Moses Billings
With the development of the daguerreotype in the 1840s, the role of the portrait painter declined in general, because it was now much easier and much cheaper to have one's likeness presented in a visual format. While many portrait painters lost business in competition with the daguerreotype, Billings instead began to produce daguerreotype prints himself. It is not known exactly which prints were made by Moses Billings, as daguerreotypes were usually signed, when signed at all, along the side of the plate. Due to the traditional storing methods of daguerreotype plates, even this signature usually quickly became illegible. However, it has been generally noted, or at least hypothesized, that his daguerreotype prints showed a level of talent and artistry above that of amateur daguerreotypists. Though it is not known exactly which prints were his, it is known that he had largely abandoned the process by the 1850s. Even after he stopped making daguerreotypes, he did continue to paint people's portraits on canvas.
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.