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.
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.