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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Miscellaneous Objects as Seen With and Without the Microscope
Description
An account of the resource
<p><i><span style="font-weight: 400;">Miscellaneous Objects as Seen With and Without the Microscope</span></i><span style="font-weight: 400;"> predates the introduction of photography. The visual notes it contains depend entirely on the artist's ability to not only record their observations, but to also remember what was seen through the microscope when they refocused on the page. </span></p>
<p><span style="font-weight: 400;">In 1839, <a href="https://www.getty.edu/art/collection/artists/1969/william-henry-fox-talbot-english-1800-1877/" target="_blank" rel="noopener">William Henry Fox Talbot</a> speculated on the application of photography to the microscope:</span></p>
<blockquote>The objects which the microscope unfolds to our view, curious and wonderful as they are, are often singularly complicated. The eye, indeed, many comprehend the whole which is presented to it in the field of view; but the powers of the pencil fail to express these minutiae of nature in their innumerable details. What artist could have skill or patience enough to copy them? or granting that he [<span style="font-weight: 400;"></span><i><span style="font-weight: 400;">sic</span></i><span style="font-weight: 400;">]</span> <span style="font-weight: 400;">could do so, must it not be at the expense of much most valuable time, which might be more usefully employed? Contemplating the beautiful picture which the solar microscope produces, the thought struck me, whether it might not be possible to cause that image to impress itself upon the paper, and thus to let Nature substitute her own inimitable pencil, for the imperfect, tedious, and almost hopeless attempt of copying a subject so intricate. (quoted in Goldberg 43)</span></blockquote>
<p><span style="font-weight: 400;">Compare this example to an <a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3156">album of anatomical illustrations of a bee</a> from 1875</span><span style="font-weight: 400;">, which includes photomicrographs.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
[1820]
15.8 x 9.4 cm
QL 466 M58 1820
Creator
An entity primarily responsible for making the resource
creator unknown
daguerreotype
engraving
photomicrograph
William Henry Fox Talbot
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Photographies
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Papillons Européens
Date
A point or period of time associated with an event in the lifecycle of the resource
[1890]
34.0 x 24.0 cm
QL 543 P36 1890z folio
Description
An account of the resource
<p><i><span style="font-weight: 400;">Papillons Europ</span></i><i><span style="font-weight: 400;">éens: Nocturnes, Crépusculaires, et Diurnes </span></i><span style="font-weight: 400;">demonstrates a method of recording specimens that predates photography: the </span><a href="https://herbariumworld.wordpress.com/2017/10/16/nature-printing-in-the-19th-century/" target="_blank" rel="noopener">nature print</a><span style="font-weight: 400;">. With a </span>nature print<span style="font-weight: 400;">, the specimen itself is used to make an impression so that, as with photography, there is an </span><a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/what-is-photography">indexical</a><span style="font-weight: 400;"> relationship between the object and its representation. This example, from 1890, shows that nature printing continued to be used well after the introduction of photographic technologies. Here, </span>watercolour<span style="font-weight: 400;"> paints have been added to the prints.</span></p>
<p>Nature printing<span style="font-weight: 400;"> could also be achieved photographically, a process that was popular in the early decades of photography. The British botanist </span><a href="https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html" target="_blank" rel="noopener">Anna Atkins</a><span style="font-weight: 400;"> is well known for her prints (<a href="https://omeka.library.ualberta.ca/exhibits/show/photograpies/item/3132">cyanotypes</a>) of botanical specimens</span><span>. Atkins published her photographs in 1843 as <a href="https://nhm.primo.exlibrisgroup.com/view/BookReaderViewer/44NHM_INST/12190875980002081" target="_blank" rel="noopener"><i>Photographs of British Algae: cyanotype impressions</i></a>, and is today considered one of the first to produce a photographically-illustrated book. </span></p>
<p><span style="font-weight: 400;"><br /><strong><br /><br /></strong><br /></span></p>
Creator
An entity primarily responsible for making the resource
creator unknown
Anna Atkins
cyanotype
indexical
nature print