Daguerreotype
It is said that Daguerre has found the means to collect, on a plate prepared by him, the image produced by the camera obscura, in such a way that a portrait, a landscape, or any view, projected upon this plate by the ordinary camera obscura, leaves an imprint in light and shade there, and thus presents the most perfect of all drawings ... a preparation put over this image preserves it for an indefinite time ... the physical sciences have perhaps never presented a marvel comparable to this one.
A further clue to fixing the date of invention of the process is that when the Paris correspondent of the London periodical "The Athenaeum" reported the public announcement of the daguerreotype in 1839, he mentioned that the daguerreotypes now being produced were of considerably better quality than the ones he had seen "four years earlier".
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.