El lápiz de la naturaleza (en inglés The pencil of nature) es el primer libro de la historia que fue ilustrado con fotografías. Se publicó por entregas en Londres, entre 1844 y 1846. Su autor fue William Fox Talbot, inventor del negativo fotográfico.

El libro contiene 24 fotografías realizadas por Fox Talbot mediante el método del calotipo, inventado por él, en el que un papel preparado con nitrato de plata y ácido gálico es expuesto a la luz y posteriormente revelado con estas sustancias y fijado con hiposulfito sódico. Este fue el primer procedimiento que generó una imagen en negativo y que podía ser posteriormente positivada tantas veces como se deseara, a diferencia del daguerrotipo, que era un positivo directo único.

Las 24 fotografías del libro están acompañadas por comentarios y observaciones relacionadas con las condiciones de luz, composición y otros datos sobre cómo fueron realizadas las tomas fotográficas. De esta forma, el libro también constituye un antecedente de los manuales y libros técnicos de fotografía.

Fuente: Wikipedia

Más información sobre William Fox Talbot

A continuación las 24 fotografías y los textos en inglés de El lápiz de la naturaleza.

PLATE I. PART OF QUEEN’S COLLEGE, OXFORD.

This building presents on its surface the most evident marks of the injuries of time and weather, in the abraded state of the stone, which probably was of a bad quality originally.

The view is taken from the other side of the High Street—looking North. The time is morning.

In the distance is seen at the end of a narrow street the Church of St. Peter’s in the East, said to be the most ancient church in Oxford, and built during the Saxon era. This street, shortly after passing the church, turns to the left, and leads to New College.

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PLATE II. VIEW OF THE BOULEVARDS AT PARIS.

This view was taken from one of the upper windows of the Hotel de Douvres, situated at the corner of the Rue de la Paix. The spectator is looking to the North-east. The time is the afternoon. The sun is just quitting the range of buildings adorned with columns: its façade is already in the shade, but a single shutter standing open projects far enough forward to catch a gleam of sunshine. The weather is hot and dusty, and they have just been watering the road, which has produced two broad bands of shade upon it, which unite in the foreground, because, the road being partially under repair (as is seen from the two wheelbarrows, &c. &c.), the watering machines have been compelled to cross to the other side.

By the roadside a row of cittadines and cabriolets are waiting, and a single carriage stands in the distance a long way to the right.

A whole forest of chimneys borders the horizon: for, the instrument chronicles whatever it sees, and certainly would delineate a chimney-pot or a chimney-sweeper with the same impartiality as it would the Apollo of Belvedere.

The view is taken from a considerable height, as appears easily by observing the house on the right hand; the eye being necessarily on a level with that part of the building on which the horizontal lines or courses of stone appear parallel to the margin of the picture.

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PLATE III. ARTICLES OF CHINA.

From the specimen here given it is sufficiently manifest, that the whole cabinet of a Virtuoso and collector of old China might be depicted on paper in little more time than it would take him to make a written inventory describing it in the usual way. The more strange and fantastic the forms of his old teapots, the more advantage in having their pictures given instead of their descriptions.

And should a thief afterwards purloin the treasures—if the mute testimony of the picture were to be produced against him in court—it would certainly be evidence of a novel kind; but what the judge and jury might say to it, is a matter which I leave to the speculation of those who possess legal acumen.

The articles represented on this plate are numerous: but, however numerous the objects—however complicated the arrangement—the Camera depicts them all at once. It may be said to make a picture of whatever it sees. The object glass is the eye of the instrument—the sensitive paper may be compared to the retina. And, the eye should not have too large a pupil: that is to say, the glass should be diminished by placing a screen or diaphragm before it, having a small circular hole, through which alone the rays of light may pass. When the eye of the instrument is made to look at the objects through this contracted aperture, the resulting image is much more sharp and correct. But it takes a longer time to impress itself upon the paper, because, in proportion as the aperture is contracted, fewer rays enter the instrument from the surrounding objects, and consequently fewer fall upon each part of the paper.

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PLATE IV. ARTICLES OF GLASS.

The photogenic images of glass articles impress the sensitive paper with a very peculiar touch, which is quite different from that of the China in Plate III. And it may be remarked that white china and glass do not succeed well when represented together, because the picture of the china, from its superior brightness, is completed before that of the glass is well begun. But coloured china may be introduced along with glass in the same picture, provided the colour is not a pure blue: since blue objects affect the sensitive paper almost as rapidly as white ones do. On the contrary, green rays act very feebly—an inconvenient circumstance, whenever green trees are to be represented in the same picture with buildings of a light hue, or with any other light coloured objects.

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PLATE V. BUST OF PATROCLUS.

Statues, busts, and other specimens of sculpture, are generally well represented by the Photographic Art; and also very rapidly, in consequence of their whiteness.

These delineations are susceptible of an almost unlimited variety: since in the first place, a statue may be placed in any position with regard to the sun, either directly opposite to it, or at any angle: the directness or obliquity of the illumination causing of course an immense difference in the effect. And when a choice has been made of the direction in which the sun’s rays shall fall, the statue may be then turned round on its pedestal, which produces a second set of variations no less considerable than the first. And when to this is added the change of size which is produced in the image by bringing the Camera Obscura nearer to the statue or removing it further off, it becomes evident how very great a number of different effects may be obtained from a single specimen of sculpture.

With regard to many statues, however, a better effect is obtained by delineating them in cloudy weather than in sunshine. For, the sunshine causes such strong shadows as sometimes to confuse the subject. To prevent this, it is a good plan to hold a white cloth on one side of the statue at a little distance to reflect back the sun’s rays and cause a faint illumination of the parts which would otherwise be lost in shadow.

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PLATE VI. THE OPEN DOOR.

The chief object of the present work is to place on record some of the early beginnings of a new art, before the period, which we trust is approaching, of its being brought to maturity by the aid of British talent.

This is one of the trifling efforts of its infancy, which some partial friends have been kind enough to commend.

We have sufficient authority in the Dutch school of art, for taking as subjects of representation scenes of daily and familiar occurrence. A painter’s eye will often be arrested where ordinary people see nothing remarkable. A casual gleam of sunshine, or a shadow thrown across his path, a time-withered oak, or a moss-covered stone may awaken a train of thoughts and feelings, and picturesque imaginings.

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PLATE VII. LEAF OF A PLANT.

Hitherto we have presented to the reader the representations of distant objects, obtained by the use of a Camera Obscura. But the present plate represents an object of its natural size. And this is effected by quite a different and much simpler process, as follows.

A leaf of a plant, or any similar object which is thin and delicate, is laid flat upon a sheet of prepared paper which is moderately sensitive. It is then covered with a glass, which is pressed down tight upon it by means of screws.

This done, it is placed in the sunshine for a few minutes, until the exposed parts of the paper have turned dark brown or nearly black. It is then removed into a shady place, and when the leaf is taken up, it is found to have left its impression or picture on the paper. This image is of a pale brown tint if the leaf is semi-transparent, or it is quite white if the leaf is opaque.

The leaves of plants thus represented in white upon a dark background, make very pleasing pictures, and I shall probably introduce a few specimens of them in the sequel of this work: but the present plate shews one pictured in the contrary manner, viz. dark upon a white ground: or, speaking in the language of photography, it is a positive and not a negative image of it. The change is accomplished by simply repeating the first process. For, that process, as above described, gives a white image on a darkened sheet of paper: this sheet is then taken and washed with a fixing liquid to destroy the sensibility of the paper and fix the image on it.

This done, the paper is dried, and then it is laid upon a second sheet of sensitive paper, being pressed into close contact with it, and placed in the sunshine: this second process is evidently only a repetition of the first. When, finished, the second paper is found to have received an image of a contrary kind to the first; the ground being white, and the image upon it dark.

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PLATE VIII. A SCENE IN A LIBRARY.

Among the many novel ideas which the discovery of Photography has suggested, is the following rather curious experiment or speculation. I have never tried it, indeed, nor am I aware that any one else has either tried or proposed it, yet I think it is one which, if properly managed, must inevitably succeed.

When a ray of solar light is refracted by a prism and thrown upon a screen, it forms there the very beautiful coloured band known by the name of the solar spectrum.

Experimenters have found that if this spectrum is thrown upon a sheet of sensitive paper, the violet end of it produces the principal effect: and, what is truly remarkable, a similar effect is produced by certain invisible rays which lie beyond the violet, and beyond the limits of the spectrum, and whose existence is only revealed to us by this action which they exert.

Now, I would propose to separate these invisible rays from the rest, by suffering them to pass into an adjoining apartment through an aperture in a wall or screen of partition. This apartment would thus become filled (we must not call it illuminated) with invisible rays, which might be scattered in all directions by a convex lens placed behind the aperture. If there were a number of persons in the room, no one would see the other: and yet nevertheless if a camera were so placed as to point in the direction in which any one were standing, it would take his portrait, and reveal his actions.

For, to use a metaphor we have already employed, the eye of the camera would see plainly where the human eye would find nothing but darkness.

Alas! that this speculation is somewhat too refined to be introduced with effect into a modern novel or romance; for what a dénouement we should have, if we could suppose the secrets of the darkened chamber to be revealed by the testimony of the imprinted paper.

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PLATE IX. FAC-SIMILE OF AN OLD PRINTED PAGE.

Taken from a black-letter volume in the Author’s library, containing the statutes of Richard the Second, written in Norman French. To the Antiquarian this application of the photographic art seems destined to be of great advantage.

Copied of the size of the original, by the method of superposition.

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PLATE X. THE HAYSTACK.

One advantage of the discovery of the Photographic Art will be, that it will enable us to introduce into our pictures a multitude of minute details which add to the truth and reality of the representation, but which no artist would take the trouble to copy faithfully from nature.

Contenting himself with a general effect, he would probably deem it beneath his genius to copy every accident of light and shade; nor could he do so indeed, without a disproportionate expenditure of time and trouble, which might be otherwise much better employed.

Nevertheless, it is well to have the means at our disposal of introducing these minutiæ without any additional trouble, for they will sometimes be found to give an air of variety beyond expectation to the scene represented.

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PLATE XI. COPY OF A LITHOGRAPHIC PRINT.

We have here the copy of a Parisian caricature, which is probably well known to many of my readers. All kinds of engravings may be copied by photographic means; and this application of the art is a very important one, not only as producing in general nearly fac-simile copies, but because it enables us at pleasure to alter the scale, and to make the copies as much larger or smaller than the originals as we may desire.

The old method of altering the size of a design by means of a pantagraph or some similar contrivance, was very tedious, and must have required the instrument to be well constructed and kept in very excellent order: whereas the photographic copies become larger or smaller, merely by placing the originals nearer to or farther from the Camera.

The present plate is an example of this useful application of the art, being a copy greatly diminished in size, yet preserving all the proportions of the original.

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PLATE XII. THE BRIDGE OF ORLEANS.

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.

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PLATE XIII. QUEEN’S COLLEGE, OXFORD.

ENTRANCE GATEWAY.

In the first plate of this work I have represented an angle of this building. Here we have a view of the Gateway and central portion of the College. It was taken from a window on the opposite side of the High Street. In examining photographic pictures of a certain degree of perfection, the use of a large lens is recommended, such as elderly persons frequently employ in reading. This magnifies the objects two or three times, and often discloses a multitude of minute details, which were previously unobserved and unsuspected. It frequently happens, moreover—and this is one of the charms of photography—that the operator himself discovers on examination, perhaps long afterwards, that he has depicted many things he had no notion of at the time. Sometimes inscriptions and dates are found upon the buildings, or printed placards most irrelevant, are discovered upon their walls: sometimes a distant dial-plate is seen, and upon it—unconsciously recorded—the hour of the day at which the view was taken.

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PLATE XIV. THE LADDER.

Portraits of living persons and groups of figures form one of the most attractive subjects of photography, and I hope to present some of them to the Reader in the progress of the present work.

When the sun shines, small portraits can be obtained by my process in one or two seconds, but large portraits require a somewhat longer time. When the weather is dark and cloudy, a corresponding allowance is necessary, and a greater demand is made upon the patience of the sitter. Groups of figures take no longer time to obtain than single figures would require, since the Camera depicts them all at once, however numerous they may be: but at present we cannot well succeed in this branch of the art without some previous concert and arrangement. If we proceed to the City, and attempt to take a picture of the moving multitude, we fail, for in a small fraction of a second they change their positions so much, as to destroy the distinctness of the representation. But when a group of persons has been artistically arranged, and trained by a little practice to maintain an absolute immobility for a few seconds of time, very delightful pictures are easily obtained. I have observed that family groups are especial favourites: and the same five or six individuals may be combined in so many varying attitudes, as to give much interest and a great air of reality to a series of such pictures. What would not be the value to our English Nobility of such a record of their ancestors who lived a century ago? On how small a portion of their family picture galleries can they really rely with confidence!

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PLATE XV. LACOCK ABBEY IN WILTSHIRE.

One of a series of views representing the Author’s country seat in Wiltshire. It is a religious structure of great antiquity, erected early in the thirteenth century, many parts of which are still remaining in excellent preservation. This plate gives a distant view of the Abbey, which is seen reflected in the waters of the river Avon. The spectator is looking to the North West.

The tower which occupies the South-eastern comer of the huilding is believed to be of Queen Elizabeth’s time, but the lower portion of it is much older, and coeval with the first foundation of the abbey.

In my first account of “The Art of Photogenic Drawing,” read to the Royal Society in January, 1839, I mentioned this building as being the first “that was ever yet known to have drawn its own picture.”

It was in the summer of 1835 that these curious self-representations were first obtained. Their size was very small: indeed, they were but miniatures, though very distinct: and the shortest time of making them was nine or ten minutes.

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PLATE XVI. CLOISTERS OF LACOCK ABBEY.

The Abbey was founded by Ela, Countess of Salisbury, widow of William Longspee, son of King Henry II. and Fair Rosamond.

This event took place in the year of our Lord 1229, in the reign of Henry III. She was elected to be the first abbess, and ruled for many years with prudence and piety. She lies buried in the cloisters, and this inscription is read upon her tomb:

The cloisters, however, in their present state, are believed to be of the time of Henry VI. They range round three sides of a quadrangle, and are the most perfect which remain in any private residence in England. By moonlight, especially, their effect is very picturesque and solemn.

Here, I presume, the holy sisterhood often paced in silent meditation; though, in truth, they have left but few records to posterity to tell us how they lived and died. The “liber de Lacock” is supposed to have perished in the fire of the Cottonian library. What it contained I know not—perhaps their private memoirs. Some things, however, have been preserved by tradition, or discovered by the zeal of antiquaries, and from these materials the poet Bowles has composed an interesting work, the History of Lacock Abbey, which he published in 1835.

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PLATE XVII. BUST OF PATROCLUS.

Another view of the bust which figures in the fifth plate of this work.

Is has often been said, and has grown into a proverb, that there is no royal road to learning of any kind. But the proverb is fallacious: for there is, assuredly, a royal road to Drawing, and one of these days, when more known and better explored, it will probably be much frequented. Already sundry amateurs have laid down the pencil and armed themselves with chemical solutions and with camera obscuræ. Those amateurs especially, and they are not few, who find the rules of perspective difficult to learn and to apply—and who moreover have the misfortune to be lazy—prefer to use a method which dispenses with all that trouble. And even accomplished artists now avail themselves of an invention which delineates in a few moments the almost endless details of Gothic architecture which a whole day would hardly suffice to draw correctly in the ordinary manner.

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PLATE XVIII. GATE OF CHRISTCHURCH.

The principal gate of Christchurch College in the University of Oxford.

On the right of the picture are seen the buildings of Pembroke College in shade.

Those who have visited Oxford and Cambridge in vacation time in the summer must have been struck with the silence and tranquillity which pervade those venerable abodes of learning.

Those ancient courts and quadrangles and cloisters look so beautiful so tranquil and so solemn at the close of a summer’s evening, that the spectator almost thinks he gazes upon a city of former ages, deserted, but not in ruins: abandoned by man, but spared by Time. No other cities in Great Britain awake feelings at all similar. In other towns you hear at all times the busy hum of passing crowds, intent on traffic or on pleasure—but Oxford in the summer season seems the dwelling of the Genius of Repose.

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PLATE XIX. THE TOWER OF LACOCK ABBEY

The upper part of the tower is believed to be of Queen Elizabeth’s time, but the lower part is probably coeval with the first foundation of the abbey, in the reign of Henry III.

The tower contains three apartments, one in each story. In the central one, which is used as a muniment room, there is preserved an invaluable curiosity, an original copy of the Magna Charta of King Henry III. It appears that a copy of this Great Charter was sent to the sheriffs of all the counties in England. The illustrious Ela, Countess of Salisbury, was at that time sheriff of Wiltshire (at least so tradition confidently avers), and this was the copy transmitted to her, and carefully preserved ever since her days in the abbey which she founded about four years after the date of this Great Charter.

Of the Magna Charta of King John several copies are still extant; but only two copies are known to exist of the Charter of his successor Henry III, which bears date only ten years after that of Runnymede. One of these copies, which is preserved in the north of England, is defaced and wholly illegible; but the copy preserved at Lacock Abbey is perfectly clear and legible throughout, and has a seal of green wax appended to it, inclosed in a small bag of coloured silk, which six centuries have faded.

The Lacock copy is therefore the only authority from which the text of this Great Charter can be correctly known; and from this copy it was printed by Blackstone, as he himself informs us.

From the top of the tower there is an extensive view, especially towards the South, where the eye ranges as far as Alfred’s Tower, in the park of Stour-head, about twenty-three miles distant.

From the parapet wall of this building, three centuries ago, Olive Sherington, the heiress of Lacock, threw herself into the arms of her lover, a gallant gentleman of Worcestershire, John Talbot, a kinsman of the Earl of Shrewsbury. He was felled to the earth by the blow, and for a time lay lifeless, while the lady only wounded or broke her finger. Upon this, Sir Henry Sherington, her father, relented, and shortly after consented to their marriage, giving as a reason “the step which his daughter had taken.”

Unwritten tradition in many families has preserved ancient stories which border on the marvellous, and it may have embellished the tale of this lover’s leap by an incident belonging to another age. For I doubt the story of the broken finger, or at least that Olive was its rightful owner. Who can tell what tragic scenes may not have passed within these walls during the thirteenth and fourteenth centuries? The spectre of a nun with a bleeding finger long haunted the precincts of the abbey, and has been seen by many in former times, though I believe that her unquiet spirit is at length at rest. And I think the tale of Olive has borrowed this incident from that of a frail sister of earlier days.

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PLATE XX. LACE

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

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

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

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

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

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PLATE XXI. THE MARTYRS’ MONUMENT

Oxford has at length, after the lapse of three centuries, raised a worthy monument to her martyred bishops, who died for the Protestant cause in Queen Mary’s reign.

And we have endeavoured in this plate to represent it worthily. How far we have succeeded must be left to the judgment of the gentle Reader.

The statue seen in the picture is that of Bishop Latimer.

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PLATE XXII. WESTMINSTER ABBEY

The stately edifices of the British Metropolis too frequently assume from the influence of our smoky atmosphere such a swarthy hue as wholly to obliterate the natural appearance of the stone of which they are constructed. This sooty covering destroys all harmony of colour, and leaves only the grandeur of form and proportions.

This picture of Westminster Abbey is an instance of it; the faqade of the building being strongly and somewhat capriciously darkened by the atmospheric influence.

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PLATE XXIII. HAGAR IN THE DESERT.

This Plate is intended to show another important application of the photographic art. Fac-similes can be made from original sketches of the old masters, and thus they may be preserved from loss, and multiplied to any extent.

This sketch of Hagar, by Francesco Mola, has been selected as a specimen. It is taken from a fac-simile executed at Munich.

The photographic copying process here offers no difficulty, being done of the natural size, by the method of superposition.

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PLATE XXIV. A FRUIT PIECE.

The number of copies which can be taken from a single original photographic picture, appears to be almost unlimited, provided that every portion of iodine has been removed from the picture before the copies are made. For if any of it is left, the picture will not bear repeated copying, but gradually fades away. This arises from the chemical fact, that solar light and a minute portion of iodine, acting together (though neither of them separately), are able to decompose the oxide of silver, and to form a colourless iodide of the metal. But supposing this accident to have been guarded against, a very great number of copies can be obtained in succession, so long as great care is taken of the original picture. But being only on paper, it is exposed to various accidents; and should it be casually torn or defaced, of course no more copies can be made. A mischance of this kind having occurred to two plates in our earliest number after many copies had been taken from them, it became necessary to replace them by others; and accordingly the Camera was once more directed to the original objects themselves, and new photographic pictures obtained from them, as a source of supply for future copies. But the circumstances of light and shade and time of day, &c. not altogether corresponding to what they were on a former occasion, a slightly different but not a worse result attended the experiment. From these remarks, however, the difference which exists will be easily accounted for.