LOUIS JACQUES MANDE DAGUERRE THE WORLD FIRST PHOTOGRAPHER BORN 1787 NOVEMBER 18

LOUIS JACQUES MANDE DAGUERRE THE WORLD FIRST PHOTOGRAPHER BORN 

1787 NOVEMBER 18

On January 7, 1839, members of the French Académie des Sciences were shown products of an invention that would forever change the nature of visual representation: photography. The astonishingly precise pictures they saw were the work of Louis-Jacques-Mandé Daguerre (1787–1851), a Romantic painter and printmaker most famous until then as the proprietor of the Diorama, a popular Parisian spectacle featuring theatrical painting and lighting effects. Each daguerreotype (as Daguerre dubbed his invention) was a one-of-a-kind image on a highly polished, silver-plated sheet of copper.

 daguerreotype 

a photograph taken by an early photographic process employing an iodine-sensitized silvered plate and mercury vapour.

Daguerre’s invention did not spring to life fully grown, although in 1839 it may have seemed that way. In fact, Daguerre had been searching since the mid-1820s for a means to capture the fleeting images he saw in his camera obscura, a draftsman’s aid consisting of a wood box with a lens at one end that threw an image onto a frosted sheet of glass at the other. In 1829, he had formed a partnership with Nicéphore Niépce, who had been working on the same problem—how to make a permanent image using light and chemistry—and who had achieved primitive but real results as early as 1826. By the time Niépce died in 1833, the partners had yet to come up with a practical, reliable process.

Not until 1838 had Daguerre’s continued experiments progressed to the point where he felt comfortable showing examples of the new medium to selected artists and scientists in the hope of lining up investors. François Arago, a noted astronomer and member of the French legislature, was among the new art’s most enthusiastic admirers. He became Daguerre’s champion in both the Académie des Sciences and the Chambre des Députés, securing the inventor a lifetime pension in exchange for the rights to his process. Only on August 19, 1839, was the revolutionary process explained, step by step, before a joint session of the Académie des Sciences and the Académie des Beaux-Arts, with an eager crowd of spectators spilling over into the courtyard outside.

The process revealed on that day seemed magical. Each daguerreotype is a remarkably detailed, one-of-a-kind photographic image on a highly polished, silver-plated sheet of copper, sensitized with iodine vapors, exposed in a large box camera, developed in mercury fumes, and stabilized (or fixed) with salt water or “hypo” (sodium thiosulfate). Although Daguerre was required to reveal, demonstrate, and publish detailed instructions for the process, he wisely retained the patent on the equipment necessary to practice the new art.

From the moment of its birth, photography had a dual character—as a medium of artistic expression and as a powerful scientific tool—and Daguerre promoted his invention on both fronts. Several of his earliest plates were still-life compositions of plaster casts after antique sculpture—an ideal subject since the white casts reflected light well, were immobile during long exposures, and lent, by association, the aura of “art” to pictures made by mechanical means. But he also photographed an arrangement of shells and fossils with the same deliberation, and used the medium for other scientific purposes as well. The journalist Hippolyte Gaucheraud, in a scoop that appeared the day before daguerreotypes were first shown to the Académie des Sciences, wrote of having been shown the image of a dead spider photographed through a solar microscope: “You could study its anatomy with or without a magnifying glass, as in nature; [there is] not a filament, not a duct, as tenuous as might be, that you cannot follow and examine.” Even Arago, director of the Observatoire de Paris, was reportedly surprised by a daguerreian image of the moon.

Neither Daguerre’s microscopic nor his telescopic daguerreotypes survive, for on March 8, 1839, the Diorama—and with it Daguerre’s laboratory—burned to the ground, destroying the inventor’s written records and the bulk of his early experimental works. In fact, fewer than twenty-five securely attributed photographs by Daguerre survive—a mere handful of still lifes, Parisian views, and portraits from the dawn of photography.



Louis Daguerre, in full Louis-Jacques-Mandé Daguerre (born November 18, 1787, Cormeilles, near Paris, France—died July 10, 1851, Bry-sur-Marne), French painter and physicist who invented the first practical process of photography, known as the daguerreotype. Though the first permanent photograph from nature was made in 1826/27 by Nicéphore Niépce of France, it was of poor quality and required about eight hours’ exposure time. The process that Daguerre developed required only 20 to 30 minutes.

Daguerre was at first an inland revenue officer and then a scene painter for the opera. In 1822 at Paris he opened the Diorama, an exhibition of pictorial views, with various effects induced by changes in the lighting. A similar establishment that he opened in Regent’s Park, London, was destroyed by fire in 1839. Niépce, who since 1814 had been attempting to obtain permanent pictures by the action of sunlight, learned in 1826 of Daguerre’s efforts in the same field. The two became partners in the development of Niépce’s heliographic process from 1829 until the death of Niépce in 1833. Daguerre continued his experiments, and it was he who discovered that exposing an iodized silver plate in a camera would result in a lasting image if the latent image on the plate was developed by exposure to fumes of mercury and then fixed (made permanent) by a solution of common salt. On January 9, 1839, a full description of his daguerreotype process was announced at a meeting of the Academy of Sciences by the eminent astronomer and physicist François Arago. Daguerre was appointed an officer of the Legion of Honour. In 1839 Daguerre and the heir of Niépce were assigned annuities of 6,000 francs and 4,000 francs, respectively, in return for their photographic process.