Reprint of the original, first published in 1845.

Photography emerged in 1839 in two forms simultaneously. In France, Louis Daguerre produced photographs on silvered sheets of copper, while in Great Britain, William Henry Fox Talbot put forward a method of capturing an image on ordinary writing paper treated with chemicals. Talbot’s invention, a paper negative from which any number of positive prints could be made, became the progenitor of virtually all photography carried out before the digital age. Talbot named his perfected invention "calotype," a term based on the Greek word for beauty. Calotypes were characterized by a capacity for subtle tonal distinctions, massing of light and shadow, and softness of detail. In the 1840s, amateur photographers in Britain responded with enthusiasm to the challenges posed by the new medium. Their subjects were wide-ranging, including landscapes and nature studies, architecture, and portraits. Glass-negative photography, which appeared in 1851, was based on the same principles as the paper negative but yielded a sharper picture, and quickly gained popularity. Despite the rise of glass negatives in commercial photography, many gentlemen of leisure and learning continued to use paper negatives into the 1850s and 1860s. These amateurs did not seek the widespread distribution and international reputation pursued by their commercial counterparts, nearly all of whom favored glass negatives. As a result, many of these calotype works were produced in a small number of prints for friends and fellow photographers or for a family album. This richly illustrated, landmark publication tells the first full history of the calotype, embedding it in the context of Britain’s changing fortunes, intricate class structure, ever-growing industrialization, and the new spirit under Queen Victoria. Of the 118 early photographs presented here in meticulously printed plates, many have never before been published or exhibited.

Vol. for 1867 includes Illustrated catalogue of the Paris Universal Exhibition.

Full of smoking anecdotes, jokes, rhymes, illustrations and maxims, Smoking and Smokers was marketed as a fun variety volume for smokers of all ages.

Architects draw for a variety of purposes; they draw to assimilate places and precedents, to generate ideas, to develop a concept into a consistent project in a team, to communicate ideas and solutions to patrons and clients, and to guide building contractors during the construction stages, as well as to produce further elaborations in order to publish their project in a treatise, a journal or their own portfolio. Most importantly, architects draw to think and to manage complexity in a visual way. By taking into account innovative and interdisciplinary uses of architectural drawing in the design process, both historical and current, the collection of chapters and interviews in this book frames a new critical perspective and a uniquely contextual appreciation of drawing as a way to encourage spatial thinking and practice in architecture and urbanism. The authors take the discussion to a new level of philosophical sophistication, while also considering drawing in relation to a series of specific engagements with urban development, planning, and architecture.