Photography is one of the most influential visual arts of the modern era. The development of photography can be traced back to the early photography was invented by Frenchman Nicéphore Niépce in 1822. Niépce developed a technique called heliography, which he used to create the world’s oldest surviving photograph, View from the Window at Le Gras.

The Camera Obscura

The term “camera obscura,” meaning “dark room” in Latin means to an optical device used to project an image of its surroundings onto a screen. The basic concept involves light passing through a small hole into a darkened room or box, forming an inverted image of the outside scene on the opposite wall which would turn upside down, artists such as Leonardo da Vinci used the camera obscura to study photography but camera obscura couldn’t fix or capture the image.

Frenchman, Louis Daguerre- daguerreotype

In 1839, Frenchman, Louis Daguerre introduced the daguerreotype, the first widely used photographic process.

The daguerreotype process involved exposing a silver-coated copper plate to iodine vapor, which made the plate sensitive to light. After exposure, the plate was developed using mercury vapor and fixed with a solution of salt, creating a detailed and permanent image. One of the major advantages of the daguerreotype was its relatively short exposure time—ranging from a few minutes to half an hour, a significant improvement over Niépce’s heliographs.

The daguerreotype became worldwide, especially in portraiture. For the first time, people could obtain a true likeness of themselves or loved ones He created the first image that could be fixed.

The Calotype

In the same year Daguerre announced his invention, British scientist William Henry Fox Talbot introduced the calotype. the calotype was based on the concept of the negative-positive process, which allowed for multiple prints to be made from a single negative.

Talbot’s method involved exposing paper coated with silver iodide to light, producing a negative image. This negative could then be used to create positive prints by placing it against another sheet of sensitized paper and exposing it to light.

Collodion

The invention of the collodion, This process involved coating a glass plate with a solution of collodion, a sticky substance, and then sensitizing it with silver nitrate. This process produced highly detailed images.

In 1888, the introduction of the Kodak camera by George Eastman marked another turning point in the history of photography. He made photography accessible to the general public by making The Kodak camera. although it was small it was portable, and used roll film in the 20th century

Romanticism

Not forgetting, Romanticism. It’s all about emotion, individualism, and a deep connection to nature. Romanticism is often associated with painting, literature, and music, it has significantly influenced photography, looking at the themes of nature, emotion, and the sublime, and how photographers use visual techniques to capture these ideas and make each photo unique and beautiful in its own way.

Conclusion

The origins of photography are centuries of scientific and technological research. Niépce, Daguerre, and Talbot each proved the idea of realization and the ability to capture and preserve moments in time, as technology advanced, photography evolved, it also shapes how we see the world.

Conclusion

Photography started out as a cool science experiment, but it quickly became something way deeper. It can turn the everyday into something extraordinary, like how Andrew Krater captured Paris in 1928—his photos made him fall in love with the city so much that he had to go back for more.

What’s awesome about photography is that it shows how things look while also changing how we see them. The camera might be objective, but the person behind it—like me—adds their own vibe and perspective.

At its core, photography is all about framing an image and figuring out how light, angles, and shapes come together. The camera obscura is a classic example: it’s basically a simple black box that uses darkness to let in light, creating upside-down images. Even though this idea has been around for ages, it wasn’t until the 19th century that people figured out how to actually capture those images and keep them.

In 1839, Louis Daguerre and Henry Fox Talbot get a lot of credit for “starting photography,” but it’s important to remember that the camera obscura existed long before them. Daguerre came up with the daguerreotype in the 1840s, the first method that people could actually use to take pictures, while Talbot’s calotype, introduced in 1841, used paper coated with silver iodide to create softer images.

Both processes reflect the romantic vibe of that time, focusing on personal experiences and how we view the world. As I dive into photography myself, I’m super excited to explore this rich history and find my own unique voice in the art.

NARRATIVE 

Narrative Is the way a story is told, for example you can tell different narratives of the same story. There is no right or wrong. It tells a story and a picture with a meaning. Narrative is constructed when you begin to create relationships between images and present more than two images together. Your selection of images and the order of how these images appear on the pages contributes significantly to the construction of the narrative. So too, does the structure and design of the zine.

STORY: What is your story? How will you tell your story?

I want to guide people to see what I see—to feel a connection to those moments. For my zine, I’ll be telling this story through images, each focusing on something specific. My goal is to make viewers pause and appreciate the beauty and meaning in everyday details, one photo at a time.

As I explore my surroundings, I’ll look for those little moments that tell a bigger story. I want to transform ordinary scenes into something special through my lens. There will be close-ups and different depths of images.

Ultimately, I want my zine to remind people that beauty is often found in unexpected places. Through my photography, I hope to inspire others to slow down and appreciate the world around them, celebrating the small yet significant moments that shape our lives.

My story is about capturing moments that often go unnoticed and using photography to highlight the details that truly matter. By focusing on certain points in an image, I want to guide people to see what I see—to feel a connection to that moment. For my zine, I’ll be telling this story visually. Each photo will emphasize something specific, whether it’s a fleeting expression, a small gesture, or a unique texture. The goal is to make the viewer pause and think about the beauty and meaning in everyday details, one image at a time.

Theme

In my photography zine, I’m focusing on telling a story that feels real and engaging. I’ll start with wide shots of the harbour to set the tone and show its atmosphere. Then, I’ll move into more detailed, close-up images that bring out the smaller, often unnoticed moments. By the end, the photos will come together to leave a lasting impact and tell a full story which could tell a picture about history or slave trades that may have happened in the past .

I’m carefully selecting which shots will take up more space, like full-page spreads, to give them the attention they deserve. The smaller, detailed shots and portraits will create balance, giving the zine a natural flow as well as acknowledging two side by side images. I want my photos to be seen through color, shapes, or contrasts between landscapes and close-ups. I want the series to evolve as you go through it, with each image adding something new.

I’ll use my best shots to make the story come alive and may include archival images of St. Helier Harbour if it adds to the depth and history of the project.

Zine pictures and layout

I’m working on a zine that focuses on St Helier Harbour, which has always been a place I’ve found interesting. I’m using both black and white and colour photos to show the different sides of the harbour. The black and white images highlight the textures and history, almost like freezing time, while the colour photos capture the lively, everyday side of it, like the boats and the reflections on the water. This is a spot where people relax and connect. Through this zine, I’m hoping to share that mix of old and new, quiet and busy, in a way that feels personal.

I have chosen these images to chose from as my zine prints, I am going to select 10-15 images of these pictures, some will be side by side comparison with before and after or black and white vs normal colour.

This image spread across 1 page as two, any images such as this will spread across the whole double page.

Both these images are going to be side by side.

Both of these image will spread across one page.

Compare each image side by side.

This is my final set of images that is going to be used for my zine, with a range of different shapes and sizes- as well as colours.

Origin of Photography –

The potential of photography is to be able to convert the ordinary to the extraordinary.

In this essay I will go over the history of Photography. From its creation to its conceptual developments such as Framing and the decisive moment, key aspects in capturing an image. With Photography having such a diverse use to document, tell a story or just be able to capture something seen everyday so well-camouflaged into everyday life, it can be revitalised through a creatively composed photograph.

Camera Obscura & Pinhole Photography –

Even before the development of photography, the idea had existed much longer. Dating back through numerous periods such as the Ancient Greeks, the Romanticism era and Ancient China. Within these periods, ideas around the concept of photography, such as with Aristole or the Chinese philosopher, Mo-tzu (or Mozi) in 400BC all centred around the natural Phenomenon, Camera Obscura. Created through the projection of light into a small lens or opening into a dark box or room, the narrow source of light, projects the outdoor image upside down within the dark chamber. The practice of this has been used for years, becoming more confined and developed until it was implemented into the physical mechanisms of photography we have in modern times. Examples of its usage before Cameras can be seen with famous painters Canaletto and Rembrandt. These artists used this to help achieve the incredible detail they have within their works of a reflected reality.

(Illustrated demonstration from the 1800s of how the phenomena occurs).

(Modern day re-creation of the phenomenon).

Nicephore Niepce & Heliography –

Photography’s origins, unlike other subjects, are highly debated to an exact date of time. Estimated to have began in the early 19th century. The oldest surviving photo dating back to 1826 or 1827, was made by Nicéphore Niépce.

(View from the Window at Le Gras – Nicéphore Niépce, 1826 – 1827).

Taken in Saint-Loup-de-Varennes, France, this was a heliographic image. Experimenting since 1811, Niépce’s aim was to create a photo-etched printing technique.

Having experimented before with acid-resistant Bitumen of Judea, which he had used in etching, he saw that it hardened with exposure to a light source. In experiments to create the printing technique he used zinc, copper and silver surfaced copper as well as pewter and limestone. As a result he found that when the surface was exposed the. Most light resisted was in the dissolution in oil of lavender and petroleum. Here the shadow areas could then treated also through acid etching a print the image in black ink. 11 years after this development he then produced the first light-resistant heliographic copy of an engraving. Without the use of a lens, he placed the print in contact with a light-sensitive plate. Through developments and experimentation with these pewters plates, he would find that due to their reflective surface this made his image more clearly visible.

Calotypes and Daguerreotypes –

Henry Fox Talbot, (1800 – 1877)

In 1839, The proper development of photography began with 2 processes. Henry Fox Talbot, an English Scientist, developed the first, and published his invention. By fixing images through the action of light and silver chloride coated on paper, the process of how this Produced a ‘Negative’, was revolutionary. by using a brief exposure of light, over a short period of time these would then darken and become a ‘negative’ image due to their reversed areas of light. From this ‘developing’ process, a ‘developing out’ process was also used to converse these latent images into a clear image through an additional use of chemicals on paper. from this method, negative images could be used as a template to then create prints, which then could be made numerously. From this invention he would name it Calotypes.

(Example made by Henry Fox Talbot)

Louis Daguerre, 1787 – 1851)

The second type, based upon Nicéphore Niépce’s work using heliography, created by Louis Daguerre used iodine-sensitized silvered plate and mercury vapour. Naming it after himself, he called this ‘The Daguerreotype’. Within this method, it created an interesting effect as through the process of making the photo, its appearance looked more like a 3D effect unlike the flat texture paper effect of Talbots Calotype. Despite the interesting process of the Daguerreotype, Talbots would ultimately be the more popular method due to its simplicity of processing images. Through Talbert’s work, the functioning of his system would soon become even more simplified and as a result the development of the film camera would be made.

(Examples of the daguerreotype photos)

Richard Maddox –

Richard Maddox, 1816 – 1902

In England, 1871, Dr Richard Maddox, a physician suggested that sensitising chemicals, calcium bromide and silver nitrate, should be coated on a glass plate in gelatin. From this suggestion, Charles Bennett, made the first gelatin dry plates for sale, soon after the emulsion of these chemicals could then be placed onto celluloid roll film.

These lightweight, gelatin negative plates revolutionised photography at the time. Through a commercial market these dry plates bought off a shelf, saved photographers from having to prepare their own emulsions in a dark room, instead these didn’t have to developed straight away and could be stored for later development. His work also would later go onto the construction of small enough, hand-held cameras.

(An example of the smaller hand-held cameras Maddox’s work would go onto create).

George Eastman –

George Eastman, 1843 – 1932

Born in New York, Eastman was an American entrepreneur and inventor who developed the first Kodak Camera. In the lead up to this his contributions can be seen beginning in 1880 when he perfected the process of making dry plates for photography, a process first made by Richard Maddox. Operating in London, he manufactured these dry plates from a factory and established the Eastman Dry Plate and Film Company. Applying the perfected process of the dry plates onto film, Eastman was able to make the first ‘Kodak’, which in 1888 he placed on the market.

In 1889, George Eastman and his company made their largest contribution to Photography with the introduction of roll film. Produced on a transparent base, this has since remained standard for film.

The Kodak Brownie –

With Kodak’s developments with photography one of their most important inventions, ‘The Brownie’, created to take images easily and quickly, allowed for amateurs within photography take their own ‘snapshots’. Due to the nature of photography being quite costly it was useful reserved for those of a higher class, however this let the middle class into the art too. Invented in 1900, its marketing was highly popular and saw their ownership on a massive scale.

(“Clearing Winter storm, Yosemite National Park” – Ansel Adams, 1937).

With famous photographers such as Ansel Adman’s using Brownies, their impact on the world of photography had shown they had made their mark.

From to Digital photography –

With Film photography, being used throughout the whole 20th century through George Eastmans invention of film rolls. The modern era of photography came about in 1975, with Steve Sasson’s invention of the first self-contained digital camera for Kodak. With this invention, it began another revolution in the world of photography. Using a 32 x 32 metal-oxide-semiconductor image sensor, which was modified with an Mos dynamic RAM memory chip, Sasson was able to build his invention.

(Side by side image of a film photograph vs ‘film-less’ digital image taken on Sasson’s camera).

From this point onward the development of photography has since grown rapidly, to its compaction into everyday life nowadays in mobile phones.

Jersey’s significance on the history of photography –

Thomas Sutton, 1819 – 1875

Sutton, a renowned figure not only in his local story but also his story in photography is most known for being the first photographer to take a coloured photograph. Establishing a studio in St Brelade in 1848 here he worked alongside another photographer, Frenchman L.D. Blanquart-Evrard were they had a printing establishment. In 1850 this studio was advertised as “founded at the suggestion of, and patronised by, H R H Prince Albert” who was known to be a keen collector of photographs. Suttons work of notoriety can be seen with his early experimental contributions to the patenting of a panoramic lens. His main contribution to photography however, was being the first photographer to take a coloured photograph. Under James clerk Maxwells pioneering work of creating colour photography, through a multi-coloured ribbon and a blue, red and green filter (similar to a computers RGB’s), this allowed Sutton to take the photograph in colour.

(The First permanent colour photograph, taken by Thomas Sutton in 1881, using the method produced by James Clerk Maxwell).

The Société Jersiaise is an academic charity that’s concerned with the history, language, culture and environment of the island of Jersey. The SJPA serves this purpose by preserving and providing access to records. The archive is a unique and important cultural heritage asset for Jersey, documenting our archaeology, geology, ecology, economy, community, architecture and culture through 150 years of producing and collecting photographic materials.

The Société Jersiaise Photographic Archive contains over 125,000 items dating from the mid-1840s to the present day. It is the Island’s principal collection of nineteenth and early twentieth-century photography and reflects a rich history generated from our geographical and cultural position between Britain and France, two nations that were prominent in developing the medium.

It was founded in 1873 for the study of Jersey archaeology, history, natural history and the ancient language of Jèrriais. They have special events and the Lord Coutanche Library supports the work of the Société Jersiaise by collecting and preserving material relating to Jersey’s history. They are important resources holding family archives, local newspapers and almanacs, photographs, prints, maps and genealogical material. Visitors of the Société Jersiase may use the library by purchasing a Reader’s Ticket. As well as that they also have a photographic archive containing over 80,000 images, which can be searched via the Société website.

They “aim to promote the study of Jersey’s archaeology, history, natural history, the ancient language and the conservation of the environment”. Many of Jersey’s prehistoric sites are owned by the Société and are free for visitors to enjoy. It also owns many of the items on display in Jersey’s museums.

Société Jersiaise holds exhibitions and displays, collects artefacts and other items of interest, and also coordinates art scholarships which encourage the development of contemporary art by young Islanders. 

In the time I was there, my class and I listened to a worker present what role she taken on when working for Jersey Heritages, Socitete Jersisaise. He film pphotographers used to develop photographers and what kind of photogroahers round the world decided to come to jersey during the perriod of time.

She mentioned that many photographers at the time photography was being more widespread and popular, it was a cheaper alternative to produce photographs in Jersey therefore known film photographers took photographs on the island as well e.g. Henry Mullins, Albert Smith etc.

St Helier’s Harbour has undergone significant changes from the mid-19th century to today. In the mid-19th century the harbour was mainly used for fishing and trading activities. Over periods of time, the harbour had expanded to accommodate later vessels and increased maritime traffic. In the 20th century, modernization efforts improved the infrastructure of the harbour making it a key for both commercial and leisure purposes. Today it stands as a bustling centre for various maritime activities including ferries e.g. day trip to St Malo, Southampton etc., fishing boats and yachts, contributing to the island’s economy and tourism sector as well as events such as the “Boat Show” presenting Jersey’s boat and yachts taking place annually which is important keeping the fun element of the Island.

The early developed harbour brings out a sense of nostalgia and history whereas the more modern day brings forth leisure and more environmental awarness as society becomes more aware with problems with water supply shortage and changes of the ocean.

When looking at the layout of the marina has gone through some changes as displayed here:

After the South Pier was completed in the 1820s, work began on the North Pier. This 2nd major pier had extended the protection of the harbour. It had provided a more sheltered area for mooring larger vessels.

The overall changes made over the years have been varied. In 1855 there were constructions made to improve docking space for ships (named after Queen Victoria). In the late 1800s the pier was enhanced for larger ships, as well as added facilities for easier loading and unloading.

In terms of post-WW2 they were repaired and updated for passenger ferries after damage during the German occupation and in the late 20th century, they shifted focus to leisure and tourism which includes modernised ferry terminals and yacht berths. In the present day in terms of development of the south pier is primarily serves as for ferry passengers and tourists as well as being upgraded for modern maritime needs.

The Albert Pier was built in 1874 to increase cargo capacity (named after Prince Albert).

In the early 20th century the pier was equipped with cranes and more modern equipment for efficient cargo handling. Secondly with the post-WW2 it was repaired after wartime use, as well as adapted to handle both cargo and some passenger traffic. In terms of recent years, the pier continues to focus on commercial shipping but also accommodates modern port activities and tourism.

Overall, both of their piers have differentiated and evolved from purely commercial uses to a blend of trade, tourism and modern port functions.

In the mood board I wanted to present the development of the Harbour and how it has changed through the different time periods, in the photographs presented. In terms of taking photographs in the specific location I want to focus on taking photographs that overview the harbour as a whole that presents the different types of boat and vessels that are positioned there. As well as taking photographs of different textures and different colours such as rough textures for the early industrial period like representing sand, stone etc which shifts later on to more smoother materials like e.g glass for the more modern period of time.

When displaying my work I want to search for old dated photos and compare them with most recently dated photos I’ve taken to see if there are any visible changes to do anything with the layout of the marina etc.

It is obvious that the St Helier harbour looks dated in the series of pictures on the left as colour yet wasn’t developed and the layout of the harbour was slightly different as well as the type of boats and larger vessels that would come in and out, out of the port.

Therefore in my mood board I wanted to start with muted sepia like and black/white tones for early phases from the left corner to transitioning into more vibrant colour themes as modernization and tourism especially plays a role.

Looking at my mood board I want to include a bigger picture of the harbour as well as individual pictures on a smaller scale to show a significance of a particular details of patterns, materials, colour palette as well as lifestyle.

What is Narrative?

A narrative is a story that you write or tell to someone, usually in great detail. A narrative can be a work of poetry or prose, or even song, theatre, or dance. Often a narrative is meant to include the “whole story.” A summary will give a few key details and then the narrative will delve into the details.

the purpose of narrative is to tell stories. Any time you tell a story to a friend or family member about an event or incident in your day, you engage in a form of narration.

What is a Story

A narrative about people and events, usually including an interesting plot, is a story. A story can be fictional or true, and it can be written, read aloud, or made up on the spot. Journalists write stories for newspapers, and gossips spread stories that may or may not be true.

My Zine Story

My zine is going to be about Jerseys harbour and maritime. I will create a zine that shows different parts and history of and around the harbour that represents the laboured hard work that goes into being in the industry.

3 words:

Jersey, fishing, history

How will you tell your story

I will tell my story by taking photos around the maritime museum and the harbour and portray what it is like to work, live or be associated with everything to do with the harbour.

Introduction

For the second shoot I started at the maritime museum, learning more about the history of the Jersey maritime history, from this I grabbed some quick shots to inspire me for the rest of the shoot. I then went onto walking around the harbours again. This time I had a different lens instead of the 70-200mm I had a 10-20mm this allowed me to get really wide angle shots.

Contact Sheets

Edit One

This photo was great compositionally but I didn’t like the red so I changed the photo to black and white to emphasise the texture and tones in the photo, this helped also show the purposeful angle of the image, showing all the doors on the fishing storage sheds.

Edit Two

I like how the black and white evens out the photo from the over exposed area, it helps the repetitive pattern of the dredging tools. (a harsh, destructive fishing technique)

Edit Three

For this shot I think the colour actually adds to the image, not only is there many different textures but there is many different colours from the rusty chain to the green netting. The exposure being moved lower has helped enhance the colours and make them bolder making the photo feel more intense.

Edit Four

I orginally liked this photo for the lines but I didn’t like the yellow tone or noise from artifcial light, to fix this I changed the photo to black and white, this meant it empahsised the dimeson and removed the issues of colour.

Edit Five

Again I liked the lines and dimesion of the photo as it has the contuinal curve of the wall at the bottom of the shot but keeps the boat jus off center at the end of steps creating a great leading line. I again turned th ephoto to black and white as te true colours wern’t captured well so this helped add depth to the photo as the colours having been washed out took the dramatic tones out of the photo.

Edit Six

As I had fixed the last few photos I like but the lighting was off by turning photos black and white I thought I would try it with this one. I liked how the lobsters were an interesting subject choice with the one lobster in the middle, on top of the others it added a focus to the photo. The photo was indeed dramatically improved when I changed the photo to black and white revealing otherwise hidden areas of the busy photo.

Edit Seven

Following on the black and white theme I changed this photo to a similar, tonal black and white image again elevating the image from fairly flat and uninteresting to a dynamic, abstract photo.

Final Thoughts on the Editing

From this shoot I focused more on the details rather than the whole picture like the first photoshoot. Although not quite what I had planned it worked out well with getting quite a few good abstract shots of the harbour. I think having had quite a few of these edits in black and white I might use a double page spread in my zine to create pages of black and white photos especially the abstract ones so a fuller picture is given through small snippets.

Photography, at present, is the result of a series of innovations and experiments that have spanned centuries. Its origins are in the fundamental desire to capture photos from time in a permanent form. The documentary I watched delves into some of the pioneering developments that shaped the early history of photography, from earlier optical devices to chemical processes that allowed for the creation of lasting images. My essay outlines the milestones in photography’s history, beginning with the camera obscura, and pinhole photography and progressing through the contributions of key figures such as Nicéphore Niépce, Louis Daguerre, Henry Fox Talbot, and others. 

In terms of the Camera Obscura & Pinhole photography, the earliest form of image-making in photography began with it. The Latin term meaning “dark room.” This optical device is based on the idea that light travels in straight lines. When light passes through a small hole into a dark room or box it projects an inverted image of the outside scene onto the opposite surface. The camera obscura was used as early as the 5th century BCE by Chinese philosopher Mozi and later by Arab scholar Alhazen in the 11th century to study optics. In the Renaissance, artists like Leonardo da Vinci used the camera obscura to aid in creating their realistic paintings. 

The pinhole camera is a more portable version of the camera obscura, it emerged as an essential tool in the evolution of photographic devices. Both of these tools laid out the foundation for future advances in image capturing but they could not preserve the image beyond temporary projection. 

The first advance in permanently capturing images came in the early 19th century with the work of the French inventor Nicéphore Niépce. In 1826, Niépce created the earliest known permanent photograph using a process he called Heliography (from the Greek words for “sun” and “writing, Heliography is in some cases still used today mainly for photo engraving). Niépce coated a pewter plate with a light-sensitive material, bitumen of Judea, and exposed it to light in a camera obscura. After an approximately eight-hour exposure, the bitumen (natural asphalt historically used as a light-sensitive material) hardened in proportion to the light it had gotten, and the unexposed areas were washed away with a solvent. This left a permanent image. The resulting photograph, “View from the Window at Le Gras” is the earliest surviving picture example. 

In the 1830s, Niépce’s partner, Louis Daguerre, refined the process and introduced a new direct positive method called the “daguerreotype”. This technique involved exposing a silver-coated copper plate to iodine fumes, which made it light-sensitive. After exposure to light, the plate was developed in mercury vapor and then fixed with salt water. The daguerreotype process, announced to the world in 1839, dramatically reduced the exposure times to about 20 minutes (rather than approximately 8 hours) and produced much sharper and more detailed images than Niépce’s heliographs.  

The daguerreotype quickly gained widespread popularity, particularly for portraiture. hey were also low cost compared to paintings. Its detailed and reflective surface created stunning, lifelike images, and it was commercially viable, leading to the establishment of portrait studios in cities worldwide (At the end of 1839 in Paris they were referring to the new disease as Daguerreotypomania). However, daguerreotypes were unique images—there was no way to reproduce them easily, a limitation that would later drive further innovations. This is why they are so important as they made it possible to capture the image seen inside a camera obscura and to preserve it as an object. 

While Daguerre was refining his process, across the English Channel, (British scientist) William Henry Fox Talbot was independently working on another photographic method. Talbot’s invention, the calotype (also known as the talbotype), introduced the concept of the negative-positive process. By exposing paper coated with silver chloride to light, Talbot could create a negative image, which could then be used to make multiple positive prints by contact printing. This process, which was introduced in 1841, was slower and produced softer images than the daguerreotype, but its ability to produce multiple copies was a game-changer. 

Henry’s work also presented the way for photography as a reproducible art form, and the calotype is considered the forerunner to modern photographic processes. His photographic experiments with nature, architecture, and objects expanded the range of subjects captured by early photographers. 

As photography grew in popularity, there was a continual search for processes that would combine the simplicity of the daguerreotype with the reliability of the calotype. This led to the development of the wet collodion process in 1851 by Frederick Scott Archer. Collodion (a sticky substance) was used to coat glass plates with light-sensitive chemicals. These plates were then exposed and developed while still wet which allowed for shorter exposure times as well as higher-quality images. 

The wet collodion process allowed for multiple prints, like the calotype, but with much sharper detail, akin to the daguerreotype.

However, Richard Maddox noticed that his health was affected by the collodion’s ether vapor and he began searching for a substitute. In 1871, he suggested a new method. In the British Journal of Photography, he published an article on ‘An Experiment with Gelatino-Bromide‘. In the article he described that sensitizing the chemicals cadmium bromide and silver nitrate should be coated on a glass plate in gelatin, a transparent substance used for making candies. Charles Harper Bennett then created the first first gelatin dry plates for sale. This was before the emulsion could be coated on celluloid roll film.

It became the “dominant” photographic process for the next few decades. A variant of this process, the tintype, became popular for its portability and affordability. Tintypes were made on thin sheets of iron (not tin) and were commonly used for portraiture during the American Civil War.

 By the late 19th century, photography had evolved beyond being just a scientific tool or a commercial medium. It began to gain recognition as an art form. Movements such as Pictorialism sought to elevate photography to the status of fine art by emphasizing its aesthetic qualities. Pictorialist photographers like Julia Margaret Cameron and Henry Peach Robinson used soft focus, elaborate compositions, and symbolic subject matter to create images that resembled paintings. They believed photography should express emotions, ideas, and beauty, rather than simply document reality. 

The Platinum Print and Gum Bichromate processes were popular among Pictorialists because they offered more control over the tonality and texture of the image, allowing photographers to create unique and expressive works of art. 

A significant milestone in photography’s history came with the invention of roll film by George Eastman in the late 19th century. Eastman’s company, Kodak, introduced the first consumer camera in 1888, famously marketed with the slogan: “You press the button, we do the rest.” This innovation influenced photography by making it accessible to the general public. Before this, photography was a complex, labour-intensive process that required knowledge of chemistry and access to expensive equipment. With the Kodak camera, anyone could take pictures, send the film to Kodak for processing and receive their prints by mail. 

This democratization of photography had profound effects, as it shifted the medium from a specialized field to a mass cultural practice. The introduction of film also marked the transition from glass plates to the flexible, plastic-based medium still used in modern analog photography. 

The documentary “Fixing the Shadows” introduces us to photography’s early pioneers, but the evolution of the medium goes far beyond those first experiments. From the invention of the daguerreotype and the calotype to the rise of mass-market photography with Kodak, each technological advance built on the last, pushing photography closer to the modern form we see it today. 

Through these developments, photography transformed from a novel way to “fix shadows” into a product of mass communication and an art form. The constant interactions between science, industries and creativity has ensured that photography remains one of the most influential and versatile media in the modern world. Its origins are a blend of art and technology that continues to configure how we see the world. 

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A camera is objective, so the potential of photography is to turn something ordinary into something extra ordinary through the framing and composition of images. A photographer ‘transforms what is described’ meaning that by framing reality, the photographer is choosing what deserves attention and what needs to be questioned. It is up to the viewer to make sense of it.

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Camera Obscura is the oldest form of photography that massively predates the modern camera. This is set up by using a dark box with a small hole for light. The light will pass through the pin hole and flip the image 180 degrees once it meets a surface, this image is flipped because light always travels in straight lines. A projection like this is not set. The camera obscura is a technique that is still used by artists today. Modern versions are small portable boxes instead of blacked out rooms, for example an artist who wants to paint a large surface with a small A4 sketch would use this technique.

Camera Obscura can be dated back to as early as 400BC by Chinese Philosopher Mo-tzu. He noted early sightings of a projected inverted image in a dark room. It wasn’t until 1604 that ‘Camera Obscura’ was associated with the phenomenon by Johannes Kepler who invented a small, portable box for astronomical observations.

French inventor Joseph Nicéphore Niépce was inspired by the camera obscura to create a lasting image. He is notable for creating the first negative in 1816. This negative used paper which was coated in silver chloride. This however was not permanent and would completely darken when exposed to light.

After only temporary success, Niépce founded the process ‘heliography’ meaning ‘sun drawings’. In 1822, the first permanent photographic image was created. This technique was lengthy and started with dissolving bitumen in lavender oil and coating it onto a metal or glass sheet. This and some paper were laid out in the sun and then rinsed off. The result was hardened chemicals in areas of light/dark which could be used for prints.

in 1839, two methods of ‘setting images’ were created: the Calotype, and two months later the Daguerreotype.

English scientist Henry Fox Talbot created the Calotype, meaning ‘beautiful impression’. The Calotype used light reactive chemicals and silver salts (chloride and later iodide) on paper to create a negative with low contrast and textures. This process too around an hour. The production of a negative allowed for mass production of copies.

Louis Daguerre was also a French inventor and released his Daguerreotype as a direct rection to Henry Fox Talbots invention to be a part of the creation of photography. The Daguerreotype was significantly different to the Calotype as it only created one image. These one off images were described as being a ‘mirror of a memory’ and used grains on a metal plate (typically brass or tin) which were soldered together. This process was heavily inspired by Niépce’s heliography.

The Daguerreotype was expensive and time consuming so ultimately lost the race to the Calotype.

Robert Cornelius, an American photographer, took the first self-portrait. This portrait was taken in 1839 as a daguerreotype. This portrait was also the first portrait taken in the United States. Additionally he opened many photography studios and founded many revolutionary techniques to reduce exposure time. His business model made use of lard instead of expensive whale oil leading to brighter results.

Julia Margeret Cameron was another English photographer who photographed many famous Victorians such as Charles Darwin. From around 1863 to 1875 she had amassed a large portfolio of . She has been credited with the production of the first close-ups. She never made commissioned portraits or opened a studio but did show aspirations of a commercial venture with high profile subjects but ultimately did not see profits during her lifetime.

Pictorialism is the intentional style of emphasizing the beauty of the subject matter, tonality, and composition instead of documenting reality, meaning the photographs are staged and manipulated and could sometimes be mistaken as not having a specific focus. This style was popular throughout the 19th century and continued in smaller relevance until the end of the world wars.

Carte-de-Visit was a format of portrait first used by louis Dodero in 1851. The name however was patented by André Adolphe Eugène Disdéri, a French man in 1854. The name means ‘visiting card’ as it was the same size as a post card and were sent between friends and family. A photographer who used this format was Henry Mullins; the the most prolific first wave photographer in jersey from 1848 to 1873. He owned a studio in royal square and readily changed his technique with changing innovations. He used the Carte-de-Visit style a

Richard Maddox, an English physician, invented the lightweight gelatin negative dry plates in 1871. Before this discovery, Maddox used photography to study micro-organisms under a microscope. His health however declined with his exposure to the wet conditions caused by previous photographic processes. He discovered that sensitizing chemicals cadmium bromide and silver nitrate could be used with gelatine to create the first functioning dry press.

George Eastman, an American entrepreneur, founded Kodak (Eastman Kodak Company) in 1888. This was the first use of roll film readily accessible for the general public making amateur photography easier to pick up. He patented the film roll in 1885 but didn’t release the cameras until 1888. The roll had 100 exposures pre rolled unto the camera and could be handed back to the company who would develop the images for $10.

Kodak held a monopoly over the film stock market and in 1900, the Brownie camera was released and marketed to children. It was a cardboard box sold at the price of $1 or 5 shillings ( £27 today) with cheap film roll and processing which massively surpassed its marketing goals. This camera reached beyond its initial market of children and served as a good way of enticing amateurs as the price was a fraction of previous models such as the Pocket Kodak which costed a standard families months wages. This low price made it easy to pick up and gift. Despite the cheaper production, when used properly the brownie could still produce good photographs. Soldiers took the devices into world war 1 in conjunction with other Kodak models. Kodak took advantage of the broader appeal and released several different editions.

Film photography was pioneered by George Eastman but did not remain exclusive to Kodak. 35mm film was used by all sorts of manufacturers from 1905 to 1913. The war disrupted development on new models but in 1925 the Lecia 1 overtook Kodaks sales and established 35mm film as the go-to choice for high-end compact cameras. In 1936, Japanese brand Canon rose in popularity after soldiers took these new cameras home with them following the Korean War. 1949 saw the release of the first instant-picture camera named the Polaroid Model 95.

Digital photography did not use film or chemicals, instead images were saved directly onto memory cards. They have low operating costs and gradually pushed chemical cameras out of the limelight. The very first can be linked back to 1969 but did not reach markets in any capacity until 1989. The low quality, lack of colour and high price caused the device to completely fail commercially. Gradually with technological advancements the digital camera became a more viable option however it wasn’t until 2003 that digital cameras finally outsold film cameras. Since the 90s Kodak and Fujifilm had competed for space and with the global switch to digital, Kodak fell behind and in 2012 filed for bankruptcy. Digital cameras however have only continued to thrive and advance.