.); paper: 18.5 x 22.5 cm (7 5/16 x 8 7/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.).
![[Ramesseum, Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 217 mm (8.54 in); Width: 300 mm (11.81 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNC13E/ramesseum-thebes-dateperiod-1854-1855-print-salted-paper-from-a-calotype-negative-height-217-mm-854-in-width-300-mm-1181-in-author-john-beasly-greene-PNC13E.jpg "[Ramesseum, Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 217 mm (8.54 in); Width: 300 mm (11.81 in). Author: John Beasly Greene. Stock Photo")
[Ramesseum, Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 217 mm (8.54 in); Width: 300 mm (11.81 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ramesseum-thebes-dateperiod-1854-1855-print-salted-paper-from-a-calotype-negative-height-217-mm-854-in-width-300-mm-1181-in-author-john-beasly-greene-image219696498.htmlRMPNC13E–[Ramesseum, Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 217 mm (8.54 in); Width: 300 mm (11.81 in). Author: John Beasly Greene.
Dr. Hetherington, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.7 x 14.3 cm (7 3/4 x 5 5/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/dr-hetherington-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-197-x-143-cm-7-34-x-5-58-in-image261291719.htmlRMW52T73–Dr. Hetherington, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.7 x 14.3 cm (7 3/4 x 5 5/8 in
Mrs. Hugh Lyon Playfair, British, about 1845, Salted paper print from a Calotype negative, 21 x 14.8 cm (8 1,4 x 5 13,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-hugh-lyon-playfair-british-about-1845-salted-paper-print-from-a-calotype-negative-21-x-148-cm-8-14-x-5-1316-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046434.htmlRF2B9DYPA–Mrs. Hugh Lyon Playfair, British, about 1845, Salted paper print from a Calotype negative, 21 x 14.8 cm (8 1,4 x 5 13,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Large Speos - View taken from the Sand Slope (Temple of Ramesses II), Abu Simbel, 1851-1852. While other images of Abu Simbel by Teynard, Maxime Du Camp, and Antonio Beato emphasize the massive scale of the two temples carved into the rocks, this view by Teynard sets the colossal sculptures into the context of the large cliffs and vast expanses of desert. Like the temple at Philae,the temple complex at Abu Simbel was relocated in 1968 to prevent its submersion beneath the lake formed by the Aswan High Dam. This view no longer exists. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/large-speos-view-taken-from-the-sand-slope-temple-of-ramesses-ii-abu-simbel-1851-1852-while-other-images-of-abu-simbel-by-teynard-maxime-du-camp-and-antonio-beato-emphasize-the-massive-scale-of-the-two-temples-carved-into-the-rocks-this-view-by-teynard-sets-the-colossal-sculptures-into-the-context-of-the-large-cliffs-and-vast-expanses-of-desert-like-the-temple-at-philaethe-temple-complex-at-abu-simbel-was-relocated-in-1968-to-prevent-its-submersion-beneath-the-lake-formed-by-the-aswan-high-dam-this-view-no-longer-exists-image330102465.htmlRM2A51D1N–Large Speos - View taken from the Sand Slope (Temple of Ramesses II), Abu Simbel, 1851-1852. While other images of Abu Simbel by Teynard, Maxime Du Camp, and Antonio Beato emphasize the massive scale of the two temples carved into the rocks, this view by Teynard sets the colossal sculptures into the context of the large cliffs and vast expanses of desert. Like the temple at Philae,the temple complex at Abu Simbel was relocated in 1968 to prevent its submersion beneath the lake formed by the Aswan High Dam. This view no longer exists.
Ancient Door, Magdalen College, Oxford, 1843. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.1 x 20.5 cm (6 5/16 x 8 1/16 in.); paper: 19 x 22.8 cm (7 1/2 x 9 in.); matted: 30.6 x 35.6 cm (12 1/16 x 14 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/ancient-door-magdalen-college-oxford-1843-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-161-x-205-cm-6-516-x-8-116-in-paper-19-x-228-cm-7-12-x-9-in-matted-306-x-356-cm-12-116-x-14-in-image448117519.htmlRM2H11ED3–Ancient Door, Magdalen College, Oxford, 1843. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.1 x 20.5 cm (6 5/16 x 8 1/16 in.); paper: 19 x 22.8 cm (7 1/2 x 9 in.); matted: 30.6 x 35.6 cm (12 1/16 x 14 in.).
![[The Colossus of Memnon at Thebes]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 296 mm (11.65 in); Width: 234 mm (9.21 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDNTB/the-colossus-of-memnon-at-thebes-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-296-mm-1165-in-width-234-mm-921-in-author-john-beasly-greene-PNDNTB.jpg "[The Colossus of Memnon at Thebes]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 296 mm (11.65 in); Width: 234 mm (9.21 in). Author: John Beasly Greene. Stock Photo")
[The Colossus of Memnon at Thebes]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 296 mm (11.65 in); Width: 234 mm (9.21 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-colossus-of-memnon-at-thebes-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-296-mm-1165-in-width-234-mm-921-in-author-john-beasly-greene-image219734715.htmlRMPNDNTB–[The Colossus of Memnon at Thebes]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 296 mm (11.65 in); Width: 234 mm (9.21 in). Author: John Beasly Greene.
St. Andrews, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.1 x 14.6 cm (7 1/2 x 5 3/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/st-andrews-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-191-x-146-cm-7-12-x-5-34-in-image261291739.htmlRMW52T7R–St. Andrews, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 19.1 x 14.6 cm (7 1/2 x 5 3/4 in
Mrs. David Brewster, British, 1856, Salted paper print from a Calotype negative, 9.4 x 7.9 cm (3 11,16 x 3 1,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-david-brewster-british-1856-salted-paper-print-from-a-calotype-negative-94-x-79-cm-3-1116-x-3-18-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046463.htmlRF2B9DYRB–Mrs. David Brewster, British, 1856, Salted paper print from a Calotype negative, 9.4 x 7.9 cm (3 11,16 x 3 1,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Green Meadows, 1854. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/green-meadows-1854-image330093592.htmlRM2A511MT–Green Meadows, 1854.
Loch Katrine, 1844. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 17.1 x 21 cm (6 3/4 x 8 1/4 in.); paper: 18.4 x 22.5 cm (7 1/4 x 8 7/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/loch-katrine-1844-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-171-x-21-cm-6-34-x-8-14-in-paper-184-x-225-cm-7-14-x-8-78-in-matted-356-x-457-cm-14-x-18-in-image448117717.htmlRM2H11EM5–Loch Katrine, 1844. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 17.1 x 21 cm (6 3/4 x 8 1/4 in.); paper: 18.4 x 22.5 cm (7 1/4 x 8 7/8 in.); matted: 35.6 x 45.7 cm (14 x 18 in.).
![[Hieroglyphic Head Facing Left]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 275 mm (10.82 in); Width: 203 mm (7.99 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDY27/hieroglyphic-head-facing-left-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-275-mm-1082-in-width-203-mm-799-in-author-john-beasly-greene-PNDY27.jpg "[Hieroglyphic Head Facing Left]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 275 mm (10.82 in); Width: 203 mm (7.99 in). Author: John Beasly Greene. Stock Photo")
[Hieroglyphic Head Facing Left]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 275 mm (10.82 in); Width: 203 mm (7.99 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hieroglyphic-head-facing-left-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-275-mm-1082-in-width-203-mm-799-in-author-john-beasly-greene-image219738799.htmlRMPNDY27–[Hieroglyphic Head Facing Left]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 275 mm (10.82 in); Width: 203 mm (7.99 in). Author: John Beasly Greene.
Andrew McClure, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 16.5 x 11.9 cm (6 1/2 x 4 11/16 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/andrew-mcclure-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-165-x-119-cm-6-12-x-4-1116-in-image261291712.htmlRMW52T6T–Andrew McClure, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 16.5 x 11.9 cm (6 1/2 x 4 11/16 in
Major Hugh Lyon Playfair, British, about 1843, Salted paper print from a Calotype negative, 14.6 × 9.1 cm (5 3,4 × 3 9,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/major-hugh-lyon-playfair-british-about-1843-salted-paper-print-from-a-calotype-negative-146-91-cm-5-34-3-916-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046040.htmlRF2B9DY88–Major Hugh Lyon Playfair, British, about 1843, Salted paper print from a Calotype negative, 14.6 × 9.1 cm (5 3,4 × 3 9,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Rocks at Livermead near Torquay (England), c. 1852. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/rocks-at-livermead-near-torquay-england-c-1852-image330115624.htmlRM2A521RM–Rocks at Livermead near Torquay (England), c. 1852.
View of the Capitol Stairs, Rome, 1846. Calvert Richard Jones (British, 1804-1877). Salted paper print from calotype negative; image: 16.6 x 22 cm (6 9/16 x 8 11/16 in.); paper: 18.2 x 23 cm (7 3/16 x 9 1/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/view-of-the-capitol-stairs-rome-1846-calvert-richard-jones-british-1804-1877-salted-paper-print-from-calotype-negative-image-166-x-22-cm-6-916-x-8-1116-in-paper-182-x-23-cm-7-316-x-9-116-in-matted-406-x-508-cm-16-x-20-in-image448133329.htmlRM2H126HN–View of the Capitol Stairs, Rome, 1846. Calvert Richard Jones (British, 1804-1877). Salted paper print from calotype negative; image: 16.6 x 22 cm (6 9/16 x 8 11/16 in.); paper: 18.2 x 23 cm (7 3/16 x 9 1/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.).
![[Tomb of the Christian, Algeria]. Date/Period: January 1856. Print. Salted paper, from a calotype negative. Height: 288 mm (11.33 in); Width: 227 mm (8.93 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNA0WX/tomb-of-the-christian-algeria-dateperiod-january-1856-print-salted-paper-from-a-calotype-negative-height-288-mm-1133-in-width-227-mm-893-in-author-john-beasly-greene-PNA0WX.jpg "[Tomb of the Christian, Algeria]. Date/Period: January 1856. Print. Salted paper, from a calotype negative. Height: 288 mm (11.33 in); Width: 227 mm (8.93 in). Author: John Beasly Greene. Stock Photo")
[Tomb of the Christian, Algeria]. Date/Period: January 1856. Print. Salted paper, from a calotype negative. Height: 288 mm (11.33 in); Width: 227 mm (8.93 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/tomb-of-the-christian-algeria-dateperiod-january-1856-print-salted-paper-from-a-calotype-negative-height-288-mm-1133-in-width-227-mm-893-in-author-john-beasly-greene-image219652438.htmlRMPNA0WX–[Tomb of the Christian, Algeria]. Date/Period: January 1856. Print. Salted paper, from a calotype negative. Height: 288 mm (11.33 in); Width: 227 mm (8.93 in). Author: John Beasly Greene.
John Campbell of Islay, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20 x 14.6 cm (7 7/8 x 5 3/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/john-campbell-of-islay-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-20-x-146-cm-7-78-x-5-34-in-image261291714.htmlRMW52T6X–John Campbell of Islay, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20 x 14.6 cm (7 7/8 x 5 3/4 in
Lathallan House, British, 1845 - 1850, Salted paper print from a Calotype negative, 16.2 x 20.8 cm (6 3,8 x 8 3,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/lathallan-house-british-1845-1850-salted-paper-print-from-a-calotype-negative-162-x-208-cm-6-38-x-8-316-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046066.htmlRF2B9DY96–Lathallan House, British, 1845 - 1850, Salted paper print from a Calotype negative, 16.2 x 20.8 cm (6 3,8 x 8 3,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Gateway to Borwick Hall, Lancashire, 1855. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/gateway-to-borwick-hall-lancashire-1855-image330092766.htmlRM2A510KA–Gateway to Borwick Hall, Lancashire, 1855.
![[Carpenter and Apprentice] ca. 1844 Attributed to William Henry Fox Talbot British Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent medium; instead, Talbot sometimes sought the illusion of spontaneity through staged scenes such Stock Photo](https://c8.alamy.com/comp/2HH6YFN/carpenter-and-apprentice-ca-1844-attributed-to-william-henry-fox-talbot-british-though-lacking-the-absolute-precision-of-the-daguerreotype-and-later-photographic-processes-the-paper-negative-admirably-rendered-blocks-of-tone-describing-form-and-space-in-terms-of-shaded-planes-a-quality-exploited-here-to-enhance-the-highly-geometric-structure-of-the-image-even-with-the-reduced-exposure-time-of-talbots-calotype-process-instantaneous-or-stop-action-views-were-beyond-the-grasp-of-the-nascent-medium-instead-talbot-sometimes-sought-the-illusion-of-spontaneity-through-staged-scenes-such-2HH6YFN.jpg "[Carpenter and Apprentice] ca. 1844 Attributed to William Henry Fox Talbot British Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent medium; instead, Talbot sometimes sought the illusion of spontaneity through staged scenes such Stock Photo")
[Carpenter and Apprentice] ca. 1844 Attributed to William Henry Fox Talbot British Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent medium; instead, Talbot sometimes sought the illusion of spontaneity through staged scenes such Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/carpenter-and-apprentice-ca-1844-attributed-to-william-henry-fox-talbot-british-though-lacking-the-absolute-precision-of-the-daguerreotype-and-later-photographic-processes-the-paper-negative-admirably-rendered-blocks-of-tone-describing-form-and-space-in-terms-of-shaded-planes-a-quality-exploited-here-to-enhance-the-highly-geometric-structure-of-the-image-even-with-the-reduced-exposure-time-of-talbots-calotype-process-instantaneous-or-stop-action-views-were-beyond-the-grasp-of-the-nascent-medium-instead-talbot-sometimes-sought-the-illusion-of-spontaneity-through-staged-scenes-such-image458072041.htmlRM2HH6YFN–[Carpenter and Apprentice] ca. 1844 Attributed to William Henry Fox Talbot British Though lacking the absolute precision of the daguerreotype and later photographic processes, the paper negative admirably rendered blocks of tone, describing form and space in terms of shaded planes, a quality exploited here to enhance the highly geometric structure of the image. Even with the reduced exposure time of Talbot's calotype process instantaneous, or 'stop-action,' views were beyond the grasp of the nascent medium; instead, Talbot sometimes sought the illusion of spontaneity through staged scenes such
![[Louqsor, Obélisque (Côté Ouest)]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 295 mm (11.61 in); Width: 233 mm (9.17 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNB8RC/louqsor-oblisque-ct-ouest-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-295-mm-1161-in-width-233-mm-917-in-author-john-beasly-greene-PNB8RC.jpg "[Louqsor, Obélisque (Côté Ouest)]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 295 mm (11.61 in); Width: 233 mm (9.17 in). Author: John Beasly Greene. Stock Photo")
[Louqsor, Obélisque (Côté Ouest)]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 295 mm (11.61 in); Width: 233 mm (9.17 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/louqsor-oblisque-ct-ouest-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-295-mm-1161-in-width-233-mm-917-in-author-john-beasly-greene-image219680592.htmlRMPNB8RC–[Louqsor, Obélisque (Côté Ouest)]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 295 mm (11.61 in); Width: 233 mm (9.17 in). Author: John Beasly Greene.
Thomas Duncan, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 19.2 x 13.7 cm (7 9/16 x 5 3/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/thomas-duncan-hill-adamson-scottish-active-1843-1848-scotland-1843-1846-salted-paper-print-from-a-calotype-negative-192-x-137-cm-7-916-x-5-38-in-image261291549.htmlRMW52T11–Thomas Duncan, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 19.2 x 13.7 cm (7 9/16 x 5 3/8 in
Mrs. Charles Stewart, British, 1843 - 1844, Salted paper print from a Calotype negative, 12.2 x 11.1 cm (4 13,16 x 4 3,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-charles-stewart-british-1843-1844-salted-paper-print-from-a-calotype-negative-122-x-111-cm-4-1316-x-4-38-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046421.htmlRF2B9DYNW–Mrs. Charles Stewart, British, 1843 - 1844, Salted paper print from a Calotype negative, 12.2 x 11.1 cm (4 13,16 x 4 3,8 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Calvert Jones Seated in the Sacristy of Lacock Abbey, 1845. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/calvert-jones-seated-in-the-sacristy-of-lacock-abbey-1845-image330081072.htmlRM2A50DNM–Calvert Jones Seated in the Sacristy of Lacock Abbey, 1845.
Garden of Selvia, Syracuse, Sicily 1846 George Wilson Bridges British The monk’s gesture of prayer in this image by George Wilson Bridges is a touchstone of stillness against the impressive landscape and vegetation that rise up behind him. Bridges was an Anglican reverend and friend of William Henry Fox Talbot, the inventor of the calotype (paper negative), who instructed him on the method before it was patented. Bridges was also one of the earliest photographers to embark upon a tour of the Mediterranean region; he wrote to Talbot that he conceived of the excursion both as a technical mission Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/garden-of-selvia-syracuse-sicily-1846-george-wilson-bridges-british-the-monks-gesture-of-prayer-in-this-image-by-george-wilson-bridges-is-a-touchstone-of-stillness-against-the-impressive-landscape-and-vegetation-that-rise-up-behind-him-bridges-was-an-anglican-reverend-and-friend-of-william-henry-fox-talbot-the-inventor-of-the-calotype-paper-negative-who-instructed-him-on-the-method-before-it-was-patented-bridges-was-also-one-of-the-earliest-photographers-to-embark-upon-a-tour-of-the-mediterranean-region-he-wrote-to-talbot-that-he-conceived-of-the-excursion-both-as-a-technical-mission-image458490145.htmlRM2HHX0T1–Garden of Selvia, Syracuse, Sicily 1846 George Wilson Bridges British The monk’s gesture of prayer in this image by George Wilson Bridges is a touchstone of stillness against the impressive landscape and vegetation that rise up behind him. Bridges was an Anglican reverend and friend of William Henry Fox Talbot, the inventor of the calotype (paper negative), who instructed him on the method before it was patented. Bridges was also one of the earliest photographers to embark upon a tour of the Mediterranean region; he wrote to Talbot that he conceived of the excursion both as a technical mission
![[Elcantara Bridge, Constantine, Algeria]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 235 mm (9.25 in); Width: 307 mm (12.08 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PND8HE/elcantara-bridge-constantine-algeria-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-235-mm-925-in-width-307-mm-1208-in-author-john-beasly-greene-PND8HE.jpg "[Elcantara Bridge, Constantine, Algeria]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 235 mm (9.25 in); Width: 307 mm (12.08 in). Author: John Beasly Greene. Stock Photo")
[Elcantara Bridge, Constantine, Algeria]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 235 mm (9.25 in); Width: 307 mm (12.08 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/elcantara-bridge-constantine-algeria-dateperiod-1856-print-salted-paper-from-a-calotype-negative-height-235-mm-925-in-width-307-mm-1208-in-author-john-beasly-greene-image219724330.htmlRMPND8HE–[Elcantara Bridge, Constantine, Algeria]. Date/Period: 1856. Print. Salted paper, from a calotype negative. Height: 235 mm (9.25 in); Width: 307 mm (12.08 in). Author: John Beasly Greene.
James Rannie Swinton, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20 x 14.3 cm (7 7/8 x 5 5/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/james-rannie-swinton-hill-adamson-scottish-active-1843-1848-scotland-1843-1848-salted-paper-print-from-a-calotype-negative-20-x-143-cm-7-78-x-5-58-in-image261291703.htmlRMW52T6F–James Rannie Swinton, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1848, Salted paper print from a Calotype negative, 20 x 14.3 cm (7 7/8 x 5 5/8 in
Mrs. Henry Brewster Farney, British, about 1845, Salted paper print from a Calotype negative, 17.3 x 11.6 cm (6 13,16 x 4 9,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mrs-henry-brewster-farney-british-about-1845-salted-paper-print-from-a-calotype-negative-173-x-116-cm-6-1316-x-4-916-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046394.htmlRF2B9DYMX–Mrs. Henry Brewster Farney, British, about 1845, Salted paper print from a Calotype negative, 17.3 x 11.6 cm (6 13,16 x 4 9,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
A Mountain Rivulet Which Flows at the Foot of Doune Castle, 1844. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-mountain-rivulet-which-flows-at-the-foot-of-doune-castle-1844-image330070198.htmlRM2A4YYWA–A Mountain Rivulet Which Flows at the Foot of Doune Castle, 1844.
Calvert Jones Seated in the Sacristy of Lacock Abbey, 1845. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.5 x 20.6 cm (6 1/2 x 8 1/8 in.); paper: 19.6 x 24.9 cm (7 11/16 x 9 13/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/calvert-jones-seated-in-the-sacristy-of-lacock-abbey-1845-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-165-x-206-cm-6-12-x-8-18-in-paper-196-x-249-cm-7-1116-x-9-1316-in-matted-356-x-457-cm-14-x-18-in-image448117904.htmlRM2H11EXT–Calvert Jones Seated in the Sacristy of Lacock Abbey, 1845. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.5 x 20.6 cm (6 1/2 x 8 1/8 in.); paper: 19.6 x 24.9 cm (7 11/16 x 9 13/16 in.); matted: 35.6 x 45.7 cm (14 x 18 in.).
![[Thèbes. Memnonium]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 229 mm (9.01 in); Width: 292 mm (11.49 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDDNM/thbes-memnonium-dateperiod-1853-1854-print-salted-paper-from-a-waxed-calotype-negative-height-229-mm-901-in-width-292-mm-1149-in-author-john-beasly-greene-PNDDNM.jpg "[Thèbes. Memnonium]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 229 mm (9.01 in); Width: 292 mm (11.49 in). Author: John Beasly Greene. Stock Photo")
[Thèbes. Memnonium]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 229 mm (9.01 in); Width: 292 mm (11.49 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/thbes-memnonium-dateperiod-1853-1854-print-salted-paper-from-a-waxed-calotype-negative-height-229-mm-901-in-width-292-mm-1149-in-author-john-beasly-greene-image219728368.htmlRMPNDDNM–[Thèbes. Memnonium]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 229 mm (9.01 in); Width: 292 mm (11.49 in). Author: John Beasly Greene.
Miss Elizabeth Logan, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1847, Salted paper print from a Calotype negative, 14.9 × 19.8 cm (5 7/8 × 7 13/16 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/miss-elizabeth-logan-hill-adamson-scottish-active-1843-1848-18431847-salted-paper-print-from-a-calotype-negative-149-198-cm-5-78-7-1316-in-image261267838.htmlRMW51NP6–Miss Elizabeth Logan, Hill & Adamson (Scottish, active 1843 - 1848), 1843–1847, Salted paper print from a Calotype negative, 14.9 × 19.8 cm (5 7/8 × 7 13/16 in
Portrait of a man, British, 1842 - 1843, Salted paper print from a Calotype negative, 8.9 × 6.4 cm (3 1,2 × 2 1,2 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/portrait-of-a-man-british-1842-1843-salted-paper-print-from-a-calotype-negative-89-64-cm-3-12-2-12-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046062.htmlRF2B9DY92–Portrait of a man, British, 1842 - 1843, Salted paper print from a Calotype negative, 8.9 × 6.4 cm (3 1,2 × 2 1,2 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajesvara Temple), 1857. Active in Burma and India during the late 1850s, Linneaus Tripe was a professional soldier and official photographer for the Madras Presidency in India from 1856 to 1860. More than 100 of his photographs of India were published in a series of six volumes classified according to the seven urban areas of the presidency. In this dramatic photograph of the sacred Great Bull, Tripe also documented the surrounding landscape and temple which, when built, was one of the largest buildings in South Asia. Created with the Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/great-pagoda-great-bull-front-view-tanjore-india-rajarajesvara-temple-1857-active-in-burma-and-india-during-the-late-1850s-linneaus-tripe-was-a-professional-soldier-and-official-photographer-for-the-madras-presidency-in-india-from-1856-to-1860-more-than-100-of-his-photographs-of-india-were-published-in-a-series-of-six-volumes-classified-according-to-the-seven-urban-areas-of-the-presidency-in-this-dramatic-photograph-of-the-sacred-great-bull-tripe-also-documented-the-surrounding-landscape-and-temple-which-when-built-was-one-of-the-largest-buildings-in-south-asia-created-with-the-image330093522.htmlRM2A511JA–Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajesvara Temple), 1857. Active in Burma and India during the late 1850s, Linneaus Tripe was a professional soldier and official photographer for the Madras Presidency in India from 1856 to 1860. More than 100 of his photographs of India were published in a series of six volumes classified according to the seven urban areas of the presidency. In this dramatic photograph of the sacred Great Bull, Tripe also documented the surrounding landscape and temple which, when built, was one of the largest buildings in South Asia. Created with the
Sun Pictures in Scotland: Scott Monument Under Construction, 1844. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 19.7 x 15.8 cm (7 3/4 x 6 1/4 in.); paper: 23 x 18.5 cm (9 1/16 x 7 5/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sun-pictures-in-scotland-scott-monument-under-construction-1844-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-197-x-158-cm-7-34-x-6-14-in-paper-23-x-185-cm-9-116-x-7-516-in-matted-457-x-356-cm-18-x-14-in-image448118551.htmlRM2H11FNY–Sun Pictures in Scotland: Scott Monument Under Construction, 1844. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 19.7 x 15.8 cm (7 3/4 x 6 1/4 in.); paper: 23 x 18.5 cm (9 1/16 x 7 5/16 in.); matted: 45.7 x 35.6 cm (18 x 14 in.).
![[Temple of Karnak at Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 196 mm (7.71 in); Width: 291 mm (11.45 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNECH0/temple-of-karnak-at-thebes-dateperiod-1854-1855-print-salted-paper-from-a-calotype-negative-height-196-mm-771-in-width-291-mm-1145-in-author-john-beasly-greene-PNECH0.jpg "[Temple of Karnak at Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 196 mm (7.71 in); Width: 291 mm (11.45 in). Author: John Beasly Greene. Stock Photo")
[Temple of Karnak at Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 196 mm (7.71 in); Width: 291 mm (11.45 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/temple-of-karnak-at-thebes-dateperiod-1854-1855-print-salted-paper-from-a-calotype-negative-height-196-mm-771-in-width-291-mm-1145-in-author-john-beasly-greene-image219749404.htmlRMPNECH0–[Temple of Karnak at Thebes]. Date/Period: 1854 - 1855. Print. Salted paper, from a calotype negative. Height: 196 mm (7.71 in); Width: 291 mm (11.45 in). Author: John Beasly Greene.
James Ballantyne, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 22.2 x 16.2 cm (8 3/4 x 6 3/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/james-ballantyne-hill-adamson-scottish-active-1843-1848-scotland-1843-1846-salted-paper-print-from-a-calotype-negative-222-x-162-cm-8-34-x-6-38-in-image261291553.htmlRMW52T15–James Ballantyne, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 22.2 x 16.2 cm (8 3/4 x 6 3/8 in
The Reverend Adam Forman, British, about 1844, Salted paper print from a Calotype negative, 15.1 × 11.9 cm (5 15,16 × 4 11,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-reverend-adam-forman-british-about-1844-salted-paper-print-from-a-calotype-negative-151-119-cm-5-1516-4-1116-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046378.htmlRF2B9DYMA–The Reverend Adam Forman, British, about 1844, Salted paper print from a Calotype negative, 15.1 × 11.9 cm (5 15,16 × 4 11,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Scott Monument Under Construction, 1844. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/scott-monument-under-construction-1844-image330117101.htmlRM2A523MD–Scott Monument Under Construction, 1844.
Fountain of Notre-Dame at Saint-Brieuc, Brittany, c. 1853. Louis-Rémy Robert (French, 1811-1882). Salted paper print from calotype negative; image: 32.2 x 26.1 cm (12 11/16 x 10 1/4 in.); paper: 34.6 x 26.8 cm (13 5/8 x 10 9/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/fountain-of-notre-dame-at-saint-brieuc-brittany-c-1853-louis-rmy-robert-french-1811-1882-salted-paper-print-from-calotype-negative-image-322-x-261-cm-12-1116-x-10-14-in-paper-346-x-268-cm-13-58-x-10-916-in-matted-508-x-406-cm-20-x-16-in-image448104181.htmlRM2H10WCN–Fountain of Notre-Dame at Saint-Brieuc, Brittany, c. 1853. Louis-Rémy Robert (French, 1811-1882). Salted paper print from calotype negative; image: 32.2 x 26.1 cm (12 11/16 x 10 1/4 in.); paper: 34.6 x 26.8 cm (13 5/8 x 10 9/16 in.); matted: 50.8 x 40.6 cm (20 x 16 in.).
![[Seconde Cataracte]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 233 mm (9.17 in); Width: 298 mm (11.73 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNED6X/seconde-cataracte-dateperiod-1853-1854-print-salted-paper-from-a-waxed-calotype-negative-height-233-mm-917-in-width-298-mm-1173-in-author-john-beasly-greene-PNED6X.jpg "[Seconde Cataracte]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 233 mm (9.17 in); Width: 298 mm (11.73 in). Author: John Beasly Greene. Stock Photo")
[Seconde Cataracte]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 233 mm (9.17 in); Width: 298 mm (11.73 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/seconde-cataracte-dateperiod-1853-1854-print-salted-paper-from-a-waxed-calotype-negative-height-233-mm-917-in-width-298-mm-1173-in-author-john-beasly-greene-image219749906.htmlRMPNED6X–[Seconde Cataracte]. Date/Period: 1853 - 1854. Print. Salted paper, from a waxed calotype negative. Height: 233 mm (9.17 in); Width: 298 mm (11.73 in). Author: John Beasly Greene.
Mr. Barton., Capt. Henry Craigie Brewster (British, 1816 - 1905, active 1840s), about 1843, Salted paper print from a Calotype negative, 12.9 x 10.8 cm (5 1/16 x 4 1/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mr-barton-capt-henry-craigie-brewster-british-1816-1905-active-1840s-about-1843-salted-paper-print-from-a-calotype-negative-129-x-108-cm-5-116-x-4-14-in-image261271163.htmlRMW51X0Y–Mr. Barton., Capt. Henry Craigie Brewster (British, 1816 - 1905, active 1840s), about 1843, Salted paper print from a Calotype negative, 12.9 x 10.8 cm (5 1/16 x 4 1/4 in
Statuettes of Milton and Shakespeare, British, 1840s, Salted paper print from a Calotype negative, 14.6 x 15.7 cm (5 3,4 x 6 3,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/statuettes-of-milton-and-shakespeare-british-1840s-salted-paper-print-from-a-calotype-negative-146-x-157-cm-5-34-x-6-316-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image350046717.htmlRF2B9E04D–Statuettes of Milton and Shakespeare, British, 1840s, Salted paper print from a Calotype negative, 14.6 x 15.7 cm (5 3,4 x 6 3,16 in, Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
A Scene in York, 1845. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-scene-in-york-1845-image330070948.htmlRM2A500T4–A Scene in York, 1845.
Winter Trees Reflected in a Pond, 1841–42. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.4 x 19.1 cm (6 7/16 x 7 1/2 in.); paper: 19.8 x 24.8 cm (7 13/16 x 9 3/4 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/winter-trees-reflected-in-a-pond-184142-william-henry-fox-talbot-british-1800-1877-salted-paper-print-from-calotype-negative-image-164-x-191-cm-6-716-x-7-12-in-paper-198-x-248-cm-7-1316-x-9-34-in-matted-406-x-508-cm-16-x-20-in-image448105079.htmlRM2H10XGR–Winter Trees Reflected in a Pond, 1841–42. William Henry Fox Talbot (British, 1800-1877). Salted paper print from calotype negative; image: 16.4 x 19.1 cm (6 7/16 x 7 1/2 in.); paper: 19.8 x 24.8 cm (7 13/16 x 9 3/4 in.); matted: 40.6 x 50.8 cm (16 x 20 in.).
![[Sakkira nubienne]. Date/Period: 1853 - 1854. Print. Salt paper, from a waxed calotype negative. Height: 235 mm (9.25 in); Width: 308 mm (12.12 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNDF0R/sakkira-nubienne-dateperiod-1853-1854-print-salt-paper-from-a-waxed-calotype-negative-height-235-mm-925-in-width-308-mm-1212-in-author-john-beasly-greene-PNDF0R.jpg "[Sakkira nubienne]. Date/Period: 1853 - 1854. Print. Salt paper, from a waxed calotype negative. Height: 235 mm (9.25 in); Width: 308 mm (12.12 in). Author: John Beasly Greene. Stock Photo")
[Sakkira nubienne]. Date/Period: 1853 - 1854. Print. Salt paper, from a waxed calotype negative. Height: 235 mm (9.25 in); Width: 308 mm (12.12 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/sakkira-nubienne-dateperiod-1853-1854-print-salt-paper-from-a-waxed-calotype-negative-height-235-mm-925-in-width-308-mm-1212-in-author-john-beasly-greene-image219729351.htmlRMPNDF0R–[Sakkira nubienne]. Date/Period: 1853 - 1854. Print. Salt paper, from a waxed calotype negative. Height: 235 mm (9.25 in); Width: 308 mm (12.12 in). Author: John Beasly Greene.
Mr. Barton., Capt. Henry Craigie Brewster (British, 1816 - 1905, active 1840s), about 1843, Salted paper print from a calotype negative, 13.3 × 9.5 cm (5 1/4 × 3 3/4 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mr-barton-capt-henry-craigie-brewster-british-1816-1905-active-1840s-about-1843-salted-paper-print-from-a-calotype-negative-133-95-cm-5-14-3-34-in-image261271146.htmlRMW51X0A–Mr. Barton., Capt. Henry Craigie Brewster (British, 1816 - 1905, active 1840s), about 1843, Salted paper print from a calotype negative, 13.3 × 9.5 cm (5 1/4 × 3 3/4 in
A Picnic Group., Unknown maker, British, 1845 - 1850, Salted paper print from a Calotype negative, 14.4 x 18.4 cm (5 11/16 x 7 1/4 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/a-picnic-group-unknown-maker-british-1845-1850-salted-paper-print-from-a-calotype-negative-144-x-184-cm-5-1116-x-7-14-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image349903769.htmlRF2B97DR5–A Picnic Group., Unknown maker, British, 1845 - 1850, Salted paper print from a Calotype negative, 14.4 x 18.4 cm (5 11/16 x 7 1/4 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
The Woodcutters, 1845. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/the-woodcutters-1845-image330131188.htmlRM2A52NKG–The Woodcutters, 1845.
Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajesvara Temple), 1857. Captain Linnaeus Tripe (British, 1822-1902), Madras Presidency. Salted paper print from calotype negative; image: 27.2 x 38 cm (10 11/16 x 14 15/16 in.); paper: 28 x 39.1 cm (11 x 15 3/8 in.); matted: 50.8 x 61 cm (20 x 24 in.). Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/great-pagoda-great-bull-front-view-tanjore-india-rajarajesvara-temple-1857-captain-linnaeus-tripe-british-1822-1902-madras-presidency-salted-paper-print-from-calotype-negative-image-272-x-38-cm-10-1116-x-14-1516-in-paper-28-x-391-cm-11-x-15-38-in-matted-508-x-61-cm-20-x-24-in-image448105090.htmlRM2H10XH6–Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajesvara Temple), 1857. Captain Linnaeus Tripe (British, 1822-1902), Madras Presidency. Salted paper print from calotype negative; image: 27.2 x 38 cm (10 11/16 x 14 15/16 in.); paper: 28 x 39.1 cm (11 x 15 3/8 in.); matted: 50.8 x 61 cm (20 x 24 in.).
![[Hieroglyphics, Figure Facing Right]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 211 mm (8.30 in). Author: John Beasly Greene. Stock Photo](https://c8.alamy.com/comp/PNER42/hieroglyphics-figure-facing-right-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-289-mm-1137-in-width-211-mm-830-in-author-john-beasly-greene-PNER42.jpg "[Hieroglyphics, Figure Facing Right]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 211 mm (8.30 in). Author: John Beasly Greene. Stock Photo")
[Hieroglyphics, Figure Facing Right]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 211 mm (8.30 in). Author: John Beasly Greene. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/hieroglyphics-figure-facing-right-dateperiod-1854-print-salted-paper-from-a-calotype-negative-height-289-mm-1137-in-width-211-mm-830-in-author-john-beasly-greene-image219757666.htmlRMPNER42–[Hieroglyphics, Figure Facing Right]. Date/Period: 1854. Print. Salted paper, from a calotype negative. Height: 289 mm (11.37 in); Width: 211 mm (8.30 in). Author: John Beasly Greene.
Jimmy Miller, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 21.6 x 16.8 cm (8 1/2 x 6 5/8 in Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/jimmy-miller-hill-adamson-scottish-active-1843-1848-scotland-1843-1846-salted-paper-print-from-a-calotype-negative-216-x-168-cm-8-12-x-6-58-in-image261291552.htmlRMW52T14–Jimmy Miller, Hill & Adamson (Scottish, active 1843 - 1848), Scotland, 1843 - 1846, Salted paper print from a Calotype negative, 21.6 x 16.8 cm (8 1/2 x 6 5/8 in
Mr. Adair Craigie., Unknown maker, British, about 1847, Salted paper print from a Calotype negative, 19.1 x 14.3 cm (7 1/2 x 5 5/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/mr-adair-craigie-unknown-maker-british-about-1847-salted-paper-print-from-a-calotype-negative-191-x-143-cm-7-12-x-5-58-in-reimagined-by-gibon-design-of-warm-cheerful-glowing-of-brightness-and-light-rays-radiance-classic-art-reinvented-with-a-modern-twist-photography-inspired-by-futurism-embracing-dynamic-energy-of-modern-technology-movement-speed-and-revolutionize-culture-image349903702.htmlRF2B97DMP–Mr. Adair Craigie., Unknown maker, British, about 1847, Salted paper print from a Calotype negative, 19.1 x 14.3 cm (7 1/2 x 5 5/8 in.), Reimagined by Gibon, design of warm cheerful glowing of brightness and light rays radiance. Classic art reinvented with a modern twist. Photography inspired by futurism, embracing dynamic energy of modern technology, movement, speed and revolutionize culture.
Loch Katrine, 1844. Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/loch-katrine-1844-image330104621.htmlRM2A51FPN–Loch Katrine, 1844.
Temple of Jupiter, Pompeii 1851 Alfred-Nicolas Normand While studying art and architecture as a pensionnaire of the French Academy in Rome, Normand met the photographer Maxime Du Camp and the writer Gustave Flaubert just after the pair returned from documenting their travels in Egypt. Inspired by Du Camp, the architect Normand took up the calotype photographic process and began integrating his photographs into his drawings for building projects. He printed this view of the Temple of Jupiter in the Forum of Pompeii on blue paper, imparting the photograph with the effect of a watercolor study. H Stock Photohttps://www.alamy.com/image-license-details/?v=1https://www.alamy.com/temple-of-jupiter-pompeii-1851-alfred-nicolas-normand-while-studying-art-and-architecture-as-a-pensionnaire-of-the-french-academy-in-rome-normand-met-the-photographer-maxime-du-camp-and-the-writer-gustave-flaubert-just-after-the-pair-returned-from-documenting-their-travels-in-egypt-inspired-by-du-camp-the-architect-normand-took-up-the-calotype-photographic-process-and-began-integrating-his-photographs-into-his-drawings-for-building-projects-he-printed-this-view-of-the-temple-of-jupiter-in-the-forum-of-pompeii-on-blue-paper-imparting-the-photograph-with-the-effect-of-a-watercolor-study-h-image457982545.htmlRM2HH2WBD–Temple of Jupiter, Pompeii 1851 Alfred-Nicolas Normand While studying art and architecture as a pensionnaire of the French Academy in Rome, Normand met the photographer Maxime Du Camp and the writer Gustave Flaubert just after the pair returned from documenting their travels in Egypt. Inspired by Du Camp, the architect Normand took up the calotype photographic process and began integrating his photographs into his drawings for building projects. He printed this view of the Temple of Jupiter in the Forum of Pompeii on blue paper, imparting the photograph with the effect of a watercolor study. H
