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Henry Fox Talbot 
The Bridge of Orleans 
[The Pencil of Nature, Part 2, pl. 12] 
1844 (published) 
  
Calotype 
Hans P. Kraus, Jr., Inc. 
Taken from the reproductions in Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989). The originals selected for this publication were the best single examples available for each plate. Not to be reproduced without permission of H.P. Kraus, Jr. 
  
 
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This view is taken from the southern bank of the river Loire, which passes Orleans in a noble stream.
 
A city rich in historical recollections, but at present chiefly interesting from its fine Cathedral; of which I hope to give a representation in a subsequent plate of this work.
 
H. Fox Talbot, The Pencil of Nature, (London: Longman, Brown, Green and Longmans, 1844) 
 
 
  

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Photographer: 
  
Henry Fox Talbot 
  
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Henry Fox Talbot
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Henry Fox Talbot: The Pencil of Nature 
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HomeContentsVisual indexes > Henry Fox Talbot > France > Orleans 
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HomeContentsVisual indexes > Henry Fox Talbot > The Pencil of Nature 
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Contemporary review
 
The Pencil of Nature. By Henry Fox Talbot, F.R.S. Parts I. and II. Longman & Co,
 
The ' Pencil of Nature' is the first attempt at photographic publication. Daguerreotype plates have been etched, but as yet no etching process has been entirely successful with them. Skilful artists, indeed, have engraved them, and from these engraved plates prints have been taken and sold as Daguerreotypes; but until Mr. Fox Talbot made this experiment, no productions, which have been entirely the result of solar influence, have passed through the publishers to the public. The experiment of photographically illustrated books is now before the world; and all who see Mr. Talbot's publication will be convinced that the promise of the art is great, and its utility and excellence, in many respects, of a high order. Whilst the French have attended only to the Daguerreotype process, and stuck to the silver plates, the English, following in the footsteps of Mr. Talbot, have diligently sought after processes of equal sensibility on paper; and their zeal in the inquiry has been well rewarded : we now possess several preparations capable of receiving images with equal rapidity with the Daguerreotype; and for the cumbrous metal, we substitute the more convenient material, paper.
 
This process possesses the great advantages of giving us after we have procured and well fixed a good original any number of pictures of equal excellence and of unvarying fidelity, which is impossible with the Daguerreotype.
 
Source:
 
The Eclectic Magazine of Foreign Literature, Science, and Art, Volume 4, April, 1845, p.572

Further reading
 
Larry J. Schaaf, H. Fox Talbot's The Pencil of Nature; Anniversary Facsimile (New York: Hans P. Kraus, Jr. Inc., 1989).

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