Introductory Remarks

The little work now presented to the Public is the first attempt to publish a series of plates or pictures wholly executed by the new art of Photogenic Drawing, without any aid whatever from the artist's pencil.

The term “Photography” is now so well known, that an explanation of it is perhaps superfluous; yet, as some persons may still be unacquainted with the art, even by name, its discovery being still of very recent date, a few words may be looked for of general explanation.

It may suffice, then, to say, that the plates of this work have been obtained by the mere action of Light upon sensitive paper. They have been formed or depicted by optical and chemical means alone, and without the aid of any one acquainted with the art of drawing. It is needless, therefore, to say that they differ in all respects, and as widely us possible, in their origin, from plates of the ordinary kind, which owe their existence to the united skill of the Artist and the Engraver.

They are impressed by Nature's hand; and what they want as yet of delicacy and finish of execution arises chiefly from our want of sufficient knowledge of her laws. When we have learnt more, by experience, respecting the formation of such pictures, they will doubtless be brought much nearer to perfection; and though we may not be able to conjecture with any certainty what rank they may hereafter attain to as pictorial productions, they will surely find their own sphere of utility, both for completeness of detail and correctness of perspective.

The Author of the present work having been so fortunate as to discover, about ten years ago, the principles and practice of Photogenic Drawing, is desirous that the first specimen of an Art, likely in all probability to be much employed in future, should be published in the country where it was first discovered. And he makes no doubt that his countrymen will deem such an intention sufficiently laudable to induce them to excuse the imperfections necessarily incident to a first attempt to exhibit an Art of so great singularity, which employs processes entirely new, and having no analogy to any thing in use before. That such imperfections will occur in a first essay, must indeed be expected. At present the Art can hardly be said to have advanced beyond its infancy—at any rate, it is yet in a very early stage—and its practice is often impeded by doubts and difficulties, which, with increasing knowledge, will diminish and disappear. Its progress will be more rapid when more minds are devoted to its improvement, and when more of skilful manual assistance is employed in the manipulation of its delicate processes; the paucity of which skilled assistance at the present moment the Author finds one of the chief difficulties in his way.

Brief Historical Sketch of the Invention of the Art

It may be proper to preface these specimens of a new Art by a brief account of the circumstances which preceded and led to the discovery of it. And these were nearly as follows.

One of the first days of the month of October 1833, I was amusing myself on the lovely shores of the Lake of Como, in Italy, taking sketches with Wollaston's Camera Lucida, or rather I should say, attempting to take them: but with the smallest possible amount of success. For when the eye was removed from the prism—in which all looked beautiful—I found that the faithless pencil had only left traces on the paper melancholy to behold.

After