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The plants are white as ghosts, and they float in fields as acutely dejected as the amnion off Dover. Anniversary one is a little miracle, their neuron-like roots ambagious beyond the page, their leaves absolute every aberration vein. These are photographs, produced alone with the ablaze of the sun and an amateur’s allure set. There was no antecedent for them in the aboriginal 1840s — back a woman invented the photobook.

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She was the British columnist Anna Atkins, who may not be as able-bodied accepted as Louis Daguerre, William Henry Fox Talbot and added men from the medium’s aboriginal decade. But her acutely admirable blueprints of abyssal plants, which she began authoritative in 1843, are as cogent for the development of photography as for the history of science.

Her magnum opus, “Photographs of British Algae,” whose aboriginal sections she appear 175 years ago this fall, was the aboriginal aggregate anytime to be illustrated with photographs, admitting ones fabricated afterwards a camera. Dozens of pages from that book are on appearance in “Blue Prints: The Pioneering Photographs of Anna Atkins,” on the coaction of science and art at the capital annex of the New York Public Library.

Atkins was built-in in 1799, in the southeast of England; her father, John George Children, was an abecedarian chemist who went on to assignment for the British Museum. He additionally translated several important authentic treatises into English, like an 1823 anatomy of shells that adolescent Anna agilely illustrated for him. He encouraged his daughter’s absorption in the accustomed world; the New York Public Library’s appearance includes an aboriginal herbarium in which she apprenticed broiled thistles and excellent sprigs, and an anthology of breakable watercolor landscapes, amorphous in 1835 and connected for decades after, that Anna corrective as a allowance to her husband, the Kent backer John Pelly Atkins.

In 1839, William Henry Fox Talbot appear that he had apparent a new agency of “photogenic drawing,” which could trace the capacity of plants, fabrics or the like on light-sensitized paper. (Photography has the attenuate acumen of actuality invented twice: Daguerre and Talbot hit on two altered techniques, apart of anniversary other, in the aforementioned year.) Talbot presented his address at the Royal Society, of which John George Children was the secretary, and Anna Atkins would anon accord with Talbot through her father. Like Talbot, she saw that the new technology of photography would acquiesce for a greater authentic accurateness in botanical analogy — which until afresh had relied either on letterpress printing, which was alone as acceptable as its illustrators, or abroad on broiled specimens that angry breakable afore long.

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She began to aggregate seaweed from the southeast bank of England and the ponds about Kent, and she implored accompany to accommodate their own specimens. Then, starting in 1843, she started bearing “photographical impressions” of these algae, “many of which,” as she wrote in a letter displayed in the show, “are so minute that authentic assets of them are actual difficult to make.”

Her called address was the cyanotype — or blueprint, as it would after be accepted back architects accepted it. You aboriginal slather a area of cardboard with a band-aid of adamant salts, afresh leave it to dry. Next, you abode an article on the cardboard and abbreviate it beneath a area of glass. Leave it in the sun for about 15 minutes, afresh ablution the apparent area in water, and the baldheaded allocation of the cardboard takes on a affluent Prussian blue.

The blow of the sheet, blocked by the aeroembolism algae or leaves, appearance a white abrogating impression, like an X-ray or a snow angel. The breed Dictyota dichotoma becomes a array of thick, circuitous rhizomes, while Furcellaria fastigiata comprises spindlier, daintier strands that attending like assumption endings. One seaweed case has the body of a chanterelle mushroom; addition appears added like a coil of collapsed feathers.

Yet these are acutely added than an abecedarian scientist’s recordings. Atkins laid bottomward the plants on the folio with a accurate eye to composition, generally with an attack at symmetry. Pairs of specimens are arrayed like about identical siblings; thicker seaweed after-effects in added indistinct, abstruse skeins. The algae barb and agitate in Atkins’s cyanotypes, whose affluent blues, of course, anamnesis the ocean. Even the captions display a antic inventiveness. For the appellation folio of one affiliate of her book, she ancient the belletrist in “British Algae” out of chiffon strands of seaweed, basic its name out of its subject.

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As cyanotypes are not fabricated from a negative, anniversary Atkins photogram was one-of-a-kind — authoritative “British Algae” an backbreaking action that took a decade of labor. (Servants would acceptable accept helped her, admitting we apperceive abutting to annihilation about her alive process.) The resultant books were different, too. Atkins mailed the pages to subscribers as she completed them; readers afresh sewed the fascicles calm as they pleased.

Her efforts to broadcast her work, both to eminent botanists and to photography antecedents like Talbot (who was afresh commutual his own aboriginal book, “The Pencil of Nature”), accomplish Atkins absolutely a altered amount from added undersung women now adequate the absorption of New York museums — like Orra White Hitchcock, whose authentic illustrations for her husband’s university acquaint were apparent at the American Folk Art Museum this summer, or Hilma af Klint, the Swedish theosophist whose groundbreaking abstruse paintings, now on appearance at the Solomon R. Guggenheim Museum, were not apparent during her lifetime. Atkins, while reserved, was no outsider, and her blueprints are as cogent for who saw them as for what they depicted. The New York Public Library’s accumulating of Atkins’s photograms, for one, belonged to John Herschel, the artist of the cyanotype process.

The library has supplemented its advertise of Atkins with a chaplet appearance upstairs, “Anna Atkins Refracted,” featuring 19 abreast photographers. Most of them accomplish use of cameraless photography techniques; a acceptable cardinal additionally appoint with capacity of botany or the abode of women in science. The German columnist Ulf Saupe has created a affluent cyanotype that resembles one of Atkins’s bouncing algae, but is in actuality an consequence of a artificial bag afloat in the ocean. Strange, admirable photograms by Letha Wilson activate from impressions of begin flowers and automated objects; she afresh folds the apparent sheets, photographs them (with a camera), and reprints the uncanny, Bauhaus-ish result.

It’s account abiding to the Atkins exhibition already you’ve apparent this abreast showcase, to attending afresh at her blueprints with an eye on their artful daring. “British Algae” has its abode in the history of photography and book publishing, but these beating cyanotypes are additionally artifacts from a time back science and art were bigger acquainted. The plants attending like river deltas, like plumes of smoke, like controlled detonations, like lightning bolts scything through darkness. The catechism of whether photography was art would aggravate audiences for added than a aeon to appear — but Atkins already had the answer.

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Blue Prints: The Pioneering Photographs of Anna Atkins (through Feb. 17)

Anna Atkins Refracted: Abreast Works (through Jan. 6)

At the New York Public Library, Stephen A. Schwarzman Building, 476 Fifth Avenue, Manhattan; 917-275-6975, nypl.org.

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