A Manual Of Photography

THE CALOTYPE. 26 the continuance of the action ; so that the inequality would be less if the paper were more sensitive or more rapidly acted on. In the hyacinth, the stalle and the green leaves have produced scarcely a faint trace of their configuration ; but they are strongly defined, especially in the parts of the outline, where more or less perfect specular reflection takes place. The points of the candle- stick (metallic) where tins reflection occurred, are copied by white stains locally applied, and which deteriorate the effect of the whole by their disproportion. But this is seen especially in a picture by Correggio, the frame of which was very vividly copied, whilst the figure on the canvas was hardly perceptible. This disproportion of lustre in the reproduction of some white parts, especially when they are dull and consequently very radiating, is sensible in certain parts of views taken by Mr. Talbot, to the point of rendering difficult the interpretation of the object to which they belong. However, these views are very satisfactory, as being obtained on paper, in the present season. Moreover, by an advantage peculiar to the chemical preparation which Mr. Talbot uses, it appears that the operations once completed, the drawings are no longer alterable by radiation, even acting with much energy. Indeed, we have here, as an example, four proofs of the same view of Mr. Talbot’s house, with an identical dispo- sition of lights and shades : so that some, at least, if not three out of four, must have been procured by superposition. Mr. Talbot is right in representing this property of reproduction as an especial advantage of his process, and it would indeed be very useful in voyages. I have exposed one of these drawings to the action of the sun, not very powerful, it is true, for several hours, and I have not perceived the slightest alteration in the lights. I think I understand that, in Mr. Talbot’s opinion, the shades alone are strengthened under this influence. According to what I have just said, it should be expected that the triumph of this process, as of every other photogenic reproduction, would take place with objects of white and dull plaster. Indeed, Mr. Talbot’s parcel contains eight copies of busts and statues ; six of which chiefly, of various forms and sizes, present very remark- able results, especially taking into consideration the unfavourable season at which they were produced. Truly, there is not found in them the strict perfection of trace, nor the admirable grada- tions of lights and shades, which constitute the charm of M. Daguerre’s impressions; and I again repeat it, that my expres- sions may not be exaggerated. But I also repeat, that repre- sentations on sensitive papers must be considered as principally applicable to a different object, which does not impose such strict conditions of art, requiring only faithful images, sufficiently