圣叙尔皮斯，巴黎 - 美国大都会艺术博物馆展品查阅

品名（中）	圣叙尔皮斯，巴黎
品名（英）	St. Sulpice, Paris
入馆年号	1946年，46.122.22
策展部门	摄影（Photographs）
创作者	Armand-Hippolyte-Louis Fizeau【1819 至 1896】【法国人】
创作年份	公元 1840 - 公元 1842
创作地区
分类	照片（Photographs）
尺寸
介绍（中）	与William Henry Fox Talbot的纸质负片工艺不同，该工艺允许由同一负片制成多个负片，银版印刷工艺每次使用只产生一个例子。为了应对这一限制，开发了几种在墨水中重现银版的方法。科学家兼银版印刷师Hippolyte Fizeau设计了一种直接蚀刻到铜银版上的方法，这种方法创造了一个印刷版，但在这个过程中破坏了银版。然后，这种印版可以用来用永久墨水在纸上进行多次印刷。然而，这一过程并不完美，与原始银版的精细表面和色调深度相比，由此产生的版画往往看起来很原始。尽管如此，菲索的这幅版画拥有令人印象深刻的细节，从石头和砖墙上迷宫般的线条到屋顶上的小瓷砖。圣叙尔皮斯是菲索最喜欢的拍摄对象之一，部分原因是它近在咫尺：这张照片可能是从他自己的屋顶上拍摄的。菲索拖着沉重的相机走上楼梯，把摄影带出了摄影棚，带到了世界上，并通过他的水墨画帮助向世界介绍了摄影。
介绍（英）	Unlike William Henry Fox Talbot’s paper negative process, which allowed for multiple positives to be made from the same negative, the daguerreotype process produced only a single example with each use. In response to this limitation, several processes were developed to reproduce daguerreotypes in ink. Hippolyte Fizeau, a scientist and daguerreotypist, devised a method for etching directly into the copper daguerreotype plate, which created a printing plate but destroyed the daguerreotype in the process. The plate could then be used to make multiple prints on paper in permanent ink. The process was not perfect, however, and the resulting prints often looked primitive compared to the refined surface and tonal depth of the original daguerreotype. Nevertheless, this print by Fizeau possesses an impressive amount of detail, from the maze of lines in the stone-and-brick walls to the tiny tiles in the roofs. Saint-Sulpice was one of Fizeau’s favorite subjects, in part because it was close at hand: this view was probably taken from his own rooftop. By lugging his heavy camera up the stairs, Fizeau brought photography out of the studio and into the world—and, through his ink prints, helped introduce the world to photography.