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MULTIPLE PRINTING, COMBINATION
PRINTING, AND MULTIPLE EXPOSURE
The groundwork of photographic multiple printing, the
combining of two or more images to form a new repre-
sentation, can be found in Johann Carl Enslen’s Face of
Christ Superimposed Over Leaf, 1839. This composite
photogenic drawing was made from two photogenic
negatives using William Henry Fox Talbot’s negative/
positive paper process. Between 1841 and 1842 Talbot
experimented with soft edge, out of focus masking and
pin registered overlay positives to control contrast in his
prints of white busts and statues against darker back-
grounds to retain highlight detail. This multiple printing
method is now called highlight and shadow masking
and was also practiced by the Countess of Ross in the
early and mid-1850s, Gustave Le Gray, Camille Silvy,
and others to print in clouds and skies.
Combination printing was the practice of com-
bining two or more negatives to make a harmoniously,
seamless photograph. The practice evolved in order to
overcome a major technical obstacle that was blocking
photography’s recognition as art. This was the collodion
wet-plate’s insensitivity to all parts of the spectrum ex-
cept blue and ultraviolet radiation, which gave colors an
inaccurate translation into black-and-white tones. Red
or green subjects were not properly recorded and ap-
peared in prints as black. Exposures, calculated to record
detail in the land, overexposed the sky. The amount of
overexposure was not even and produced areas of low
density in the negative. When the negative was printed
these sections appeared gray and mottled, an effect not
suitable for picturesque landscapes. Typically the sky
was masked out so that it printed as white. When clouds
were needed they were created using chemicals, India
ink, and other coloring methods.
The artistic solution proposed by Hippolyte Bayard
in 1852 involved making two separate negatives, one
for the ground and a second for the sky. This response
could have been derived from the earlier daguerreotype
cloud studies by Albert Southworth and Josiah Hawes
and calotypes by others. After processing the two nega-
tives were masked, with the land’s features printed in
from the fi rst negative and the sky’s from the second.
Landscape photographers often made a stock collection
of sky negatives, which were used in printing future
views. George Barnard used combination printing in his
Photographic Views of Sherman’s Campaign (1866) for
clouds and a group portrait of Union general William
Tecumseh Sherman and his generals—one general who
missed the group photograph was put in later.
William Lake Price was one of the fi rst photographers
to exhibit work utilizing this dual-negative technique in- However, it was Gustave Le Gray’s spectacular
seascapes of 1856–1858, achieved from separately-
made cloud negatives, that attracted public attention
for both stopping the action of waves and their dramatic
cloud formations. Le Gray was not the fi rst to make in-
stantaneous seascapes, but his photographs challenged
the notion that photography was an automatic process by
clearly demonstrating that photographers could control
the medium and translate their feelings into images.
The method caught fi re with Oscar G. Rejlander’s
allegorical tableaux, The Two Ways of Life, 1857 that
plainly verifi ed the artistic potential of combination
printing and paved its way to becoming an accepted
practice. Rejlander set out to create a photograph that
was morally uplifting and instructive and required “the
same operations of mind, the same artistic treatment
and careful manipulation” as works done in crayon or
paint. Rejlander produced an elaborate allegorical piece
contrasting Philosophy and Science during a six-week
period in which he made sketches, hired models, and
produced thirty separate negatives which he masked,
printed on two pieces of paper, and connected. This work
was rephotographed, and editions were reproduced. The
photograph’s unusually large size, 16 x 31 inches, made
people stop and notice, enabling it to hold its own on a
gallery wall. The Two Ways represents “a venerable sage
introducing two young men into life—the one, calm and
placid, turns towards Religion, Charity and Industry, and
the other virtues, while the other rushes madly from his
guide into the pleasures of the world, typifi ed by various
fi gures, representing Gambling, Wine, Licentiousness,
and other vices; ending in Suicide, Insanity and Death.
The center of the picture, in front, between two parties,
is a fi gure symbolizing Repentance, with the emblem
of Hope.” Queen Victoria gave Rejlander’s vision a big
boost by purchasing it for Prince Albert.
Two Ways did not sell well and provoked debate on
the ethics of combining negatives to manufacture an
image that never existed, marking an early instance