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Talbot’s technique converted a negative image into a positive one, a procedure that remains core to film-based photography. Because the negative made it pos- sible for the image to be replicated an infinite number of times, unlike the daguerreotype, painting-conscious pho- tographers such as Oscar G. Rejlander (1813–75) could assemble elaborate, multifigure compositions in stage-like settings. They pieced the total image together from a vari- ety of negatives and then orchestrated them, rather in the way history painters prepared their grand narrative scenes
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owner: mmartin046 - (no access) - H. H. Arnason, Elizabeth C. Mansfield-History of Modern Art-Pearson (2012).pdf, p33


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