By Taschen Publishing, Benedikt Taschen Verlag
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Additional resources for Black Ladies
31. Antoine Francois Claudet. The Lesson, c. Geoffraphy 1850. Daguerreotype. Gemsheim Collection, Humanities Research Center, Universit^' of Texas, Austin. other artisans also were intrigued by the and the chance it new technology offered to improve their material well- portraits in his studio are exceptional in their fine craftsmanship and in the taste with which groups of ures were posed, arranged, being. times attracted businessmen who make exposures and process hired artists and others plates.
Excavation for rue Tholoze, 1842. Paper negative. Societe Fran^aise de Photographie, Paris. "'-^ Talbot regarded photography as important primarily for its tion to the arity the most expressive works in the are considered of his discovery actively, light and shadow imbue was keenly con- a carefial atten- humble scene —works that enjoyed considerable esteem famili- England and, in fact, were specifically in Vic- mentioned in the Pencil of Nature. Several other calotype images in the style bear wimess to Talbot's conviction that photog- raphy might offer an outiet for medium.
T. 8. John William Draper. Dorothy Catherine Draper, Coiloupe from a daguerreon'pe. Chandler Chemical Museum, Columbia Universit)', New York. 1840. Original ruined. 7,9. John Plumbe. Mrs. d. New- York Historical Society, New Daguerreotype. York. sending portraits of celebrities and views of the gallery interior to the Leslie's newlv launched picture journals, Frank and Harper's Weekly, for translation into wood- engraved attention illustrations (pi. no. 43), on his he was able to focus own enterprise and on the role the daguer- reotype might play in urban communication despite the fact that it was a one-of-a kind image.
Black Ladies by Taschen Publishing, Benedikt Taschen Verlag
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