1839: With a French pension in hand, Louis Daguerre reveals the secrets of making daguerreotypes to a waiting world. The pioneering photographic process is an instant hit.
Using chemical reactions to make images with light was not quite new. Doing it fast was. Inventor Joseph Nicéphore Niepce created a rough image using silver salts and a camera obscura, or “dark box,” in 1816. The image faded away quickly.
Another decade of work led to the first permanent photographic image, when Niepce fixed a shot of his courtyard onto a pewter plate. The exposure took eight hours in bright sunlight. Niepce continued researching in hopes of making the process faster and more practical.
Daguerre was a successful commercial artist hoping to increase the realism of his giant diorama paintings, some of them 70 feet long by 45 feet high. When using a camera obscura to sketch the outlines (or cartoons) for his paintings, he thought it would be better to create images directly with the camera. He began experimenting.
Daguerre’s optician told him about Niepce’s work. Daguerre and Niepce began a correspondence that turned into a partnership in 1829. Niepce died in 1833, and his son Isidore labored on. But it was Daguerre’s advances with silver-plated copper sheets, iodine and mercury that cut exposure time down to minutes and created positive rather than negative images.
Daguerre was unable to sell his process by subscription, but it caught the interest of François Arago, perpetual secretary of the French Academy of Sciences. It was under the auspices of the academy that Daguerre first displayed his daguerreotypes to the public on Jan. 9, 1839. They created a sensation.
Arago used the buzz to lobby the French Parliament to grant pensions to Daguerre and Isidore Niepce, so they could make all the steps of the new process public and France would “then nobly give to the whole world this discovery which could contribute so much to the progress of art and science.”
Parliament agreed: Daguerre got 6,000 francs (about $30,000 in today’s money) per year and Niepce 4,000 francs per year. With a flurry of advance publicity, Daguerre and Arago made the technical details public on Aug. 19. They also described Niepce’s earlier processes, heliography and the physautotype, but presented the daguerreotype alone as having a future.
And what a future! Within days, opticians and chemists in Paris sold out of the supplies needed to make cameras and plates. Improvements to the process followed within weeks. Daguerre’s instruction manual was translated into a dozen languages within months.
No one wanted to have a portrait painted; everyone wanted a daguerreotype. Studios opened all over Paris. “Daguerreotypomania” spread from Paris to the rest of France, then across the continent, across the channel to England and across the Atlantic to America.
Daguerre did more research, but not to much effect, as many innovators surpassed him. He died in 1851. Another decade and the daguerrotype would be largely supplanted by the albumen print, which made images on paper instead of metal.
Source: Daguerreian Society, others
Image: Louis Daguerre (above) and Isidore Niepce were granted pensions by the French Parliament, allowing them to make their photographic process available to the public.
Daguerreotype: Jean-Baptiste Sabatier-Blot
This article first appeared on Wired.com Aug. 19, 2008.
See Also:
- 1848 Daguerreotypes Bring Middle America’s Past to Life
- Gallery: Daguerre to Be Different!
- From Silver Dust to Smilin’ Gus: Make Your Own Daguerreotype
- Jan. 9, 1839: Say ‘Cheese’
- June 15, 1878: Muybridge Horses Around With Motion Pictures
- May 2, 1887: Celluloid-Film Patent Ignites Long Legal Battle
- Sept. 4, 1888: Photography Leaps Into the Late 19th Century
- April 6, 1903: Edgerton Born, Father of High-Speed Photography
- Feb. 21, 1947: ‘Take a Polaroid’ Enters the English Language

Dry mounting works by placing a special adhesive tissue between the photograph and the mount board. It is then placed in a special press that will apply pressure to ‘press’ the artwork against the mount board while applying a high temperature to activate the adhesive in the tissue. It’s just that simple.

Now that you have a trimmed print with mounting tissue attached, it’s time to talk placement on the matboard. As a general rule, the space on the two sides of the print are equal, while the bottom uses 1/4 to 1/2″ more space than the top. This is a typical technique used to give a dynamic ‘lift’ to your presentation.








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Typical site planning: One developer plans the entire industrial area, usually in conformity with a county or regional master plan. The site is divided into a simple grid of streets and blocks. The grid pattern is broken only at the perimeter of the development, where an encircling frontage road may channel traffic to freeway access or to previously existing surface streets. Broad interior streets are designed to accommodate large numbers of heavy vehicles. Lot sizes, setbacks, and other zoning determinations are incorporated into the master plan and maintained uniformly throughout the development.

Typical functions: Such developments typically house industries which have become significant in the years since the Korean War. These include: aerospace; data processing and information storage; leisure time industries, such as the fabrication of recreation vehicles and equipment. Often these developments house storage and distribution centers for firms whose manufacturing occurs in other parts of the country or abroad.

William Jenkins: