When was the daguerreotype developed?
Daguerreotype
Invented by Louis-Jacques-Mandé Daguerre and introduced worldwide in 1839, daguerreotype was almost completely superseded by 1860 with new, less expensive processes yielding more readily viewable images. In the late 20th century, there was a revival of daguerreotypy by a small number of photographers interested in making artistic use of early photographic processes.
Shimazu Nariakira
In 1848, Shimazu obtained the first daguerreotype camera ever imported into Japan, and ordered his retainers to study it and produce working photographs. Due to the limitations of the lens used and the lack of formal training, it took many years for a quality photograph to be created, but on September 17, 1857, a portrait of Shimazu in formal attire was produced. This photograph became an object of worship in the (also referred to as Shōkoku Shrine) after Shimazu's death, but it later went missing. Lost for a century, the daguerreotype was discovered in a warehouse in 1975 and was later determined to be the oldest daguerreotype in existence created by a Japanese photographer. For this reason, it was designated an Important Cultural Property by the government of Japan in 1999, the first photograph ever given this honor.
John Jabez Edwin Mayall
In an interview with the editor of the Photographic News, Mayall stated that his "first handling a Daguerreotype was on 6 January 1840", two years before he embarked for America.
Paris
The inventor Nicéphore Niépce produced the first permanent photograph on a polished pewter plate in Paris in 1825. In 1839, after the death of Niépce, Louis Daguerre patented the Daguerrotype, which became the most common form of photography until the 1860s. The work of Étienne-Jules Marey in the 1880s contributed considerably to the development of modern photography. Photography came to occupy a central role in Parisian Surrealist activity, in the works of Man Ray and Maurice Tabard. Numerous photographers achieved renown for their photography of Paris, including Eugène Atget, noted for his depictions of street scenes, Robert Doisneau, noted for his playful pictures of people and market scenes (among which "Le baiser de l'hôtel de ville" has become iconic of the romantic vision of Paris), Marcel Bovis, noted for his night scenes, and others such as Jacques-Henri Lartigue and Cartier-Bresson. Poster art also became an important art form in Paris in the late nineteenth century, through the work of Henri de Toulouse-Lautrec, Jules Chéret, Eugène Grasset, Adolphe Willette, Pierre Bonnard, Georges de Feure, Henri-Gabriel Ibels, Gavarni, and Alphonse Mucha.
Louis Désiré Blanquart-Evrard
He was born and raised in Lille where he studied chemistry with Charles Frédéric Kuhlmann and miniature painting on porcelain. After Louis Daguerre solved the problem of long exposure time and introduced daguerreotypy, a practical photographic process, to the general public in 1839, Blanquart-Evrard developed interest in photography. He studied the "calotype", salt-print negative process, and in 1847 became the first person to publish on negative/positive paper photo process in France. He developed a method of bathing the paper in solutions of potassium iodide and silver nitrate rather than brushing these chemical baths on the surface. In January 1847, he presented his research on stabilizing the photo prints by floating them in the silver solution to the French Academy of Sciences.
Conservation and restoration of photographs
1837: Daguerreotype
The daguerreotype process (named after Louis Jacques Mande Daguerre) produces a unique image, as there is no negative created. After coating a copper plate with light-sensitive silver iodide, the plate is exposed to an image for over 20 minutes and then treated with fumes from heated mercury. The longer the exposure to light, the more mercury fumes are adsorbed by the silver iodide. After the plate is washed with salt water, the image appears, reversed. This was the earliest photographic process to gain popularity in America. It was used until around 1860.
Daguerreotype
In the 16th century, Daniele Barbaro suggested replacing the small hole with a larger hole and an old man's spectacle lens (a biconvex lens for correcting long-sightedness), which produced a much brighter and sharper image.
Daguerreotype
As the daguerreotype itself is on a relatively thin sheet of soft metal, it was easily sheared down to sizes and shapes suited for mounting into lockets, as was done with miniature paintings. Other imaginative uses of daguerreotype portraits were to mount them in watch fobs and watch cases, jewel caskets and other ornate silver or gold boxes, the handles of walking sticks, and in brooches, bracelets and other jewelry now referred to by collectors as "daguerreian jewelry". The cover glass or crystal was sealed either directly to the edges of the daguerreotype or to the opening of its receptacle and a protective hinged cover was usually provided.
Daguerreotype
Without bills being passed by Parliament, as had been arranged in France, Arago having presented a bill in the House of Deputies and Gay-Lussac in the Chamber of Peers, there was no possibility of repeating the French arrangement in England which is why the daguerreotype was given free to the world by the French government with the exception of England and Wales for which Richard Beard controlled the patent rights.
Ezra Greenleaf Weld
Of the six daguerreotypes of Douglass that have survived, only one besides Greenleaf's image has had its daguerreotypist identified. Greenleaf's image is unique because it is a group shot at an outdoor meeting rather than a studio portrait. Daguerreotypes were seldom attempted under these circumstances because the long exposure time required made it difficult to get a satisfactory result. Weld's is the only daguerreotype of Douglass whose date is known with certainty. This daguerreotype is also unique in the paradoxical sense that it is the only one known to have been copied. Two original half-plates exist: One is held by the Madison County Historical Society in Oneida, New York, the other is in a private collection and currently on display at the Smithsonian Institution in Washington, D.C. The copy (shown above) is in the J. Paul Getty Museum, Los Angeles, California.
Daniel Davis Jr.
In 1842 Daniel Davis Jr. patented a method for colouring daguerreotypes through electroplating, and his work was refined by Warren Thompson the following year.
Daguerreotype
In the US and Britain, the tradition of preserving miniature paintings in a wooden case covered with leather or paper stamped with a relief pattern continued through to the daguerreotype. Some daguerreotypists were portrait artists who also offered miniature portraits. Black-lacquered cases ornamented with inset mother of pearl were sometimes used. The more substantial Union case was made from a mixture of colored sawdust and shellac (the main component of wood varnish) formed in a heated mold to produce a decorative sculptural relief. The word "Union" referred to the sawdust and varnish mixture—the manufacture of Union cases began in 1856. In all types of cases, the inside of the cover was lined with velvet or plush or satin to provide a dark surface to reflect into the plate for viewing and to protect the cover glass. Some cases, however, held two daguerreotypes opposite each other. The cased images could be set out on a table or displayed on a mantelpiece. Most cases were small and lightweight enough to easily carry in a pocket, although that was not normally done. The other approach, common in France and the rest of continental Europe, was to hang the daguerreotype on the wall in a frame, either simple or elaborate.
Johann Pucher
As a schoolchild, Pucher was interested in art, languages, and the natural sciences, especially chemistry and physics. He wanted to study art, but obeyed his mother's wish and became a Catholic priest. However, he continued to experiment in photography, art, and music. When the French Academy of Sciences announced the invention of the daguerreotype on 19 August 1839, Pucher quickly mastered the process, but it was too expensive, so he developed his own way of making photographs. On 19 April 1842, he invented a photographic process on glass that he called the hyalotype, or "svetlopis" in Slovene. His photos are also called puharotypes, in his honor. The first report about his invention was published in the newspaper "Carniolia" in 1841.
Daguerreotype
Usually, it was arranged so that sitters leaned their elbows on a support such as a posing table, the height of which could be adjusted, or else head rests were used that did not show in the picture, and this led to most daguerreotype portraits having stiff, lifeless poses. Some exceptions exist, with lively expressions full of character, as photographers saw the potential of the new medium, and would have used the tableau vivant technique. These are represented in museum collections and are the most sought after by private collectors today. In the case of young children, their mothers were sometimes hidden in the frame, to calm them and keep them still so as to prevent blurring.
The image in a daguerreotype is often described as being formed by the amalgam, or alloy, of mercury and silver because mercury vapor from a pool of heated mercury is used to develop the plate; but using the Becquerel process (using a red filter and extra exposure) daguerreotypes can be produced without mercury, and chemical analysis shows that there is no mercury in the final image with the Becquerel process. This brings into question the theory that the image is formed of amalgam with mercury development.
Pierre-Gustave Joly de Lotbinière
In 1839, Joly was in Paris at the time when Louis Daguerre unveiled his early photographic process to the scientific world. Embarking on a trip to the Middle East, Pierre-Gustave acquired one of the first daguerreotype cameras from Noël Paymal Lerebours in order to make photographic records of the ancient monuments he was about to see on his journey. He travelled via Malta to Greece, where he visited Athens and other places, and then carried on to Alexandria. There, he met the painter Horace Vernet and his nephew, Frédéric Goupil-Fesquet, who were also carrying daguerreotype equipment. The three men undertook some excursions in Egypt together before parting company. Joli then travelled to the Holy Land, Syria and Turkey. Back in Paris, five of his 92 plates were published by Lerebours in his book "Excursions daguerriennes" (1840–41), others by architect Hector Horeau for his book "Panorama from Egypt and Nubia" (1841). Due to technological restrictions, the daguerretypes themselves could not be reproduced and, instead, were copied as engravings which could then be printed. None of Joly's original plates has been identified, and they may well be lost. What they contained is known through his diary which has been published in 2011.
Carl August von Steinheil
In 1839, Steinheil used silver chloride and a cardboard camera to make pictures in negative from the Museum of Art and the Munich Frauenkirche, then taking another picture of the negative to get a positive, the actual black and white reproduction of a view on the object. The pictures produced were round with a diameter of 4 cm, the method was later named the “Steinheil method.” It was the first daguerreotype in Germany.
Daguerreotype
By the late 18th century, small, easily portable box-form units equipped with a simple lens, an internal mirror, and a ground glass screen had become popular among affluent amateurs for making sketches of landscapes and architecture. The camera was pointed at the scene and steadied, a sheet of thin paper was placed on top of the ground glass, then a pencil or pen could be used to trace over the image projected from within. The beautiful but fugitive little light-paintings on the screen inspired several people to seek some way of capturing them more completely and effectively—and automatically—by means of chemistry.
Daspletosaurus
The type specimen of "Daspletosaurus torosus" (CMN 8506) is a partial skeleton including the skull, the shoulder, a forelimb, the pelvis, a femur and all of the vertebrae from the neck, torso and hip, as well as the first eleven tail vertebrae. It was discovered in 1921 near Steveville, Alberta, by Charles Mortram Sternberg, who thought it was a new species of "Gorgosaurus". It was not until 1970 that the specimen was fully described by Dale Russell, who made it the type of a new genus, "Daspletosaurus", from the Greek δασπλής ("dasplēs", stem and connective vowel resulting in "dasplēto"~) ("frightful") and "σαυρος/sauros" ("lizard"). The type species is "Daspletosaurus torosus", the specific name "torosus" being Latin for 'muscular' or 'brawny'. Aside from the type, there is only one other well-known specimen, RTMP 2001.36.1, a relatively complete skeleton discovered in 2001. Both specimens were recovered from the Oldman Formation in the Judith River Group of Alberta. The Oldman Formation was deposited during the middle Campanian stage of the Late Cretaceous, from about 77 to 76 Ma (million years ago). A specimen from the younger Horseshoe Canyon Formation in Alberta has been reassigned to "Albertosaurus sarcophagus". Another specimen from the Horseshoe Canyon Formation may be referrable to "Daspletosaurus", but this has not been confirmed or rejected yet.
Post-mortem photography
The invention of the daguerreotype in 1839 made portraiture much more commonplace, as many of those who were unable to afford the commission of a painted portrait could afford to sit for a photography session. This cheaper and quicker method also provided the middle class with a means for memorializing dead loved ones.
Daguerreotype
Johnson's father travelled to England with some specimen portraits to patent the camera and met with Richard Beard who bought the patent for the camera, and a year later bought the patent for the daguerreotype outright. Johnson assisted Beard in setting up a portrait studio on the roof of the Regent Street Polytechnic and managed Beard's daguerreotype studio in Derby and then Manchester for some time before returning to the US.
Daguerreotype
Although the daguerreotype process is sometimes said to have died out completely in the early 1860s, documentary evidence indicates that some very slight use of it persisted more or less continuously throughout the following 150 years of its supposed extinction. A few first-generation daguerreotypists refused to entirely abandon their old medium when they started making the new, cheaper, easier to view but comparatively drab ambrotypes and tintypes. Historically minded photographers of subsequent generations, often fascinated by daguerreotypes, sometimes experimented with making their own or even revived the process commercially as a "retro" portraiture option for their clients. These eccentric late uses were extremely unusual and surviving examples reliably dated to between the 1860s and the 1960s are now exceedingly rare.
Daguerreotype
Several types of antique photographs, most often ambrotypes and tintypes, but sometimes even old prints on paper, are very commonly misidentified as daguerreotypes, especially if they are in the small, ornamented cases in which daguerreotypes made in the US and UK were usually housed. The name "daguerreotype" correctly refers only to one very specific image type and medium, the product of a process that was in wide use only from the early 1840s to the late 1850s.
Daguerreotype
A well-exposed and sharp large-format daguerreotype is able to faithfully record fine detail at a resolution that today's digital cameras are not able to match.
Paris under Louis-Philippe
Paris was the birthplace of modern photography. A process for capturing images on plates coated with light-sensitive chemicals had been discovered by Nicéphore Niépce in 1826 or 1827 in rural France. After this death in 1833, the process was refined by the Paris artist and entrepreneur Louis Daguerre, who had invented the Paris Diorama. His new method of photography, called the daguerrotype, was publicly announced to a joint meeting of the French Academy of Sciences and the Academy of Fine Arts in Paris on 19 August 1839. Daguerre gave the rights to the invention to the French nation, which offered them for free to any user in the world. In exchange, Daguerre received a pension from the French state. The daguerrotype became the most common method of photography during the 1840s and 1850s.
Daspletosaurus
Along with the holotype, Russell designated a specimen collected by Barnum Brown in 1913 as the paratype of "D. torosus". This specimen (AMNH 5438) consists of parts of the hindleg, the pelvis and some of its associated vertebrae. It was discovered in the Dinosaur Park Formation in Alberta. The Dinosaur Park Formation was formerly known as the Upper Oldman Formation and dates back to the middle Campanian, between 76.5 and 74.8 million years ago. "Daspletosaurus" fossils are known specifically from the middle to upper section of the formation, between 75.6 and 75.0 million years ago. In 1914, Brown collected a nearly complete skeleton and skull; forty years later his American Museum of Natural History sold this specimen to the Field Museum of Natural History in Chicago. It was mounted for display in Chicago and labeled as "Albertosaurus libratus" for many years, but after several skull features were later found to be modeled in plaster, including most of the teeth, the specimen (FMNH PR308) was reassigned to "Daspletosaurus torosus" by Thomas Carr in 1999. A total of eight specimens have been collected from the Dinosaur Park Formation over the years since, most of them within the boundaries of Dinosaur Provincial Park. Phil Currie believes that the Dinosaur Park specimens represent a new species of "Daspletosaurus", distinguished by certain features of the skull. Pictures of this new species have been published, but it still awaits a name and full description in print.
Photography in Denmark
Christian Tuxen Falbe, a Danish marine officer, was in Paris in January 1839 on behalf of Crown Prince Frederik when Louis Daguerre revealed the art of daguerreotyping. Falbe informed the Crown Prince of a visit to Daguerre where he had seen some of the very earliest daguerreotypes, explaining how impressed he had been by the new process and how important he thought it would be for art and science in Denmark. Shortly afterwards, he returned to Copenhagen with a camera and a couple of his own daguerreotypes for the Crown Prince who, believing them to be of scientific importance, deposited them with Hans Christian Ørsted, one of Denmark's most prominent scientists. As a result of Ørsted's own interest in photography, the new art took on rapidly: the daguerreotypist Mads Alstrup (1809–76) opened Copenhagen's first photographic studio in 1842; and by 1850 there were over a hundred studios in Copenhagen and many more in the provinces.
Henry Collen
Calotype was an early photographic process developed by Henry Fox Talbot who was a colleague of Collen's. Talbot supplied the photographic knowledge and Collen the artistic know-how. In an article titled "Photography in the 1840s," Peter Marshall describes the distinction between daguerreotypes and calotypes. "The daguerrotype spread rapidly around the world...There were some limitations on the spread." Daguerre's process was somewhat limited by his prior patent in the UK, and so only those professionals who could afford a license were able to do so. Meanwhile, Talbot patented his calotype process in the UK and the US, but he was unable to get a patent in France which also limited its growth. Also, Marshall states, "In general, most professional photographers used the daguerreotype process in the 1840s, while the calotype was generally favored by those who were not attempting to earn an income." (A chart describing the differences between calotypes and daguerreotypes is included in the Appendix).
Daguerreotype
It is possible that Morse may have been the first American to view a daguerreotype first-hand. Morse's experience with art and technology in the early 1800s attracted him to the daguerreotype; in the summers of 1820 and 1821 he conducted proto-photographic experiments with Benjamin Silliman. In his piece The Gallery of the Louvre Morse used a Camera obscura to precisely capture the gallery which he then used to create the final painting.
Peter Britt
Until 1858 Britt could take only daguerreotypes or ambrotypes, processes that provided only the photo, no negatives or extra prints. About 200 of his daguerreotypes survive. Britt's first wet plate negative was taken of a trapper who agreed to sit for Britt's experiment.
History of the camera
After Niépce's death in 1833, his partner Louis Daguerre continued to experiment and by 1837 had created the first practical photographic process, which he named the daguerreotype and publicly unveiled in 1839. Daguerre treated a silver-plated sheet of copper with iodine vapor to give it a coating of light-sensitive silver iodide. After exposure in the camera, the image was developed by mercury vapor and fixed with a strong solution of ordinary salt (sodium chloride). Henry Fox Talbot perfected a different process, the calotype, in 1840. As commercialized, both processes used very simple cameras consisting of two nested boxes. The rear box had a removable ground glass screen and could slide in and out to adjust the focus. After focusing, the ground glass was replaced with a light-tight holder containing the sensitized plate or paper and the lens was capped. Then the photographer opened the front cover of the holder, uncapped the lens, and counted off as many minutes as the lighting conditions seemed to require before replacing the cap and closing the holder. Despite this mechanical simplicity, high-quality achromatic lenses were standard.
History of photography
Niépce died suddenly in 1833, leaving his notes to Daguerre. More interested in silver-based processes than Niépce had been, Daguerre experimented with photographing camera images directly onto a mirror-like silver-surfaced plate that had been fumed with iodine vapor, which reacted with the silver to form a coating of silver iodide. As with the bitumen process, the result appeared as a positive when it was suitably lit and viewed. Exposure times were still impractically long until Daguerre made the pivotal discovery that an invisibly slight or "latent" image produced on such a plate by a much shorter exposure could be "developed" to full visibility by mercury fumes. This brought the required exposure time down to a few minutes under optimum conditions. A strong hot solution of common salt served to stabilize or fix the image by removing the remaining silver iodide. On 7 January 1839, this first complete practical photographic process was announced at a meeting of the French Academy of Sciences, and the news quickly spread. At first, all details of the process were withheld and specimens were shown only at Daguerre's studio, under his close supervision, to Academy members and other distinguished guests. Arrangements were made for the French government to buy the rights in exchange for pensions for Niépce's son and Daguerre and present the invention to the world (with the exception of Great Britain, where an agent for Daguerre patented it) as a free gift. Complete instructions were made public on 19 August 1839. Known as the Daguerreotype process, it was the most common commercial process until the late 1850s. It was superseded by the collodion process.
Daguerreotype
International group exhibitions of contemporary daguerreotypists' works have been held, notably the 2009 exhibition in Bry Sur Marne, France, with 182 daguerreotypes by forty-four artists, and the 2013 ImageObject exhibition in New York City, showcasing seventy-five works by thirty-three artists. The Astolat Dollhouse Castle also displays daguerreotypes. The appeal of the medium lies in the "magic mirror" effect of light striking the polished silver plate and revealing a silvery image which can seem ghostly and ethereal even while being perfectly sharp, and in the dedication and handcrafting required to make a daguerreotype.
Daguerreotype
In the US, Alexander S. Wolcott
invented the mirror daguerreotype camera, according to John Johnson's account in one single day after reading the description of the daguerreotype process published in English translation.
George N. Barnard
Starting his business in New York State in 1843, Barnard was one of the first to use daguerreotype, the first commercially available form of photography, in the United States.
John C. Moss
The weakness in the process came from the fact that the finished photograph had to be framed behind sealed glass to prevent oxidation of the silver, which would cause the photograph to deteriorate. Each image was unique and no copy could be made. This was largely why the daguerreotype became obsolete within 20 years of its invention.
Daguerreotype
Daguerre did not patent and profit from his invention in the usual way. Instead, it was arranged that the French government would acquire the rights in exchange for a lifetime pensions to Daguerre and to Niépce's son and heir, Isidore. The government would then present the daguerreotype process "free to the world" as a gift, which it did on 19 August 1839. However, five days previous to this, Miles Berry, a patent agent acting on Daguerre's behalf filed for patent No. 8194 of 1839: "A New or Improved Method of Obtaining the Spontaneous Reproduction of all the Images Received in the Focus of the Camera Obscura." The patent applied to "England, Wales, and the town of Berwick-upon-Tweed, and in all her Majesty's Colonies and Plantations abroad." This was the usual wording of English patent specifications before 1852. It was only after the 1852 Act, which unified the patent systems of England, Ireland and Scotland, that a single patent protection was automatically extended to the whole of the British Isles, including the Channel Isles and the Isle of Man. Richard Beard bought the patent rights from Miles Berry, and also obtained a Scottish patent, which he apparently did not enforce. The United Kingdom and the "Colonies and Plantations abroad" therefore became the only places where a license was legally required to make and sell daguerreotypes.
Louis Daguerre
In 1829, Daguerre partnered with Nicéphore Niépce, an inventor who had produced the world's first heliograph in 1822 and the oldest surviving camera photograph in 1826 or 1827. Niépce died suddenly in 1833, but Daguerre continued experimenting, and evolved the process which would subsequently be known as the daguerreotype. After efforts to interest private investors proved fruitless, Daguerre went public with his invention in 1839. At a joint meeting of the French Academy of Sciences and the Académie des Beaux Arts on 7 January of that year, the invention was announced and described in general terms, but all specific details were withheld. Under assurances of strict confidentiality, Daguerre explained and demonstrated the process only to the Academy's perpetual secretary François Arago, who proved to be an invaluable advocate. Members of the Academy and other select individuals were allowed to examine specimens at Daguerre's studio. The images were enthusiastically praised as nearly miraculous, and news of the daguerreotype quickly spread. Arrangements were made for Daguerre's rights to be acquired by the French Government in exchange for lifetime pensions for himself and Niépce's son Isidore; then, on 19 August 1839, the French Government presented the invention as a gift from France "free to the world", and complete working instructions were published. In 1839, he was elected to the National Academy of Design as an Honorary Academician.
Robert Cornelius
With his own knowledge of chemistry and metallurgy, as well as the help of chemist Paul Beck Goddard, Cornelius attempted to perfect the daguerreotype. Around October 1839, at age thirty, Cornelius took a self-portrait outside of the family store. The daguerreotype produced is an off-center portrait of a man with crossed arms and tousled hair. While Daguerre's photograph of the Boulevard du Temple, taken one year earlier, has since been discovered to incidentally include two human figures on the sidewalk (they just happened to stay motionless long enough to imprint on the exposure), Cornelius' image – which required him to sit motionless for 10 to 15 minutes – is the oldest known intentional photographic portrait/self-portrait of a human.
Daguerreobase
In 2014 Daguerreobase and Europeana will celebrate the 175th birthday of photography with a Virtual Exhibition of European daguerreotypes on their website.
Tintype
The tintype photograph saw more uses and captured a wider variety of settings and subjects than any other photographic type. It was introduced while the daguerreotype was still popular, though its primary competition would have been the ambrotype.
Filippos Margaritis
Filippos Margaritis (1810–1892) is generally acknowledged to have been the first Greek photographer, whose earliest daguerreotypes, of the Acropolis of Athens, date from 1847. Having studied painting in lithography in Paris, he opened a studio in [Athens] in 1837 and began teaching at the School of Fine Arts in 1842. He learned the techniques of the daguerreotypes from the French photographer Philibert Perraud who arrived in Greece in 1847, and in turn passed on his knowledge to the students of Athens Polytechnic around 1850.
Daguerreotype
In 1829 French artist and chemist Louis-Jacques-Mandé Daguerre, when obtaining a camera obscura for his work on theatrical scene painting from the optician Chevalier, was put into contact with Nicéphore Niépce, who had already managed to make a record of an image from a camera obscura using the process he invented: heliography.
Louis Daguerre
After the death of Niépce in 1833, Daguerre concentrated his attention on the light-sensitive properties of silver salts, which had previously been demonstrated by Johann Heinrich Schultz and others. For the process which was eventually named the daguerreotype, he exposed a thin silver-plated copper sheet to the vapour given off by iodine crystals, producing a coating of light-sensitive silver iodide on the surface. The plate was then exposed in the camera. Initially, this process, too, required a very long exposure to produce a distinct image, but Daguerre made the crucial discovery that an invisibly faint "latent" image created by a much shorter exposure could be chemically "developed" into a visible image. Upon seeing the image, the contents of which are unknown, Daguerre said, "I have seized the light – I have arrested its flight!"
Martha Lloyd
A single photograph (daguerreotype) exists of Martha, capturing her in old age accompanied by her dog. It must have been taken at some point after 1839 (when the daguerreotype was invented).
Franziska Möllinger
It is not very clear why Möliinger became interested in daguerrotypes but it may well have been because her brother Otto was also the editor of the local Solothurn news sheet which, on 4 April 1839, published a report on Daguerre's work. The "Solothurner Blatt" later reported on progress on daguerrotypes on 28 August 1839. In the December edition, Otto Möllinger reported on progress in even greater detail.
Daguerreotype
Conservators were able to determine that a daguerreotype of Walt Whitman was made in New Orleans with the main clue being the type of frame, which was made for wall hanging in the French and continental style. Supporting evidence of the New Orleans origin was a scrap of paper from "Le Mesager", a New Orleans bilingual newspaper of the time, which had been used to glue the plate into the frame. Other clues used by historians to identify daguerreotypes are hallmarks in the silver plate and the distinctive patterns left by different photographers when polishing the plate with a leather buff, which leaves extremely fine parallel lines discernible on the surface.
James Ambrose Cutting
When dry, the glass plate was then backed either with black paint, metal, cloth, or paper; this black backing made light areas of the negative appear darker, turning the negative image into a positive. Some ambrotypes were made with ruby or dark green glass to simulate the effect of a backing without using one. Ambrotypes often were hand-colored, most commonly with dabs of red paint on the cheeks of the sitter. They were housed in wood or thermoplastic cases (also called 'Union cases'), like the daguerreotype photographs with which they are often confused; an ambrotype is easily distinguished from a daguerreotype because its surface is not reflective, as daguerreotype surfaces are. Ambrotypes were most popular during the mid- to late-1850s but continued to be available through the 1890s.
Samuel Morse
On a subsequent visit to Paris in 1839, Morse met Louis Daguerre. He became interested in the latter's daguerreotype—the first practical means of photography. Morse wrote a letter to the "New York Observer" describing the invention, which was published widely in the American press and provided a broad awareness of the new technology.
Daguerreotype
Daguerre met with Niépce and entered into correspondence with him. Niépce had invented an early internal combustion engine (the Pyréolophore) together with his brother Claude and made improvements to the velocipede, as well as experimenting with lithography and related processes. Their correspondence reveals that Niépce was at first reluctant to divulge any details of his work with photographic images. To guard against letting any secrets out before the invention had been improved, they used a numerical code for security. 15, for example, signified the tanning action of the sun on human skin ("action solaire sur les corps"); 34 – a camera obscura ("chambre noir"); 73 – sulphuric acid.
Paper texture effects in calotype photography
Practical photography plausibly dates from the announcement of the Daguerreotype in 1839. This stimulated work by others: in 1840, the Englishman Talbot discovered what he called the calotype process for making photographic negatives on writing paper with the relatively short exposure time of a few minutes for subjects in bright sunlight. A positive print could subsequently be made by pressing a negative under glass against another piece of sensitive paper and exposing it to sunlight. For this, negatives were waxed to make them more transparent. Since many prints could be made from a single negative, travel photography became possible, and prints from calotypes were soon distributed in book form and sold in shops. The chemical operations used to make a calotype were not difficult to perform, and relatively few specialized supplies were required. But the process had a serious deficiency, and it was quickly replaced by photography on glass when this became practical.
Photography in the United States
The practice of photography in the United States begins in the 19th century, when various advances in the development of photography took place, daguerreotype is introduced in 1839. In 1866 first color photography is taken. With introduction of photography, a new form of art emerge.
Daguerreotype
Much of Daguerre's early work was destroyed when his home and studio caught fire on 8 March 1839, while the painter Samuel Morse was visiting from the US.
Daguerreotype
The other major innovation was a chemical one. In Daguerre's original process, the plate was sensitized by exposure to iodine fumes alone. A breakthrough came with the discovery that when exposure to bromine or chlorine fumes was correctly combined with this, the sensitivity of the plate could be greatly increased, which in turn greatly reduced the required exposure time to between fifteen and thirty seconds in favorable lighting conditions, according to Eder. Several experimenters discovered the propensity of using chlorine and bromine in addition to iodine: Wolcott, whose "Wolcott's mixture" was marketed by his partner, John Johnson that they called "quickstuff"; two unrelated individuals with the surname Goddard – Philadelphia physician and chemist Paul Beck Goddard, and John Frederick Goddard who lectured at the Adelaide Gallery before assisting Beard with setting up the first daguerreotype portraiture studio on the roof of the Regent Street Polytechnic; (John Frederick Goddard was the first to publish information that bromine increased the sensitivity of daguerreotype plates in the "Literary Gazette" of 12 December 1840) and in Vienna: Krachowila and the Natterer brothers.
Daguerreotype
The stated exposure times are evidently for plates sensitized with iodine only; improved sensitization methods were just being introduced in 1841–42.
Dakotaraptor
The first fossils of "Dakotaraptor" were found in South Dakota, United States, in 2005. In 2015, the genus "Dakotaraptor" received its name, meaning "plunderer of Dakota", when the type species "Dakotaraptor steini" was described. The fossils contain an incomplete skeleton without a skull and some individual bones. They have been found in the Maastrichtian-age Hell Creek Formation, dated to the very end of the Cretaceous period, making "Dakotaraptor" one of the last surviving dromaeosaurids.
Daniel DeWitt Tompkins Davie
Davie had wanted to be a painter but gave up the idea for financial reasons. Instead he learned the daguerreotype technique sometime after 1843, and in 1846, he opened his first photography studio, located in Utica, New York. Although Davie was almost entirely self-taught, his professional reputation developed rapidly, and in 1850 he traveled to Washington, DC, where he photographed nearly every member of both houses of Congress along with other public figures. His 1850 daguerreotype of Daniel Webster was considered in its day "one of the most striking likenesses" of that statesman.
Dakotaraptor
In 2005, paleontologist Robert DePalma in Harding County, South Dakota discovered the skeleton of a large dromaeosaurid. Subsequently, the same site produced additional dromaeosaurid remains, as well as abundant other fossils in 2010 described by DePalma in his master's thesis.
In 2015, the type species "Dakotaraptor steini" was named and described by Robert A. DePalma, David A. Burnham, Larry Dean Martin, Peter Lars Larson and Robert Thomas Bakker. The generic name combines a reference to South Dakota and the Dakota people with a Latin "raptor", "plunderer". The specific name honours paleontologist Walter W. Stein. "Dakotaraptor" was one of eighteen dinosaur taxa from 2015 to be described in open access or free-to-read journals.
Louis Daguerre
When the first reports of the French Academy of Sciences announcement of Daguerre's invention reached Talbot, with no details about the exact nature of the images or the process itself, he assumed that methods similar to his own must have been used, and promptly wrote an open letter to the Academy claiming priority of invention. Although it soon became apparent that Daguerre's process was very unlike his own, Talbot had been stimulated to resume his long-discontinued photographic experiments. The "developed out" daguerreotype process only required an exposure sufficient to create a very faint or completely invisible latent image which was then chemically developed to full visibility. Talbot's earlier "sensitive paper" (now known as "salted paper") process was a "printed out" process that required prolonged exposure in the camera until the image was fully formed, but his later calotype (also known as talbotype) paper negative process, introduced in 1841, also used latent image development, greatly reducing the exposure needed, and making it competitive with the daguerreotype.
Calotype
In late 1840, Talbot worked out a very different "developing-out" process (a concept pioneered by the daguerreotype process introduced in 1839), in which only an extremely faint or completely invisible latent image had to be produced in the camera, which could be done in a minute or two if the subject was in bright sunlight. The paper, shielded from further exposure to daylight, was then removed from the camera and the latent image was chemically developed into a fully visible image. This major improvement was introduced to the public as the "calotype" or "talbotype" process in 1841.
Night photography
The first-known attempt at astronomical photography was by Louis Jacques Mandé Daguerre, inventor of the daguerreotype process which bears his name, who attempted in 1839 to photograph the Moon. Tracking errors in guiding the telescope during the long exposure meant the photograph came out as an indistinct fuzzy spot.
Daguerreotype
The written contract drawn up between Nicéphore Niépce and Daguerre includes an undertaking by Niépce to release details of the process he had invented – the asphalt process or heliography. Daguerre was sworn to secrecy under penalty of damages and undertook to design a camera and improve the process. The improved process was eventually named the physautotype.
Daguerreotype
Niépce's early experiments had derived from his interest in lithography and centered around capturing the image in a camera (then called a camera obscura) to result in an engraving that could be printed somehow by lithography. The asphalt process or heliography required exposures that were so long that Arago said it was not fit for use. Nevertheless, without Niépce's experiments, it is unlikely that Daguerre would have been able to build on them to adapt and improve what turned out to be the daguerreotype process.
Charles Nègre
Delaroche encouraged the use of photography as research for painting; Nègre started with the daguerreotype process before moving on to calotypes. His "Chimney-Sweeps Walking", an albumen print taken on the Quai Bourbon in 1851, may have been a staged study for a painting, but is nevertheless considered important to photographic history for its being an early instance of an interest in capturing movement and freezing it forever in one moment.
Daguerreotype
In the Becquerel variation of the process, published in 1840 but very seldom used in the 19th century, the plate, sensitized by fuming with iodine alone, was developed by overall exposure to sunlight passing through yellow or red glass. The silver iodide in its unexposed condition was insensitive to the red end of the visible spectrum of light and was unaffected, but the latent image created in the camera by the blue, violet and ultraviolet rays color-sensitized each point on the plate proportionally, so that this color-filtered "sunbath" intensified it to full visibility, as if the plate had been exposed in the camera for hours or days to produce a visible image without development.
History of erotic depictions
The daguerreotypes were not without drawbacks, however. The main difficulty was that they could only be reproduced by photographing the original picture since each image was an original and the all-metal process does not use negatives. In addition, the earliest daguerreotypes had exposure times ranging from three to fifteen minutes, making them somewhat impractical for portraiture. Unlike earlier drawings, action could not be shown. The poses that the models struck had to be held very still for a long time. Because of this, the standard pornographic image shifted from one of two or more people engaged in sex acts to a solitary woman exposing her genitals. Since one picture could cost a week's salary, the audience for these nudes mostly consisted of artists and the upper echelon of society. It was cheaper to hire a prostitute and experience the sex acts than it was to own a picture of them in the 1840s. Stereoscopy was invented in 1838 and became extremely popular for daguerreotypes, including the erotic images. This technology produced a type of three dimensional view that suited erotic images quite well. Although thousands of erotic daguerreotypes were created, only around 800 are known to survive; however, their uniqueness and expense meant that they were once the toys of rich men. Due to their rarity, the works can sell for more than 10,000 GBP.
Daguerreotype
The first reliably documented attempt to capture the image formed in a camera obscura was made by Thomas Wedgwood as early as the 1790s, but according to an 1802 account of his work by Sir Humphry Davy:
Hand-colouring of photographs
Parallel efforts to produce coloured photographic images affected the popularity of hand-colouring. In 1842 Daniel Davis Jr. patented a method for colouring daguerreotypes through electroplating, and his work was refined by Warren Thompson the following year. The results of the work of Davis and Thompson were only partially successful in creating colour photographs and the electroplating method was soon abandoned. In 1850 Levi L. Hill announced his invention of a process of daguerreotyping in natural colours in his "Treatise on Daguerreotype". Sales of conventional uncoloured and hand-coloured daguerreotypes fell in anticipation of this new technology. Hill delayed publication of the details of his process for several years, however, and his claims soon came to be considered fraudulent. When he finally did publish his treatise in 1856, the process – whether bona fide or not – was certainly impractical and dangerous.
Photography in Denmark
A number of other techniques developed in parallel with the use of daguerreotypes. The ambrotype, using collodium to produce a positive image on glass, and the pannotype, also collodium-based, were both used in Denmark from around 1855. Negative-based paper prints, used from the beginning of the 1850s, were produced on salt paper until around 1857 when salt was replaced by albumen. Collodion emulsion chloride paper was used from 1865 and in 1880 gelatin emulsion paper was introduced.
Daguerreotype
Morse's account of the brand-new invention interested the American public, and through further publishings the technique of the daguerreotype integrated into the United States. Magazines and newspapers included essays applauding the daguerreotype for advancing democratic American values because it could create an image without painting, which was less efficient and more expensive. The introduction of the daguerreotype to America also promoted progress of ideals and technology. For example, an article published in the Boston Daily Advertiser on February 23, 1839 described the daguerreotype as having similar properties of the camera obscura, but introduced its remarkable capability of "fixing the image permanently on the paper, or making a permanent drawing, by the agency of light alone," which combined old and new concepts for readers to understand.
Daguerreotype
Directions for the use of the new daguerreotype apparatus for the making of portraits, executed according to the calculations of Professor Petzval by Voigtländer and Son, Vienna, printed by J.P.Sollinger, August 1, 1841.
Hand-colouring of photographs
In an attempt to create more realistic images, photographers and artists would hand-colour monochrome photographs. 
The first hand-coloured daguerreotypes are attributed to Swiss painter and printmaker Johann Baptist Isenring, who used a mixture of gum arabic and pigments to colour daguerreotypes soon after their invention in 1839. Coloured powder was fixed on the delicate surface of the daguerreotype by the application of heat. Variations of this technique were patented in England by Richard Beard in 1842 and in France by Étienne Lecchi in 1842 and Léotard de Leuze in 1845. Later, hand-colouring was used with successive photographic innovations, from albumen and gelatin silver prints to lantern slides and transparency photography.
Abraham Bogardus
Abraham Bogardus (November 29, 1822 – March 22, 1908) was an American Daguerreotypist and photographer who made some 200,000 daguerreotypes during his career. 
He was trained in the Daguerreotype process by New Yorker George W. Prosch, who in 1839 had made a camera for Samuel F.B. Morse. Bogardus opened a studio and gallery at 363 Broadway in New York in 1846, becoming very successful. In 1868, he helped in the founding of the National Photographic Association of which he was President for five years. He worked as a clerk in a dry goods store in the late 1830s, and exhibited a painting at the American Institute in 1845.
From 1847 to 1852, he was listed as a Daguerreotypist at 217 Greenwich Street. His residence was in Newark, N.J. from 1849 to 1851, returning to Grove Street, New York City between 1851 and 1852. His success enabled a branch gallery at 126 Washington Street, Newark, N.J. in 1849, which moved to 8 Clinton Street, Newark, N.J. in 1850. His New York City gallery was moved to 229 Greenwich Street in 1851 and the old Root Gallery at 363 Broadway refitted in 1862. He opened a new studio at 1153 Broadway in 1869, maintaining the 363 Broadway address.
Joseph-Philibert Girault de Prangey
Girault de Prangey studied painting in Paris at the École des Beaux-Arts and in 1841 he learned daguerreotypy, possibly from Louis Daguerre himself or from Hippolyte Bayard. Girault de Prangey was keenly interested in the architecture of the Middle East, and he toured Italy and the countries of the eastern Mediterranean between 1841 and 1844, producing over 900 daguerreotypes of architectural views, landscapes, and portraits.
Daguerreotype
Letters from Niépce to Daguerre dated 24 June and 8 November 1831, show that Niépce was unsuccessful in obtaining satisfactory results following Daguerre's suggestion, although he had produced a negative on an iodized silver plate in the camera. Niépce's letters to Daguerre dated 29 January and 3 March 1832 show that the use of iodized silver plates was due to Daguerre and not Niépce.
Hand-colouring of photographs
Monochrome (black and white) photography was first exemplified by the daguerreotype in 1839 and later improved by other methods including: calotype, ambrotype, tintype, albumen print and gelatin silver print. The majority of photography remained monochrome until the mid-20th century, although experiments were producing colour photography as early as 1855 and some photographic processes produced images with an inherent overall colour like the blue of cyanotypes.
Daguerreotype
Isidore did not contribute anything to the invention of the Daguerreotype and he was not let in on the details of the invention. Nevertheless, he benefited from the state pension awarded to him together with Daguerre.
Daguerreotype
By 1853, an estimated three million daguerreotypes per year were being produced in the United States alone. One of these original Morse Daguerreotype cameras is currently on display at the National Museum of American History, a branch of the Smithsonian Institution, in Washington, DC. A flourishing market in portraiture sprang up, predominantly the work of itinerant practitioners who traveled from town to town. For the first time in history, people could obtain an exact likeness of themselves or their loved ones for a modest cost, making portrait photographs extremely popular with those of modest means. Celebrities and everyday people sought portraits and workers would save an entire day's income to have a daguerreotype taken of them, including occupational portraits.
René Dagron
He grew up in rural France but he left for Paris at an early age. In Paris he distinguished himself in the study of Physics and Chemistry. As a chemistry student Dagron became interested in Daguerrotypes when the process of producing them was announced on 19 August 1839. After graduation, Dagron established a photographic portrait studio in Paris. While in Paris Dagron became familiar with the collodion wet plate and collodio-albumen dry plate processes which he would later adapt to his microfilm techniques.
John Jabez Edwin Mayall
Six nations: the United States, England, France, Italy, Germany and Austria exhibited 700 daguerrotypes in a special section of the Great Exhibition devoted to Daguerreotypes and Calotypes. It is considered the first international photography competition. Mayall exhibited 72 daguerreotypes in the photographic section and he received an Honourable Mention in the jury's official report on the photographic exhibits. Three of the five medals awarded to daguerreotypes went to the Americans Mathew Brady, Martin M. Lawrence and John Adams Whipple.
Louis Daguerre
Daguerreotypes were usually portraits; the rarer landscape views and other unusual subjects are now much sought-after by collectors and sell for much higher prices than ordinary portraits. At the time of its introduction, the process required exposures lasting ten minutes or more for brightly sunlit subjects, so portraiture was an impractical ordeal. Samuel Morse was astonished to learn that daguerreotypes of the streets of Paris did not show any people, horses or vehicles, until he realized that due to the long exposure times all moving objects became invisible. Within a few years, exposures had been reduced to as little as a few seconds by the use of additional sensitizing chemicals and "faster" lenses such as Petzval's portrait lens, the first mathematically calculated lens.
Daguerreotype
Daguerre was present but complained of a sore throat. Later that year William Fox Talbot announced his silver chloride "sensitive paper" process.
Daguerreotype
The discovery and commercial availability of the halides: iodine, bromine and chlorine a few years earlier (iodine was discovered by Courtois in 1811, bromine by Löwig in 1825 and Balard in 1826 independently, and chlorine by Scheele in 1774) meant that silver photographic processes that rely on the reduction of silver iodide, silver bromide and silver chloride to metallic silver became feasible. The daguerreotype is one of these processes, but was not the first, as Niépce had experimented with paper silver chloride negatives while Wedgwood's experiments were with silver nitrate as were Schultze's stencils of letters. Hippolyte Bayard had been persuaded by Arago to wait before making his paper process public.
Daguerreobase
Belgium – eDAVID
François Fleischbein
His paintings show a French academic style as well as a sweetness and charm common to 19th-century German painting.
With the invention of the daguerreotype in 1839, Fleischbein also worked as an early photographer, an enterprise in which his wife took part.
Camera
The collodion wet plate process that gradually replaced the daguerreotype during the 1850s required photographers to coat and sensitize thin glass or iron plates shortly before use and expose them in the camera while still wet. Early wet plate cameras were very simple and little different from Daguerreotype cameras, but more sophisticated designs eventually appeared. The Dubroni of 1864 allowed the sensitizing and developing of the plates to be carried out inside the camera itself rather than in a separate darkroom. Other cameras were fitted with multiple lenses for photographing several small portraits on a single larger plate, useful when making cartes de visite. It was during the wet plate era that the use of bellows for focusing became widespread, making the bulkier and less easily adjusted nested box design obsolete.
John Jabez Edwin Mayall
In the 1840s, the daguerreotype portrait had virtually supplanted the hand-painted portrait miniature. Some critics complained that the daguerreotype portrait on a metal plate was cold and harsh and lacked the finesse and charm of the small-scale painted portrait. In March 1842, Richard Beard had patented a method of colouring daguerreotype pictures. The following month a newspaper reported that "Mr Beard has now discovered the means of colouring the plates after the photographic drawing is completed, thus giving the warmth and truth of a miniature painting." It is known that Mayall used a similar method of hand-colouring daguerreotype portraits while based in Philadelphia. When two journalists visited Mayall's new premises in London's Regent Street in 1853, they observed the work of the "colouring room" in which "two damsels were busily at work" adding colour to Mayall's daguerreotype portraits.
Claude Testot-Ferry
In 1826, under Charles X, he retired at the rank of Maréchal de Camp (equivalent of Général de Brigade). Aged around 70, he was one of only two officers of the army of the First Empire ever to be photographed, in a daguerréotype, since the end of his life coincided with Daguerre's invention of this format in 1835.
Dacentrurus
The holotype, BMNH 46013, was found in a layer of the Kimmeridge Clay Formation dating from the late Kimmeridgian. The main nodule fragment contains the pelvis; a series of six posterior dorsal vertebrae, all sacrals and eight anterior caudal vertebrae; a right femur and some loose vertebrae. In all, thirteen detached vertebrae are present in the material. Also an almost complete left forelimb was contained by another loam clump. Additional elements include a partial fibula with calcaneum, a partial tibia, a right neck plate and a left tail spike.
Several other species would be named within the genus "Omosaurus". Part of the British Museum of Natural History collection was specimen BMNH 46321, a pair of spike bases found in the Kimmeridge Clay by William Cunnington near the Great Western Railway cutting near Wootton Bassett. These Owen in 1877 named "Omosaurus hastiger", the epithet meaning "spike-bearer" or "lance-wielder", the spikes by him seen as placed on the wrist of the animal. In 1887, John Whitaker Hulke named "Omosaurus durobrivensis" based on specimen BMNH R1989 found at Tanholt, close to Eye, Cambridgeshire, the specific name being derived from Durobrivae. (That specimen is sometimes mistakenly said to have been found at Fletton, Peterborough, Cambridgeshire, which is where Alfred Nicholson Leeds made most of his finds.) This in 1956 became the separate genus "Lexovisaurus". In 1893, Harry Govier Seeley named "Omosaurus phillipsii", based on a femur, specimen YM 498, the epithet honouring the late John Phillips. Seeley suggested this may be the same taxon as "Priodontognathus phillipsii" Seeley 1869, which has led to the misunderstanding, due to its having the same specific name, that "Priodontognathus" was simply subsumed by him under "Omosaurus". This interpretation however, is incorrect as both species have different holotypes. "Omosaurus leedsi" is a "nomen nudum" used by Seeley on a label for CAMSM J.46874, a plate found in Cambridgeshire, the epithet honouring Alfred Nicholson Leeds. In 1910 Friedrich von Huene named "Omosaurus vetustus", based on specimen OUM J.14000, a femur found in the west bank of Cherwell River, the epithet meaning "the ancient one". In 1911 Franz Nopcsa named "Omosaurus lennieri", the epithet honouring Gustave Lennier, based on a partial skeleton in 1899 found in the Kimmeridgian "Argiles d'Octeville" near in Normandy, France. The specimen would be destroyed during the allied bombing of Caen in 1944.
Even as the last two "Omosaurus" species were named, it had become known that the name "Omosaurus" had been preoccupied by a "crocodilian" (in fact a phytosaur), "Omosaurus perplexus" Leidy 1856. In 1902 Frederick Augustus Lucas renamed the genus into "Dacentrurus". The name is derived from Greek δα~, "da~", "very" or "full of", κέντρον, "kentron", "point", and οὐρά, "oura", "tail". Lucas only gave a new combination name for the type species "Omosaurus armatus": "Decentrurus armatus", but in 1915 Edwin Hennig moved most "Omosaurus" species to "Dacentrurus", resulting in a "Dacentrurus hastiger", "Dacentrurus durobrivensis", "Dacentrurus phillipsi" and a "Dacentrurus lennieri". Nevertheless, it would be common for researchers to use the name "Omosaurus" instead until the middle of the twentieth century. "D. vetustus", earlier indicated as "Omosaurus" ("Dacentrurus") "vetustus" by von Huene, was included with "Lexovisaurus" as a "Lexovisaurus vetustus" in 1983, but that assignment was rejected with both editions of the "Dinosauria", and "O. vetustus" is now the type species of "Eoplophysis".
Lucian R. Foster
Foster brought the daguerreotype to Nauvoo, Illinois shortly after its introduction and produced the first photographic images of Nauvoo and its citizens from 1844 to 1846.
Alphonse Giroux
Giroux is also known for constructing the daguerreotype cameras designed by Daguerre, the first commercially manufactured photographic camera in the world.
A mass-produced daugerrotype camera cabinet manufactured by Giroux, who was the brother-in-law of Louis Daguerre, was exhibited at the 1839 Exposition des produits de l'industrie française in Paris. It did not win an award, although Giroux did gain a silver medal for a jewelry box.
Boulevard du Temple
A photograph of this street was taken in 1838 by Louis Daguerre from high in his 350-seat Diorama Building at 4, Rue Sanson, where it intersected with the Rue des Marais, and which from the rear looked out roughly southwards over the rooftops towards Boulevard du Temple (since demolished, the place where it stood is at the south side of Rue Léon Jouhaux just off the north corner of Place de la République). The image is one of the earlier Daguerreotypes (invented 1837), and it is thus believed to be the earliest surviving photograph showing a person.
Photographic film
The earliest practical photographic process was the daguerreotype; it was introduced in 1839 and did not use film. The light-sensitive chemicals were formed on the surface of a silver-plated copper sheet. The calotype process produced paper negatives. Beginning in the 1850s, thin glass plates coated with photographic emulsion became the standard material for use in the camera. Although fragile and relatively heavy, the glass used for photographic plates was of better optical quality than early transparent plastics and was, at first, less expensive. Glass plates continued to be used long after the introduction of film, and were used for astrophotography and electron micrography until the early 2000s, when they were supplanted by digital recording methods. Ilford continues to manufacture glass plates for special scientific applications.
John C. Moss
Moss studied the work of Nicéphore Niepce (1765–1833), a French doctor who produced the world’s first photograph in 1826. He also mastered the technique of L.J.M Daguerre, a Frenchman who joined with Niepce to produce, in 1835, what became known as the first daguerreotype photograph, and which was followed by the worldwide commercial success of daguerreotypes.
Daguerreotype
After Niépce's death in 1833, his son, Isidore, inherited rights in the contract and a new version was drawn up between Daguerre and Isidore. Isidore signed the document admitting that the old process had been improved to the limits that were possible and that a new process that would bear Daguerre's name alone was sixty to eighty times as rapid as the old asphalt (bitumen) one his father had invented. This was the daguerreotype process that used iodized silvered plates and was developed with mercury fumes.
Daguerreotype
In the early 1840s, two innovations were introduced that dramatically shortened the required exposure times: a lens that produced a much brighter image in the camera, and a modification of the chemistry used to sensitize the plate.
Abraham George Ellis
A photograph of his parents in 1846 is the earliest known daguerreotype made in Suriname.
1840s
Herrera peacefully turned over the presidency to the winner of the Federal Elections of 1850, General Mariano Arista. Despite being exiled from Mexico in 1848, Santa Anna would return to the presidency one last time during the 1850s. The 1840s saw the rise of the Daguerreotype. Introduced in 1839, the Daguerreotype was the first publicly announced photographic process and came into widespread use in the 1840s. Numerous events in the 1840s were captured by photography for the first time with the use of the Daguerreotype. A number of daguerrotypes were taken of the occupation of Saltillo during the Mexican–American War, in 1847 by an unknown photographer. These photographs stand as the first ever photos of warfare in history.
Collodion process
The collodion process is said to have been invented in 1851, almost simultaneously, by Frederick Scott Archer and Gustave Le Gray. During the subsequent decades, many photographers and experimenters refined or varied the process. By the end of the 1860s it had almost entirely replaced the first announced photographic process, the daguerreotype.
History of photographic lens design
Charles Chevalier's Paris optical firm produced lenses for both Niépce and Daguerre for their experiments in photography. In 1829, Chevalier created an achromatic lens (a two-element lens made from "crown glass" and "flint glass") to cut down on chromatic aberration for Daguerre's experiments. Chevalier reversed the lens (originally designed as a telescope objective) to produce a much flatter image plane and modified the achromat to bring the blue end of the spectrum to a sharper focus. Reversing the lens caused severe spherical aberration so a narrow aperture stop was necessary in front of the lens. On 22 June 1839, Daguerre contracted Alphonse Giroux (France) to manufacture his daguerreotype apparatus. The Giroux Le Daguerreotype camera used an almost 16-inch (40 cm) focal length reversed achromatic lens with a f/16 stop in front of it made by Chevalier to take 6½×8½ inch (about 16.5×21.5 cm) images.
Photoengraving
The use of photoengraving for a halftone process that could be used to print grayscale photographic images dates all the way back to the 1839 introduction of the daguerreotype, the first practical photographic process. The daguerreotype image consisted of a microscopically fine granular structure on the surface of a silver-plated copper sheet that had been polished to a mirror finish. Methods were soon devised for differentially etching the image grains and the ground so that the daguerreotype could be used as a printing plate. In some instances, very pleasing results were obtained, but exceptional skill and care were required and the very fine structure of the image limited the useful life of each plate to a few hundred prints at best.
Frederick Langenheim
Langenheim and his brother William began working in 1840 for a German language newspaper edited by George Francis Schreiber in Philadelphia. Langenheim acquired a daguerreotype camera in 1841 from Von Voigtlander and formed a partnership with Schreiber in a photographic studio business for a couple of years. In 1843 Langenheim went into the photography studio business with his brother at 26–27 Exchange Street in Philadelphia. It was the "W. & F. Langenheim" firm and known as the Philadelphia daguerrotype establishment. They made in 1842 the first advertising picture in history. It was of patrons eating and drinking in the restaurant in the Philadelphia Exchange Building. The picture of people dining was hung in the hall of the building to attract potential customers for the dining room.
In 1845, Langenheim took the first set of panoramic pictures of Niagara Falls ever photographed. The panoramic set of five adjacent scenes were placed in panels in a display frame. The daguerreotype pictures were the first of Niagara Falls according to photo historian Robert Taft (1894-1955). They were the first such pictures to gain world fame. There were eight sets of copies made. A set was sent to Louis Jacques Mandé Daguerre and five crowned heads of Europe, Queen Victoria, and one each to the reigning rulers of Brunswick, Prussia, Saxony, and Wurttemberg. The seventh set was given to United States president James Knox Polk. The eighth set was retained by the Langenheim brothers.