316:
570:. It showed two tableaux, one by Daguerre and one by Bouton. This would become a pattern. Each exhibition would typically have two tableaux, one each by Daguerre and Bouton. Also, one would be an interior depiction, and the other would be a landscape. Daguerre hoped to create a realistic illusion for an audience, and wanted audiences to be not only entertained, but awe-stricken. The diorama theatres were magnificent in size. A large translucent canvas, measuring around 70 ft wide and 45 ft tall, was painted on both sides. These paintings were vivid and detailed pictures, and were lit from different angles. As the lights changed, the scene would transform. The audience would begin to see the painting on the other side of the screen. The effect was awe-inspiring. "Transforming impressions, mood changes, and movements were produced by a system of shutters and screens that allowed light to be projected- from behind- on alternately separate sections of an image painted on a semi-transparent backdrop".
610:
627:
643:
586:
both of these aspects of Roslin Chapel, and this made it a perfect subject for his diorama painting. The legends connected with the chapel would be sure to attract a large audience. Interior of Roslin Chapel in Paris opened 24 September 1824 and closed
February 1825. The scene depicted light coming in through a door and a window. Foliage shadows could be seen at the window, and the way the light's rays shone through the leaves was breathtaking and seemed to "go beyond the power of painting" (Maggi). Then the light faded on the scene as if a cloud was passing over the sun. The Times dedicated an article to the exhibition, calling it "perfectly magical".
289:, 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
694:
356:
157:
665:
718:
682:
373:
1281:
737:
706:
749:
51:
535:
574:"scene". Audiences would average around 350, and most would stand, though limited seating was provided. Twenty-one diorama paintings were exhibited in the first eight years. These included 'Trinity Chapel in Canterbury Cathedral', 'Chartres Cathedral', 'City of Rouen', and 'Environs of Paris' by Bouton; 'Valley of Sarnen', 'Harbour of Brest', '
492:
way to keep them from darkening all over when exposed to light for viewing and had therefore turned away from silver salts to experiment with other substances such as bitumen. Talbot chemically stabilized his images to withstand subsequent inspection in daylight by treating them with a strong solution of common salt.
411:; 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.
626:
364:, taken by Daguerre in 1838 in Paris, includes the earliest known verified photograph of a person. The image shows a busy street, but because the exposure had to continue for four to five minutes the moving traffic is not visible. At the lower right, however, a man apparently having his boots polished, and the
331:
to make the first permanent camera photographs. The bitumen was hardened where it was exposed to light and the unhardened portion was then removed with a solvent. A camera exposure lasting for hours or days was required. Niépce and
Daguerre later refined this process, but unacceptably long exposures
491:
and capturing small camera images on it in the summer of 1835, though he did not publicly reveal this until
January 1839. Talbot was unaware that Daguerre's late partner Niépce had obtained similar small camera images on silver-chloride-coated paper nearly twenty years earlier. Niépce could find no
403:
was used during exposure to flip the image. To be seen optimally, the image had to be lit at a certain angle and viewed so that the smooth parts of its mirror-like surface, which represented the darkest parts of the image, reflected something dark or dimly lit. The surface was subject to tarnishing
351:
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
495:
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
470:
processes, and the images originally in them were sometimes later discarded so that they could be used to display photographic paper prints. It is now a very common error for any image in such a case to be described as "a daguerreotype". A true daguerreotype is always an image on a highly polished
589:
The dioramas prospered, earning 200,000 francs a year, a very high profit for the 1830s period. The surging demand led to new diorama theatres opening in London and Berlin. However, in 8 March 1839, a fire broke out in the theatre in Paris. Daguerre urged the firefighters to stop the blaze on the
585:
was known for a few legends involving an unconsuming fire. The legend goes that the Chapel has appeared to be in flames just before a high-status death, but has later shown no damage from any such fire. This chapel was also known for being unique in its architectural beauty. Daguerre was aware of
573:
Because of their size, the screens had to remain stationary. Since the tableaux were stationary, the auditorium revolved from one scene to another. The auditorium was a cylindrical room and had a single opening in the wall, similar to a proscenium arch, through which the audience could watch a
519:
Daguerre's agent Miles Berry applied for a
British patent under the instruction of Daguerre just days before France declared the invention "free to the world". The United Kingdom was thereby uniquely denied France's free gift, and became the only country where the payment of license fees was
404:
by prolonged exposure to the air and was so soft that it could be marred by the slightest friction, so a daguerreotype was almost always sealed under glass before being framed (as was commonly done in France) or mounted in a small folding case (as was normal in the UK and US).
832:
from Helmut
Gernsheim's article, "The 150th Anniversary of Photography," in History of Photography, Vol. I, No. 1, January 1977: ... In 1822, Niépce coated a glass plate ... The sunlight passing through ... This first permanent example ... was destroyed ... some years
590:
fifth floor, where all his daguerreotype specimens, notes, and equipment were kept. He was more interested in the development of daguerreotypes, and later in August 1839, his daguerreotype specimens were debuted. Later in the 1840s, along with increasing attention to
284:
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
475:—its dark and light areas reversed—instead of a normal positive. Other types of photographic images are almost never on polished metal and do not exhibit this peculiar characteristic of appearing positive or negative depending on the lighting and reflections.
315:
197:
471:
silver surface, usually under protective glass. If it is viewed while a brightly lit sheet of white paper is held so as to be seen reflected in its mirror-like metal surface, the daguerreotype image will appear as a relatively faint
458:
on black-lacquered iron sheets—rather than prints on paper. These new types of images were much less expensive than daguerreotypes, and they were easier to view. By 1860 few photographers were still using
Daguerre's process.
609:
224:
process of photography. He became known as one of the fathers of photography. Though he is most famous for his contributions to photography, he was also an accomplished painter, scenic designer, and a developer of the
681:
550:
theatre. Daguerre had expertise in lighting and scenic effects, and Bouton was the more experienced painter. However, Bouton eventually withdrew, and
Daguerre acquired sole responsibility of the diorama theatre.
446:, but it had its own shortcomings—the grain of the paper was obtrusively visible in the image, and the extremely fine detail of which the daguerreotype was capable was not possible. The introduction of the
450:
in the early 1850s provided the basis for a negative-positive print-making process not subject to these limitations, although it, like the daguerreotype, was initially used to produce one-of-a-kind images—
496:
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
642:
434:
of its day: it produced a unique image which could only be duplicated by using a camera to photograph the original. Despite this drawback, millions of daguerreotypes were produced. The paper-based
516:(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.
1833:
388:
heated to 75 °C. The resulting visible image was then "fixed" (made insensitive to further exposure to light) by removing the unaffected silver iodide with concentrated and heated
419:
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"
770:
1312:
520:
required. This had the effect of inhibiting the spread of the process there, to the eventual advantage of competing processes which were subsequently introduced into England.
1122:
Hans Rooseboom, "What's wrong with Daguerre? Reconsidering old and new views on the invention of photography", Nescio, Amsterdam, 2010 (www.nescioprivatepress.blogspot.com)
1102:
India International Photographic Council. Edited: N. Sundarraj and K. Ponnuswamy. VII IIPC-SIPATA Intl. Workshop and Conference on Photography – Madras, p. 9.
636:, 1836-39. Two people can be seen lying in the shade of the statue. Said to be the first successful daguerreotype taken in open air by Daguerre and Mathurin Fordos.
335:
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
1105:
R. Colson (ed.), "Mémoires originaux des créateurs de la photographie. Nicéphore Niepce, Daguerre, Bayard, Talbot, Niepce de Saint-Victor", Poitevin, Paris 1898
693:
1823:
1818:
1793:
717:
377:
399:
The resultant plate produced an exact reproduction of the scene. The image was laterally reversed—as images in mirrors are—unless a mirror or inverting
272:
in 1826 or 1827. Niépce died suddenly in 1833, but Daguerre continued experimenting, and evolved the process which would subsequently be known as the
1305:
415:
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
1808:
815:
664:
352:
visible image. Upon seeing the image, the contents of which are unknown, Daguerre said, "I have seized the light – I have arrested its flight!"
1803:
1813:
1482:
276:. After efforts to interest private investors proved fruitless, Daguerre went public with his invention in 1839. At a joint meeting of the
1003:
1705:
1487:
483:
Unbeknownst to either inventor, Daguerre's developmental work in the mid-1830s coincided with photographic experiments being conducted by
1421:
1406:
1298:
1634:
705:
1139:
Daniel, Malcolm. "Daguerre (1787–1851) and the Invention of Photography". The Metropolitan Museum of Art, 2011. Web. 17 January 2012.
462:
The same small ornate cases commonly used to house daguerreotypes were also used for images produced by the later and very different
857:
203:
1416:
1187:, Sept 1997, Vol 54, No. 5, pp. 489–506 (Taylor & Francis Group). Web. (Midley History of early Photography) 14 April 2012
1129:
History and Practice of the Photogenic Drawing on the True Principles of the Daguerreotype with the New Method of Dioramic Painting
1828:
1798:
521:
304:
736:
1255:
360:
269:
1411:
671:
380:, where Daguerre took pictures in 1837. If correct, this would be the oldest surviving portrait photograph of a human being.
220:; 18 November 1787 – 10 July 1851) was a French artist and photographer, recognized for his invention of the eponymous
927:
324:
1233:
598:, people lost interest in dioramas. The fire, along with the waning demand of dioramas caused a decline in the industry.
1654:
1206:
687:
1839 daguerreotype made by Daguerre from his apartment at Boulevard Saint-Martin, where he lived after the diorama fire.
616:
575:
1664:
1452:
1380:
1051:
Szalczer, Eszter (2001). "Nature's Dream Play: Modes of Vision and August Strindberg's Re-Definition Of the Theatre".
1221:
1173:
Watson, Bruce, "Light: A Radiant History from Creation to the Quantum Age", (London and NY: Bloomsbury, 2016). Print.
246:
748:
355:
1690:
1426:
1201:
290:
281:
277:
156:
1762:
1477:
790:
555:
416:
376:
Daguerreotype possibly made by Daguerre in 1837. The subject is believed to be Constant Huet, who worked at the
1375:
1159:
Szalczer, Eszter. "Nature's Dream Play: Modes of Vision and August Strindberg's Re-Definition Of the Theatre".
1117:
An Historical and Descriptive Account of the Various Processes of the Daguerreotype and the Diorama by Daguerre
1629:
1522:
1497:
1436:
1250:
567:
505:
372:
336:
1659:
1553:
1457:
780:
500:
daguerreotype process only required an exposure sufficient to create a very faint or completely invisible
472:
1644:
1333:
261:
1583:
1527:
1004:"'A State Pension for L. J. M. Daguerre for the secret of his Daguerreotype technique' by R. Derek Wood"
238:
84:
819:
512:
process that required prolonged exposure in the camera until the image was fully formed, but his later
1788:
1783:
1568:
1467:
899:
543:
508:
to full visibility. Talbot's earlier "sensitive paper" (now known as "salted paper") process was a
384:
The latent image on a daguerreotype plate was developed by subjecting it to the vapour given off by
1649:
649:
591:
393:
242:
1736:
1563:
1462:
1276:
853:
563:
447:
385:
286:
31:
1757:
1715:
1695:
1639:
1613:
1603:
1598:
1558:
1548:
1507:
1396:
1285:
1269:– Enhancement of the museum's collections, some are related with the work of Louis Daguerre.
978:
845:
484:
443:
439:
328:
171:
953:
1710:
1608:
1588:
1512:
1370:
1227:
488:
216:
1731:
1211:
1070:
1127:
852:(Second ed.). Upper Saddle River, New Jersey: Pearson Education. pp. 964–967.
1578:
1573:
1517:
1401:
1142:
Gale, Thomas. "Louis Jacques Mande Daguerre". BookRags, Inc., 2012. Web. 14 April 2012.
595:
582:
400:
17:
1777:
1741:
1700:
1669:
1543:
1502:
1492:
1472:
1354:
1026:
795:
765:
420:
392:. Later, a solution of the more effective "hypo" (hyposulphite of soda, now known as
348:
340:
297:
273:
221:
116:
103:
1290:
1245:
1197:
1685:
775:
559:
501:
487:
in England. Talbot had succeeded in producing a "sensitive paper" impregnated with
431:
412:
389:
1266:
249:, the first French panorama painter. Exceedingly adept at his skill of theatrical
874:
1431:
785:
265:
253:, he became a celebrated designer for the theatre, and later came to invent the
1272:
50:
1007:
534:
524:
was one of the few people legally licensed to make daguerreotypes in Britain.
365:
1152:
Maggi, Angelo. "Roslin Chapel in Gandy's Sketchbook and Daguerre's Diorama".
633:
463:
451:
1216:
554:
The first diorama theatre was built in the Place du Château d'Eau (now the
442:
in 1841, allowed the production of an unlimited number of copies by simple
343:, he exposed a thin silver-plated copper sheet to the vapour given off by
1239:
513:
435:
408:
250:
1170:. 374th ed. Vol. 13. Society For Science & the Public, 1928. Print.
1100:
Teaching Photography in the Indian School. Photo Trade Directory: 1991.
547:
467:
455:
424:
368:
polishing them, were motionless enough for their images to be captured.
300:, 12 km (7 mi) from Paris. A monument marks his grave there.
254:
226:
241:, Val-d'Oise. He was apprenticed in architecture, theatre design, and
344:
1260:
1176:
Wilkinson, Lynn R. "Le Cousin Pons and the Invention of Ideology".
558:) in Paris. The first exhibit opened 1822 and showed scenes of the
1593:
533:
371:
354:
314:
1134:
A practical description of that process called the daguerreotype.
1110:
L.J.M. Daguerre. The History of the Diorama and the Daguerreotype
1294:
1242:– Discussion on daguerreotype's making and subsequent history.
1236:
An array of source texts from the Daguerreian Society web site
186:
1183:
Wood, R. Derek. "The Diorama in Great Britain in the 1820s".
1180:. 2nd ed. Vol. 107. Modern Language Association, 1992. Print.
1156:. 1991 ed. Vol. 42. SAHGB Publications Limited, 1991. Print.
427:'s portrait lens, the first mathematically calculated lens.
339:
and others. For the process which was eventually named the
177:
323:
In the mid-1820s, prior to his association with Daguerre,
1012:
Wood, R.D., Annals of Science, 1997, Vol 54, pp. 489–506.
183:
27:
French photographer, inventor of Daguerrotype (1787–1851)
928:"L'histoire méconnue du premier portrait photographique"
875:"Daguerre (1787–1851) and the Invention of Photography"
296:
Daguerre died, from a heart attack, on 10 July 1851 in
1198:
Daguerre (1787–1851) and the Invention of Photography
771:
List of people considered father or mother of a field
204:
174:
1750:
1724:
1678:
1622:
1536:
1445:
1389:
1363:
1342:
1326:
180:
149:
123:
111:
92:
66:
41:
900:"January 2, 1839: First Daguerreotype of the Moon"
1163:. 1st ed. Vol. 53. Johns Hopkins UP, 2001. Print.
347:crystals, producing a coating of light-sensitive
264:, an inventor who had produced the world's first
1263:– Collective cataloging tool for daguerreotypes
542:In the spring of 1821, Daguerre partnered with
30:"Daguerre" redirects here. For the crater, see
1834:Recipients of the Pour le Mérite (civil class)
1149:. 3rd ed. Vol. 12. Penn State UP, 1975. Print.
711:Portrait by Jean-Baptiste Sabatier-Blot (1844)
1306:
8:
1313:
1299:
1291:
1267:Official Website of Bry-Sur-Marne's Museum
1166:"Classics of Science: The Daguerreotype".
916:National Geographic, October 1989, pg. 530
848:; David Cateforis; Stephen Addiss (2005).
319:An engraving of Daguerre during his career
142: 1810–1851)
49:
38:
1240:Daguerre's Boulevard du Temple photograph
816:"The First Photograph — Heliography"
983:UC Santa Barbara Department of Geography
954:"Compléments sur le portrait de Mr Huet"
602:Portraits of and works by Louis Daguerre
807:
605:
1251:Louis Daguerre Encyclopædia Britannica
538:Diagram of the London diorama building
305:72 names inscribed on the Eiffel tower
257:, which opened in Paris in July 1822.
1112:, London 1956 (revised edition 1968)
1059:(53). Johns Hopkins University Press.
1020:
1018:
215:
7:
1246:Daguerre Memorial in Washington D.C.
578:', and 'Roslin Chapel' by Daguerre.
1824:People of the Industrial Revolution
1422:Joseph-Philibert Girault de Prangey
546:with the common goal of creating a
723:Portrait by unknown photographer (
270:oldest surviving camera photograph
25:
1819:19th-century French photographers
1794:People from Cormeilles-en-Parisis
1321:19th-century French photographers
1025:Halley, Catherine (1 July 2020).
260:In 1829, Daguerre partnered with
1282:Works by or about Louis Daguerre
1256:Daguerre in a historical context
1212:Louis Daguerre and Bry-sur-Marne
754:Portrait by Charles Meade (1848)
747:
742:Portrait by Charles Meade (1848)
735:
716:
704:
692:
680:
663:
641:
625:
608:
311:Development of the daguerreotype
170:
155:
1635:Étienne-Prosper Berne-Bellecour
1027:"Diorama, qu'est-ce que c'est?"
361:View of the Boulevard du Temple
139:
1809:19th-century French physicists
1417:Jean Louis Marie Eugène Durieu
1412:Guillaume Duchenne de Boulogne
1234:Daguerre and the daguerreotype
1224:from World Wide Art Resources.
1147:Comparative Literature Studies
1132:. London: Stewart and Murray.
1075:The Metropolitan Museum of Art
1071:"Louis-Jacques-Mandé Daguerre"
699:Portrait by E. Thiésson (1844)
672:Still Life with Jupiter Tonans
303:Daguerre's name is one of the
1:
1804:19th-century French inventors
1407:Louis Désiré Blanquart-Evrard
1228:Daguerre, Louis Jacques Mande
1108:Helmut and Alison Gernsheim,
926:Ihl, Oliver (13 March 2018).
724:
653:
620:, painting by Daguerre (1824)
56:
1814:19th-century French painters
1655:Louis Arthur Ducos du Hauron
1483:André-Adolphe-Eugène Disdéri
952:Darcy-Roquencourt, Jacques.
617:The Ruins of Holyrood Chapel
407:Daguerreotypes were usually
293:as an Honorary Academician.
166:Louis-Jacques-Mandé Daguerre
71:Louis-Jacques-Mandé Daguerre
55:A daguerreotype of Daguerre
1706:Séraphin-Médéric Mieusement
1488:Geneviève Élisabeth Disdéri
1453:Antoine Samuel Adam-Salomon
1381:Julien Vallou de Villeneuve
237:Louis Daguerre was born in
129:Louise Georgina Arrow-Smith
1850:
1222:Louis Daguerre (1787–1851)
1202:Metropolitan Museum of Art
879:Metropolitan Museum of Art
562:, the Inauguration of the
504:which was then chemically
430:The daguerreotype was the
291:National Academy of Design
278:French Academy of Sciences
217:[lwiʒɑkmɑ̃dedaɡɛʁ]
29:
1478:Auguste Hippolyte Collard
154:
48:
1376:Jean-Baptiste-Louis Gros
1217:Louis Daguerre Biography
1126:Daguerre, Louis (1839).
485:William Henry Fox Talbot
1829:Pioneers of photography
1799:French scenic designers
1523:Alphonse Louis Poitevin
1427:François Fauvel Gouraud
1273:Works by Louis Daguerre
1168:The Science News-Letter
568:Great Fire of Edinburgh
479:Competition with Talbot
438:process, introduced by
337:Johann Heinrich Schultz
282:Académie des Beaux Arts
1554:Auguste-Rosalie Bisson
1458:Marie-Alexandre Alophe
781:Photographic processes
556:Place de la République
539:
381:
378:Natural History Museum
369:
320:
18:Louis-Jacques Daguerre
1528:Henri Victor Regnault
1154:Architectural History
1098:Carl Edwin Lindgren.
1010:on 11 September 2014.
632:Daguerreotype of the
537:
448:wet collodion process
375:
358:
318:
239:Cormeilles-en-Parisis
85:Cormeilles-en-Parisis
1630:Ernest Eugène Appert
1498:Jean-Baptiste Frénet
1468:Louis-Auguste Bisson
1437:Félix-Jacques Moulin
576:Holyroodhouse Chapel
544:Charles Marie Bouton
396:) was used instead.
1660:Étienne-Jules Marey
1650:John Beasley Greene
958:niepce-daguerre.com
650:Notre Dame de Paris
332:were still needed.
87:, Kingdom of France
1115:Beaumont Newhall,
592:motion photography
540:
394:sodium thiosulfate
382:
370:
327:used a coating of
321:
243:panoramic painting
1771:
1770:
1569:Édouard Delessert
1277:Project Gutenberg
1230:by Robert Leggat.
1185:Annals of Science
1119:, New York, 1971
873:Daniel, Malcolm.
846:Stokstad, Marilyn
822:on 6 October 2009
648:Daguerreotype of
564:Temple of Solomon
163:
162:
115:Invention of the
106:, French Republic
32:Daguerre (crater)
16:(Redirected from
1841:
1758:Hippolyte Arnoux
1696:Gabriel Lippmann
1614:Auguste Salzmann
1604:Georges Penabert
1559:Bruno Braquehais
1549:Edmond Becquerel
1508:Charles Marville
1397:Hippolyte Bayard
1334:Nicéphore Niépce
1315:
1308:
1301:
1292:
1286:Internet Archive
1136:
1086:
1085:
1083:
1081:
1067:
1061:
1060:
1048:
1042:
1041:
1039:
1037:
1022:
1013:
1011:
1006:. Archived from
1000:
994:
993:
991:
989:
975:
969:
968:
966:
964:
949:
943:
942:
940:
938:
932:The Conversation
923:
917:
914:
908:
907:
896:
890:
889:
887:
885:
870:
864:
863:
842:
836:
835:
829:
827:
818:. Archived from
812:
751:
739:
729:
726:
720:
708:
696:
684:
667:
658:
655:
645:
629:
612:
528:Diorama theatres
444:contact printing
440:Henry Fox Talbot
329:bitumen of Judea
268:in 1822 and the
262:Nicéphore Niépce
219:
214:
208:
202:
201:
200:
199:
192:
189:
188:
185:
182:
179:
176:
159:
143:
141:
99:
81:18 November 1787
80:
78:
61:
58:
53:
39:
21:
1849:
1848:
1844:
1843:
1842:
1840:
1839:
1838:
1774:
1773:
1772:
1767:
1746:
1720:
1711:Louis Rousselet
1674:
1618:
1609:Dominique Roman
1589:Gustave Le Gray
1532:
1513:Auguste Mestral
1441:
1385:
1371:Antoine Claudet
1359:
1338:
1322:
1319:
1194:
1161:Theatre Journal
1145:Kahane, Henry.
1125:
1095:
1090:
1089:
1079:
1077:
1069:
1068:
1064:
1053:Theatre Journal
1050:
1049:
1045:
1035:
1033:
1024:
1023:
1016:
1002:
1001:
997:
987:
985:
977:
976:
972:
962:
960:
951:
950:
946:
936:
934:
925:
924:
920:
915:
911:
898:
897:
893:
883:
881:
872:
871:
867:
860:
844:
843:
839:
825:
823:
814:
813:
809:
804:
762:
755:
752:
743:
740:
731:
727:
721:
712:
709:
700:
697:
688:
685:
676:
668:
659:
656:
646:
637:
630:
621:
613:
604:
530:
522:Antoine Claudet
489:silver chloride
481:
313:
235:
212:
206:
196:
195:
194:
173:
169:
145:
137:
133:
130:
107:
101:
97:
88:
82:
76:
74:
73:
72:
62:
59:
44:
35:
28:
23:
22:
15:
12:
11:
5:
1847:
1845:
1837:
1836:
1831:
1826:
1821:
1816:
1811:
1806:
1801:
1796:
1791:
1786:
1776:
1775:
1769:
1768:
1766:
1765:
1760:
1754:
1752:
1748:
1747:
1745:
1744:
1739:
1737:Georges Demenÿ
1734:
1728:
1726:
1722:
1721:
1719:
1718:
1713:
1708:
1703:
1698:
1693:
1688:
1682:
1680:
1676:
1675:
1673:
1672:
1667:
1662:
1657:
1652:
1647:
1642:
1637:
1632:
1626:
1624:
1620:
1619:
1617:
1616:
1611:
1606:
1601:
1596:
1591:
1586:
1581:
1579:Esteban Gonnet
1576:
1574:Maxime Du Camp
1571:
1566:
1564:Étienne Carjat
1561:
1556:
1551:
1546:
1540:
1538:
1534:
1533:
1531:
1530:
1525:
1520:
1515:
1510:
1505:
1500:
1495:
1490:
1485:
1480:
1475:
1470:
1465:
1463:Édouard Baldus
1460:
1455:
1449:
1447:
1443:
1442:
1440:
1439:
1434:
1429:
1424:
1419:
1414:
1409:
1404:
1402:Auguste Belloc
1399:
1393:
1391:
1387:
1386:
1384:
1383:
1378:
1373:
1367:
1365:
1361:
1360:
1358:
1357:
1352:
1350:Louis Daguerre
1346:
1344:
1340:
1339:
1337:
1336:
1330:
1328:
1324:
1323:
1320:
1318:
1317:
1310:
1303:
1295:
1289:
1288:
1279:
1270:
1264:
1258:
1253:
1248:
1243:
1237:
1231:
1225:
1219:
1214:
1209:
1204:
1193:
1192:External links
1190:
1189:
1188:
1181:
1174:
1171:
1164:
1157:
1150:
1143:
1140:
1137:
1123:
1120:
1113:
1106:
1103:
1094:
1091:
1088:
1087:
1062:
1043:
1014:
995:
970:
944:
918:
909:
891:
865:
858:
837:
806:
805:
803:
800:
799:
798:
793:
791:William Willis
788:
783:
778:
773:
768:
761:
758:
757:
756:
753:
746:
744:
741:
734:
732:
722:
715:
713:
710:
703:
701:
698:
691:
689:
686:
679:
677:
669:
662:
660:
647:
640:
638:
631:
624:
622:
614:
607:
603:
600:
529:
526:
480:
477:
312:
309:
287:François Arago
247:Pierre Prévost
234:
231:
161:
160:
152:
151:
147:
146:
135:
131:
128:
127:
125:
121:
120:
113:
112:Known for
109:
108:
102:
100:(aged 63)
94:
90:
89:
83:
70:
68:
64:
63:
54:
46:
45:
43:Louis Daguerre
42:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1846:
1835:
1832:
1830:
1827:
1825:
1822:
1820:
1817:
1815:
1812:
1810:
1807:
1805:
1802:
1800:
1797:
1795:
1792:
1790:
1787:
1785:
1782:
1781:
1779:
1764:
1761:
1759:
1756:
1755:
1753:
1749:
1743:
1742:Constant Puyo
1740:
1738:
1735:
1733:
1730:
1729:
1727:
1723:
1717:
1716:Eugène Trutat
1714:
1712:
1709:
1707:
1704:
1702:
1701:Auguste Maure
1699:
1697:
1694:
1692:
1689:
1687:
1684:
1683:
1681:
1677:
1671:
1670:Camille Silvy
1668:
1666:
1663:
1661:
1658:
1656:
1653:
1651:
1648:
1646:
1645:Léon Crémière
1643:
1641:
1640:Félix Bonfils
1638:
1636:
1633:
1631:
1628:
1627:
1625:
1621:
1615:
1612:
1610:
1607:
1605:
1602:
1600:
1599:Charles Nègre
1597:
1595:
1592:
1590:
1587:
1585:
1582:
1580:
1577:
1575:
1572:
1570:
1567:
1565:
1562:
1560:
1557:
1555:
1552:
1550:
1547:
1545:
1544:Olympe Aguado
1542:
1541:
1539:
1535:
1529:
1526:
1524:
1521:
1519:
1516:
1514:
1511:
1509:
1506:
1504:
1503:Henri Le Secq
1501:
1499:
1496:
1494:
1493:Jules Duboscq
1491:
1489:
1486:
1484:
1481:
1479:
1476:
1474:
1473:Adolphe Braun
1471:
1469:
1466:
1464:
1461:
1459:
1456:
1454:
1451:
1450:
1448:
1444:
1438:
1435:
1433:
1430:
1428:
1425:
1423:
1420:
1418:
1415:
1413:
1410:
1408:
1405:
1403:
1400:
1398:
1395:
1394:
1392:
1388:
1382:
1379:
1377:
1374:
1372:
1369:
1368:
1366:
1362:
1356:
1355:Horace Vernet
1353:
1351:
1348:
1347:
1345:
1341:
1335:
1332:
1331:
1329:
1325:
1316:
1311:
1309:
1304:
1302:
1297:
1296:
1293:
1287:
1283:
1280:
1278:
1274:
1271:
1268:
1265:
1262:
1261:Daguerreobase
1259:
1257:
1254:
1252:
1249:
1247:
1244:
1241:
1238:
1235:
1232:
1229:
1226:
1223:
1220:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1199:
1196:
1195:
1191:
1186:
1182:
1179:
1175:
1172:
1169:
1165:
1162:
1158:
1155:
1151:
1148:
1144:
1141:
1138:
1135:
1131:
1130:
1124:
1121:
1118:
1114:
1111:
1107:
1104:
1101:
1097:
1096:
1092:
1076:
1072:
1066:
1063:
1058:
1054:
1047:
1044:
1032:
1028:
1021:
1019:
1015:
1009:
1005:
999:
996:
984:
980:
974:
971:
959:
955:
948:
945:
933:
929:
922:
919:
913:
910:
905:
901:
895:
892:
880:
876:
869:
866:
861:
859:0-13-145527-3
855:
851:
847:
841:
838:
834:
821:
817:
811:
808:
801:
797:
796:Daguerreotype
794:
792:
789:
787:
784:
782:
779:
777:
774:
772:
769:
767:
766:John Herschel
764:
763:
759:
750:
745:
738:
733:
719:
714:
707:
702:
695:
690:
683:
678:
674:
673:
666:
661:
652:by Daguerre,
651:
644:
639:
635:
628:
623:
619:
618:
611:
606:
601:
599:
597:
593:
587:
584:
583:Roslin Chapel
579:
577:
571:
569:
565:
561:
557:
552:
549:
545:
536:
532:
527:
525:
523:
517:
515:
511:
507:
503:
499:
498:developed out
493:
490:
486:
478:
476:
474:
469:
465:
460:
457:
454:on glass and
453:
449:
445:
441:
437:
433:
432:Polaroid film
428:
426:
422:
418:
417:long exposure
414:
410:
405:
402:
397:
395:
391:
387:
379:
374:
367:
363:
362:
357:
353:
350:
349:silver iodide
346:
342:
341:daguerreotype
338:
333:
330:
326:
317:
310:
308:
306:
301:
299:
298:Bry-sur-Marne
294:
292:
288:
283:
279:
275:
274:daguerreotype
271:
267:
263:
258:
256:
252:
248:
244:
240:
232:
230:
228:
223:
222:daguerreotype
218:
210:
209:
198:
191:
167:
158:
153:
148:
126:
122:
118:
117:daguerreotype
114:
110:
105:
104:Bry-sur-Marne
95:
91:
86:
69:
65:
52:
47:
40:
37:
33:
19:
1751:1860s births
1732:Eugène Atget
1725:1850s births
1686:Arthur Batut
1679:1840s births
1665:Pierre Petit
1623:1830s births
1584:Charles Hugo
1537:1820s births
1446:1810s births
1390:1800s births
1364:1790s births
1349:
1343:1780s births
1327:1760s births
1184:
1177:
1167:
1160:
1153:
1146:
1133:
1128:
1116:
1109:
1099:
1078:. Retrieved
1074:
1065:
1056:
1052:
1046:
1034:. Retrieved
1030:
1008:the original
998:
986:. Retrieved
982:
973:
961:. Retrieved
957:
947:
935:. Retrieved
931:
921:
912:
903:
894:
882:. Retrieved
878:
868:
849:
840:
831:
826:29 September
824:. Retrieved
820:the original
810:
776:Palladiotype
670:
615:
588:
580:
572:
560:Black Forest
553:
541:
531:
518:
509:
502:latent image
497:
494:
482:
461:
429:
413:Samuel Morse
406:
398:
383:
359:
334:
322:
302:
295:
259:
236:
165:
164:
98:(1851-07-10)
96:10 July 1851
36:
1789:1851 deaths
1784:1787 births
1691:Jules David
1518:Eugène Piot
1432:Jules Itier
1036:23 December
1031:JSTOR Daily
988:18 November
904:APS Physics
850:Art History
786:Platinotype
728: 1844
657: 1838
510:printed out
60: 1844
1778:Categories
1763:Paul Boyer
979:"Daguerre"
884:17 October
802:References
452:ambrotypes
390:salt water
266:heliograph
77:1787-11-18
1200:from the
634:Pont Neuf
506:developed
464:ambrotype
409:portraits
366:bootblack
233:Biography
229:theatre.
150:Signature
1207:DIORAMAS
760:See also
566:and the
514:calotype
473:negative
456:tintypes
436:calotype
423:such as
280:and the
251:illusion
1284:at the
1093:Sources
1080:9 April
963:18 July
937:18 July
548:diorama
468:tintype
425:Petzval
386:mercury
255:diorama
227:diorama
213:French:
144:
136:
132:
119:process
906:. APS.
856:
833:later.
675:(1839)
596:cinema
421:lenses
345:iodine
325:Niépce
124:Spouse
1594:Nadar
401:prism
193:
138:(
134:
1178:PMLA
1082:2021
1038:2022
990:2011
965:2023
939:2023
886:2018
854:ISBN
828:2009
594:and
581:The
466:and
207:GAIR
93:Died
67:Born
1275:at
245:to
205:də-
187:ɛər
1780::
1073:.
1055:.
1029:.
1017:^
981:.
956:.
930:.
902:.
877:.
830:.
725:c.
654:c.
307:.
211:;
140:m.
57:c.
1314:e
1307:t
1300:v
1084:.
1057:1
1040:.
992:.
967:.
941:.
888:.
862:.
730:)
190:/
184:ɡ
181:ˈ
178:ə
175:d
172:/
168:(
79:)
75:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
