Photography’s authorship has always been a matter of controversy, given that a selling point of the new medium was that it apparently dispensed altogether with the need for an artist’s intervening hand. Photographs were made by the things they depicted, not by the photographer who operated the camera. As Talbot put it in January 1839, when describing a photograph he had taken of his own house, it was the first building "that was ever yet known to have drawn its own picture." When he gathered some of these “curious self-representations” together to be published in The Pencil of Nature, he included in that volume a photograph titled The West Façade of Westminster Abbey. A richly-toned salt print from a calotype negative, it was published in April 1846 as one of three photographs to be issued with the sixth and final part of The Pencil of Nature. Although Talbot wrote a text to accompany this photograph, nowhere does he mention that the negative from which this print was made had been taken two years before, and not by him but by his former valet Nicolaas Henneman. The print itself was made at Henneman’s Reading Establishment, which means that as many as nine people might have worked on some aspect of it. Perhaps, then, it is industrial capitalism, with its alienated workers, systems of mass production and calibrated divisions of labour, that is this photograph’s true subject?