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Essay / Research Paper Abstract
(7pp) The base of a calotype negative, rather
than the glass or film to which we have become
accustomed, was high quality writing paper. The
sheet of paper was carefully selected to have a
smooth and uniform texture and, wherever possible,
to avoid the watermark. It was offered as the
chief alternative to the Daguerreotype and was more
popular with amateur photographers, artists, and
scientists, who used it widely, since the negative
could be corrected with pencil.
Bibliography lists 5 sources. - 2 visuals.
Page Count:
7 pages (~225 words per page)
File: D0_BBclotpR.doc
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Unformatted sample text from the term paper:
Daguerreotype and was more popular with amateur photographers, artists, and scientists, who used it widely, since the negative could be corrected with pencil. Bibliography lists 5 sources. BBclotpR.doc THE
CALOTYPE Written by B. Bryan Babcock for the Paperstore, Inc., November 2000 Introduction The Calotype, or "Talbotype, was a refinement of the process of photogenic drawing,
offering a much more sensitive medium because of its use of the latent image phenomenon. It was invented by Fox Talbot in September 1840 and patented on the 8th of
February, 1841. While it was never remotely competitive in the commercial sphere (although Talbot and Nicolaas Henneman (1813-1898) used it as the basis of their photographic business at Reading),
it was offered as the chief alternative to the Daguerreotype and was more popular and widely used with amateur photographers, artists, and scientists (http://www.mhs.ox. ac.uk/features/ephotos/ctypes.htm#ctypes). History As far as the
principle of the process, the photographic technique employed by Adamson and Hill known as the calotype (from the Greek word for beauty, kalos - (http://www.worcesterart.org/Collection/European/1966.50.html) was very similar
to that still in use today. A negative was exposed in the camera, developed in a dark room and then printed on sensitive paper. The cameras, while wooden and large,
are easy to relate to modern cameras. However, their sensitive materials were quite different from ours in one important aspect. Modern photographic film and paper are highly refined highly technological
products made under strict controls in a factory setting. In addition to the other problems they faced, Adamson and Hill had to make each and every sheet of negative or
print material by hand (http://special.lib .gla.ac.uk/hillandadamson/calo.html). There are no significant records of their particular working practices. However, we know they were in close touch with the arts inventor, William
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