Camera Obscura & Pinhole photography
The ancient camera obscura is thought to have appeared as long ago as 4th century China and Greece. Throughout the ages it has been used for religious ceremonies, astrological observation, drawing aid, entertainment and more.
The camera obscura worked by having a small pinhole opening. The rays of light from an object would pass through this hole and appear inverted as they hit a surface on the other side. A biconvex glass lens was later added allowing for focusing and refracting the light which meant no more inverted images. The pinhole would be installed inside a large dark room or tent, later versions becoming small boxes with mirrors so you could angle the image.
Nicephore Niépce & Heliography
Heliography is an invention of 1827, 12 years before the invention of photography was announced in in both England and France. A decade of experimenting only to end up with fleeting pictures gave Niépce the discovery of the Heliograph.
Niépce’s method required dissolving light-sensitive bitumen (derived from crude oil used in asphault) in lavender oil and applying it over a polished pewter plate (metal alloy). Inserting the plate into a camera obscura and left exposed for several days to sunlight it would reveal an impression.
Louis Daguerre & Daguerreotype
Louis Daguerre was a showman, a presenter of art. The first French panorama painter and apprenticed in architecture and theatre as well. He invented the diorama, opened in 1822.
Daguerre continued from the work off his deceased partner Nicéphore Niépce, inventor of one of the first photographic images (heliograph). He developed the process which became known as a daguerreotype. It went public at a convention on 7th January 1939 and described in not enough detail to be accurately recreated though the images were rightfully praised. The rights were acquired by the French government in exchange for life pensions for himself and Niépce’s son.
With the work on the physautotype that Daguerre did with Niépce, he managed to develop the daguerreotype.
The process of the daguerreotype involved polishing a silver plate till it became a mirror and clear of any blemishes, finally swabbed with nitric acid. In darkness it would be exposed to halogen fumes, originally iodide, to create a silver halide coating, originally silver iodide.
The plate was placed into a lightproof plate holder. A ‘dark slide’ would be removed and then the plate would be exposed by removing the lens cap. This would take from few seconds to a few minutes. The plate was then developed in red light and mercury fumes.
The silver halide was removed with sodium thiosulfate and ‘gilded’ with a gold chloride that was heated over a flame. Then finally rinsed and dried. Without the gilding process the image would be as delicate as dust.
Henry Fox Talbot & Calotype
In 1834 Talbot connected his background in optical research with the camera obscura and through this developed the calotype. Coating paper in silver iodide created a non-light sensitive paper that could be stored. Brushing the paper with “gallo-nitrate of silver” solution would balance the chemicals and made the paper light sensitive. In a small lightproof box, nicknamed a mousetrap, the paper was inserted and exposed. By warming the paper and again brushing it with “gallo-nitrate of silver” silver bromide would form. It would be fixed in a hot solution of sodium thiophosphate and produce a translucent negative. The negative could be used to create infinite positives via contact printing. This calotype was groundbreaking but had limited contrasts and details. At Friday Evening Discourse at the Royal Institution on 25 January 1839, Talbot revealed several prints he made in 1935 and would give people an in-depth explanation on his process, unlike Daguerre who initially gave more of an overview.
Robert Cornelius & self-portraiture
Born in the United States, Robert Cornelius was schooled privately with a particular interest chemistry. In 1931 he began worked for his father in silver plating and metal polishing.
In 1939, Cornelius met Joseph Saxton who was looking for better plates for daguerreotypes which sparked for Cornelius’ an interest in photography. A month later in October, with an improvised camera obscura Cornelius stood for 10-15 minutes to take a portrait outside of his family shop. This portrait is known to be at least one of the first intentional self-portraits in the world.
Cornelius’ family portraits didn’t get preserved but, a student at Cornelius’ studio, Marcus Aurelius Root, published it in a book about the roots of photography in the USA.
Julia Margeret Cameron & Pictorialism
Pictorialism, an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality. | Britannica
Julia Cameron was born British, in west India, and known as a keystone photographer of the 19th century and for her soft portraits. Cameron’s portfolio consisted of famous Victorians and depictions of Christianity, mythology and literature.
On her 48th birthday in 1863 she was gifted a camera by her daughter. Theatre, tableux vivants, 15th century painters and italian contemporary artists inspired her first photos. She produced 900 photos over 12 years.
Her portraits were of beautiful and delicate women….
distinguished gentlemen…
and illustrative interpretations.
Cameron was very much a forward thinker and ambassador of her time of the romantic era. She captured the sublime elements of her subjects in a niche and artistic aesthetic.
I especially enjoy this romantic and early contemporary art thinking. Stereographs, panoramic and sublime point of views established photography as an art form, an experience, not so much purely science. It is clear Cameron had this very perspective.
Henry Mullins & Carte-de-Visit
Henry Mullins was by far the most prolific of the first generation of Jersey photographers in the mid-19th century. He produced thousands of portraits of islanders between 1848 and 1873 at his highly successful studio in the prime location of the Royal Square, St Helier. | Jersey Heritage
After working in London, Mullins moved to Jersey in 1848 and began making ‘Carte de Visite’ (visiting cards). For further context, Carte de Visites were traded among Victorians and could fit in your pocket.
Henry Mullins took up to 9600 portraits that are now in the possession of the La Société Jersiaise.
Henry Mullins would use calotypes and charge islanders “one half of that in London”.
As he advertised in the paper, portraits could be of…
Individuals…
Duos…
Of groups… The photos would typically have contact sheets of 10s or 16s. Not to mention, they could vary in sizes.
Tama,
A quality blog post demonstrating thorough research and clear and concise paragraphs describing key developments within the origin of photography. Excellent use of images/ illustrations too.
15/18 = A-grade