在大多数人看来，以如今一个追求精确、色彩、乃至另类的审美标准来看，“卡罗法工艺”（calotype）制作的摄影（photography）作品似乎根本上不了台面。
当然，一定也会有人反驳：“卡罗法工艺”作品所代表的审美标准和如今的审美标准并没有任何可比性，因为这是两种不同历史语境的东西。
诚然，比较两种不同历史语境中的审美标准，并没有太大意义。但是，如若从单纯的艺术性上来看，两者之间还是能够碰撞出不少“火花”。
黑白和彩色，孰优孰劣？艺术到底是追求精确，还是模糊，标准是什么？手工印相和数码打印，各自赋予了作品何种意义？“卡罗尔工艺”作品的艺术性何在？
此外，当我们讨论“卡罗法工艺”作品能不能上台面的问题时，实际上也反映出了一种并不宽容，且貌似人人都有的思维方式：
即在思考“卡罗法工艺”作品所代表的审美标准和今天的审美标准之间的关系时，我们的思维进入了非此即彼的二元对立。
至于如何破除这种二元对立的艺术审美倾向，恐怕唯有大量涉猎不同艺术风格的作品，感受其中多元的意义和内涵。
而威廉·亨利·福克斯·塔尔博特（William Henry Fox Talbot）发明的“卡罗尔工艺”所制作的摄影作品，无疑给了我们一种破除的契机。
要知道，塔尔博特作为艺术摄影的开端人，不仅使得照片能够负正转印，开发了摄影的表达功能，而且暗示了摄影的一种可能，即它可以是这样一种艺术媒介：自然而然且不过分注重阐释、能够构建意义但不一定明确。
△Dandelion Seeds, 1858 or later, positive and negative, William Henry Fox Talbot
风景
△Lake Katine Pier, Scene of 'The Lady of the Lake', 19-21 October 1844, William Henry Fox Talbot
△Rustic Bridge across a Gorge in Scotland, probably October 1844, William Henry Fox Talbot
△Panorama of the Bay of Baia, near Naples, 1846, Rev. Calvert Richard Jones
△The Moon, c. 1864, William Henry Fox Talbot, from an original photography possibly by Warren de la Rue (1815-1889)
人·事
△Nicolaas Henneman (1813-1898), c. 1842, William Henry Fox Talbot
△Talbot's Daughter, Ela (1835-1893), 1843, William Henry Fox Talbot
△'The Geologists', Chudleigh, Deon, 1843, William Henry Fox Talbot
△Horatia Feiding (1810-1851), Talbot's Half-sister, at her harp, 1843, William Henry Fox Talbot
△Nicolaas Henneman (1813-1898), Holding a Copy of 'The Pencil of Nature', 1844, William Henry Fox Talbot
△William Henry Fox Talbot (1800-1877), Copy of a Lithographic Print, c. 1844,Salt paper print from acalotype negative
△The Ladder, April 1844, William Henry Fox Talbot
△Kit Talbot(1803-1890) and Lady Charlotte Talbot (1809-1846) at Lacork Abbey, c. 1845, Rev. Calvert Richard Jones
△The Woodcultters - Nicolaas Henneman(1813-1898) and William Pullen, possibly summer 1845, William Henry Fox Talbot
△Fruit Sellers, c. 1845, Attributed to William Henry Fox Talbot, possibly by Rev. Calvert Richard Jones
△The Reading Establishment, 1846, William Henry Fox Talbot
建筑
△The Boulevards of Paris, May or June 1843, William Henry Fox Talbot
△Part of The Queen's College, Oxford, 4 September 1843, William Henry Fox Talbot
△The Bridge of Orleans, 14 June 1843, William Henry Fox Talbot
△The Martyrs' Monument, Oxford, probably 7 Setember 1843, William Henry Fox Talbot
△Melrose Abbey, 1844, William Henry Fox Talbot
△Gate below Tom Tower, Christ Church, Oxford, prior to september 1844, Salted paper print from a calotype negative
△The Lower Baracea Valetta, 1845, Rev. Calvert Richard Jones
△The Colosseum [sic], Rome, Second View, 1846, Rev. Calvert Richard Jones
静物
△Bust of Venus on a Round Tabletop, early 1840s, Salted paper print from a calotype negative
△Antique Statuette of a Sphynx, c. 1841, William Henry Fox Talbot
△Bush of Hydrangea in Flower, 1841, William Henry Fox Talbot
△'Fireboot', the Rocking Horse, Lacock Abbey, 1842, William Henry Fox Talbot
△Dak Tree in Winter, Lacock, c. 1842, William Henry Fox Talbot
△Bust of Patroclus, 9 August 1843, William Henry Fox Talbot
△The Haystack, late April 1844, William Henry Fox Talbot
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