Abstract

This article proposes a re-reading of the chromolithographic algorithm on the front cover of Fox Talbot’s seminal photographic work Pencil of Nature, 1844. The wet and dry of analogue and digital photography are proposed to both be in fact unfixed. A third, fluid, intermediary state is identified. The practitioner in this alternate zone is receptive to the isomorphic potential of the elements and is able to utilize a form of remote viewing – or rather remote perception – to both upload and download.