{"id":73618,"date":"2016-04-13T17:33:44","date_gmt":"2016-04-13T16:33:44","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=73618"},"modified":"2016-04-14T12:09:25","modified_gmt":"2016-04-14T11:09:25","slug":"fox-talbot-lot-thank-mother-inventor-mass-production-photography-stars-science-museum","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/latest\/photo-news\/fox-talbot-lot-thank-mother-inventor-mass-production-photography-stars-science-museum\/","title":{"rendered":"Mother of Fox Talbot played key role in race to reveal photography inventions"},"content":{"rendered":"

Talbot and Nicolaas Henneman at the Reading establishment, 1846<\/em> [\u00a9 National Media Museum, Bradford]<\/p>\n

\u2018Fox Talbot: Dawn of the Photograph\u2019 charts the birth of photography within the industrial, cultural and social context of the 19th century. But publication of Fox Talbot\u2019s photographic invention in 1839 may not have happened at all if it hadn\u2019t been for Talbot\u2019s mother and rivalry with Frenchman Louis Daguerre, according to the show\u2019s curators.<\/p>\n

Almost 100 of Talbot’s works will be on show alongside one of the earliest surviving photos by Frenchman Louis Daguerre, the Englishman\u2019s chief competition in the race to reveal photographic inventions to the world.<\/p>\n

Talbot wasn\u2019t a natural PR man and, with one eye on the potential commercial success of his invention, it was his mother who spurred him into action \u2013 fuelled by competition from the other side of the Channel. \u2018Talbot was enjoying photography and treating it as almost one of his many hobbies and interests, and there came a point at which he was compelled, largely by his mother, to do something that was going to be commercially successful,\u2019 curator Greg Hobson told Amateur Photographer<\/em> (AP).<\/p>\n

The show taps into the \u2018commercial imperative and industrial madness\u2019 of the 19th century, added co-curator Russell Roberts. \u2018You have to think what would have happened to photography if there wasn\u2019t this impetus following the announcement by Daguerre\u2026 [Daguerre] was an important inventor of a photographic process which was kind of rarified and did make a lot of money but could not be assimilated into mass production.\u2019<\/p>\n

\"Photographer\"William Henry Fox Talbot by John Moffatt, 1864 <\/em> [\u00a9 National Media Museum, Bradford]<\/p>\n

A large section of the show is devoted to The Pencil of Nature<\/em> which Talbot published five years after announcing his discovery \u2013 the first commercial publication to be illustrated using photos.<\/p>\n

Licence to use invention cost \u2018\u00a318,000\u2019<\/strong><\/p>\n

Back then, photography was limited to the few who could afford it. And using one of the inventor\u2019s processes was a tad more expensive than downloading the latest photography app.<\/p>\n

It seems the rivalry between Talbot and Daguerre extended to the fees they charged for using their patented experiments. A licence to use Talbot\u2019s invention, commercially, would cost someone the equivalent of \u2018\u00a318,000\u2019 in today\u2019s money, according to Hobson. \u2018In Britain, one had to buy a licence to be a Daguerreotypist as well. It was free everywhere except in Britain, because Talbot insisted on charging a licence for his.\u2019<\/p>\n

Though amateurs would have to pay only \u00a3300, the extent of amateur use was limited by the sheer cost of equipment they needed. \u2018What people would do is buy the amateur licence and attempt to use it [professionally],\u2019 added Hobson.<\/p>\n

\"OLYMPUSCurator Greg Hobson (left) with co-curator Russell Roberts at the Science Museum this morning<\/em> [\u00a9 C Cheesman]<\/p>\n

The show also explores the relationships between the network of photographers who gravitated towards Talbot\u2019s process and inspired them to experiment in different ways. These include Anna Atkins and Calvert Jones.<\/p>\n

Asked how the show differs from previous Talbot exhibitions, Roberts told AP: \u2018We\u2019ve wanted to keep the romantic, early scientific sensibility, but it\u2019s ultimately the industrial, commercial aspect of photography, which is often uncomfortable for certain historians and curators of photography because it doesn\u2019t allow them to pursue the value of Talbot\u2019s work as almost like a unique work of art [and] celebrate his subjectivity as an artist with a capital \u201cA\u201d.\u2019<\/p>\n

\u2018For us that is a small, incidental part\u2026 The art of photography that he describes in The Pencil of Nature<\/em> is not art [as others defined it].<\/p>\n

So, what would Talbot have made of today\u2019s \u2018selfie culture\u2019, we wonder.<\/strong><\/p>\n

\u2018I think it\u2019s weird to describe it as \u201cselfie culture\u201d,\u2019 Hobson replied. \u2018It\u2019s an easy form to hang something on. I think what Talbot was moving towards was exactly where we are, which is this mass production and mass distribution of images\u2026 I think the only thing that would have surprised him is that people were able to use it so freely [using their smartphones].\u2019<\/p>\n

Roberts credits Talbot as setting in motion \u2018a new way of seeing\u2019, through his writings and experiments.<\/p>\n

Speaking at a press preview earlier today, the Science Museum\u2019s deputy director Jonathan Newby, said: \u2018The real significance of Fox Talbot\u2019s work was the invention of the negative\u2013positive photographic process, the so-called \u201ccalotype negative\u201d, which made possible positive prints using a simple contact printing process. It is interesting to note that this was a deeply scientific, chemical-based process but the word \u201ccalotype\u201d derived from the Greek, meaning \u201cbeautiful impression\u201d, so its artistic merit was recognised from the outset.\u2019<\/p>\n

Newby added: \u2018The exhibition is testament to Fox Talbot\u2019s magical and industrial vision of his invention which ranged from the capture of delicate natural specimens through to great ambitions that he had for photography as a mean of mass production.<\/p>\n

\u2018And we need to consider\u2026 his contribution in the context of its social, cultural and industrial perspective of the times in which he lived.\u2019<\/p>\n

\u2018Fox Talbot: Dawn of the Photograph\u2019 runs at the Science Museum until 11 September 2016.<\/p>\n

\"1937-1249_6\"The Open Door, late April 1844 <\/em> [\u00a9 National Media Museum]<\/p>\n

\"1937-3459_5\"Talbot’s daughter, Rosamond (1837-1906), c.1843<\/em> [\u00a9 National Media Museum\/SSPL]<\/p>\n","protected":false},"excerpt":{"rendered":"

The life and works of the man credited as the father of modern photography is celebrated in a major exhibition that opens at the Science Museum in London tomorrow.<\/p>\n","protected":false},"author":324,"featured_media":73612,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[39],"tags":[],"product-category":[],"class_list":["post-73618","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-photo-news"],"yoast_head":"\nMother of Fox Talbot played key role in race to reveal photography inventions - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"The life and works of the man credited as the father of modern photography, Fox Talbot, is celebrated in a major exhibition that opens at the Science Museum in London tomorrow.\" \/>\n<meta name=\"robots\" content=\"index, follow, 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