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.
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.