Inscribed "XO" in pencil. Inscribed "8" in ink on verso.
In this view in the Himalayas, the two bright bands of water represented as mysterious black shapes in the negative take on a life of their own, especially the larger one. The longer exposure times of waxed paper were actually an advantage for this particular image. When moving water is photographed with exposure times of tens of seconds, or even minutes, the surface of the water itself becomes very satiny. Additionally, the photographer was employing the upper limit of the image circle thrown by his lens. There is a bit of light fall-off at the top corners which helps to frame the image. As is so often the case, these technical limitations were exploited, consciously or intuitively, by the photographer to strengthen the image.
Richard R. Brettell with Roy Flukinger, Nancy Keeler and Kydney Mallett Kilgore, Paper and Light: the Calotype in France and Great Britain, 1839-1870 (Boston: David R. Godine, 1984) plate 141, p. 206.
Larry J. Schaaf, introduction by Roger Taylor, Sun Pictures Catalogue Ten, British Paper Negatives 1839-1864 (New York: Hans P. Kraus Jr. Inc., 2001) no. 34, pp. 80-81.