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- [00:00]
Tracy V. Wilson
This is an iHeart podcast.
- [00:03]
Holly Fry
Guaranteed Human Wouldn't it be great to never buy gas again? EVs are as easy to charge as your phone and they are a perfect addition to your everyday life. Most people are only driving about 40 miles a day and most EVs can handle 200 to 400 miles of range on a charge. And there are hundreds of EV models available today, so there's something perfect for every lifestyle and budget. I drive an ev. I've had it for a couple of years. It's my favorite car I've ever owned. It is so fun to drive. The pickup is incredible. It's super agile and it is easy to maintain. The way forward is electric. Learn more@electricforall.org support for the show comes
- [00:41]
Sponsor/Advertisement Voice
from Public, the investing platform for those who take it seriously. On Public you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index. With AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors, llc. SEC Registered Advisor Generated Assets is an interactive analysis tool. Output is for informational purposes and is not an investment recommendation or advice. Complete disclosures available@public.com disclosures if you're looking
- [01:41]
for more flexibility in how you pay for everyday purchases, meet Klarna. Klarna lets you decide whether to pay now, pay later, or spread payments over time. All managed right in the Klarna app. Download the Klarna app today or visit klarna.com to learn more. Terms Apply California Resident Loans made or arranged pursuant to a California Finance Law License, NMLS Number 1353190 Klarna Balance Account required to be eligible for cashback points Limitations Terms and conditions apply.
- [02:11]
Radhi Deblokia
This is Radhi Deblookia from a really good cry. I absolutely love being outdoors, even if it's just stepping outside for a bit of fresh air between meals or taking a mindful walk to clear my head. But the one thing that can really ruin that is when my feet feel cramped in my shoes. So I switched to ultra running and honestly, it makes such a difference. What I love most is their signature ultra fit, comfort, balance, strength. They have this roomy toe box that lets my toes actually spread and move naturally. So I really appreciate that and I feel more grounded and balanced with every single step. It's like my feet can finally do their job using all those little muscles that make me feel stronger the more I move. Whether you are a marathon runner, beginner or advanced, or just getting outside to train, Altras have become my go to for running and moving mindfully. They fit so well, they're so comfortable and they just move with you. Shop now@altrunning.com and use my code CRY10 for 10% off. That's a L T R-A running.com experience Altra and stay out there these days
- [03:09]
Sponsor/Advertisement Voice
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- [03:42]
Tracy V. Wilson
Happy Saturday. We're following up this week's episode on Elizabeth Fulhame and her connections to the world of photography with our episode on Louis Daguerre, inventor of the daguerreotype.
- [03:53]
Holly Fry
This episode originally came out December 27, 2021. Enjoy. Welcome to Stuff youf Missed in History Class, a production of iHeartradio. Hello and welcome to the podcast. I'm Holly Fry.
- [04:14]
Tracy V. Wilson
And I'm Tracy V. Wilson.
- [04:16]
Holly Fry
You have probably noticed that there's a name that pops up pretty much anytime we're discussing photography in history, and that is Daguerre. We have referenced him and his daguerreotypes and the invention of that many times on the show. And and we often use it as a reference point for when other people are taking pictures and how far along they've come. We're probably going to reference it again because he really innovated and touched a lot of lives. But well before he figured out how to capture images through a camera obscura, he was an artist and an innovator in entertainment. So today we are going to talk about all of that because we've never covered him before. And of course, we will also talk about his work in photography.
- [04:59]
Tracy V. Wilson
He's one of those people that has come up so many times that we had to have the conversation about whether we had already done this episode.
- [05:06]
Holly Fry
Yes, Tracy, are you sure we have a cover?
- [05:09]
Tracy V. Wilson
Daguerre? I just looked through the whole spreadsheet. Not in there. So he was born Louis Jacques mondet Daguerre on November 18, 1787, about 180 km west of Paris, in a town called Cormier en Perizis. The family, especially Daguerre's father, who was named Louis, they were royalist in their politics. And Louis had a sister who even was named after Marie Antoinette. That sister was born in 1791. The senior Louis de Guerre worked as a court crier before the Revolution, and that was a civil service job. But as the French Revolution really heated up, that job, of course, went away for a while. That meant that the family moved to Orleans, where Louis senior found work as a clerk in an estate.
- [05:58]
Holly Fry
And in 1793, of course, Louis XVI was guillotined and the Reign of Terror began. Daguerre's father was employed by Louis Philippe ii, Duke d', Orleans, who sided with the revolution. But he was of course, a cousin of the king, and he was eventually guillotined for his association with with the House of Bourbon. And though Louis Daguerre Sr. Remained employed at the estate, this seems to have pretty much meant that life in Orleans was a little bit more somber than it had been when the family first arrived there.
- [06:33]
Tracy V. Wilson
There are some holes in the story of Daguerre's early life. Some of that is just because it would have been unusual for just a regular child's life to be well documented. But it's also because of the period in which he was born. So consider, for example, he would have still been bas, not even two years old when the Bastille was stormed in 1789. So his whole childhood was happening at a time when the monarchy was falling, the revolution was raging. That all would have been very difficult for his royalist father. And it also would have meant that a lot of just so called normal life was significantly disrupted.
- [07:12]
Holly Fry
So we know that Louis Daguerre was enrolled in public school in Orleans, but due to those constantly shifting sands of the French government, there were stretches, long stretches, sometimes where classes did not assemble. So Daguerre got something of a patchwork education, but he spent that ample free time that he was afforded by the gaps in school to develop his natural talent, which was drawing.
- [07:38]
Tracy V. Wilson
While Louis Daguerre's name is forever linked to photography, he really did not start out on a career path that would suggest that outcome. In 1800, Louis Daguerre drew a portrait of his parents. This was sort of an audition. The skill that he exhibited with this portrait led to him being offered an apprenticeship. Not exactly with an artist though, it was with an architect. This was a stable career path for an artistic 13 year old in a time when France really did not have that many stable career paths. So for three years, he dutifully worked at perfecting his ability to render the drawings of building structures. That's something he seems to have really enjoyed. He loved recreating true life detail in his drawing. And architectural drawings were to him just another iteration of that.
- [08:28]
Holly Fry
Now, as a note, this is something that I stumbled across a lot while researching this episode. You will sometimes see it mentioned in biographical write ups of Daguerre that he also worked as a revenue officer during this early period of his life, without much additional information about it. And it kind of seems like this might actually be the result of some confusion due to his name being the same as his father's. And since we know that his father did work as a clerk at an estate, that kind of seems like the most likely scenario.
- [09:00]
Tracy V. Wilson
When the younger Louis Daguerre finished his apprenticeship at the age of 16, he didn't take the next step into architecture. Instead, he went back to his love of art. He decided to move to Paris to study painting and to try to make a life as an artist. This was something that his parents found terrifying. They had supported his artistic tendencies, but there was just uncertainty and a lack of stability in an art career. And then on top of that, they were also concerned that the young Daguerre would fall into a life of debauchery in Paris. Finally, after a lot of discussion, they made an arrangement that was agreeable to the parents and the son alike. Louis father got him an apprenticeship in Paris with Ignacio Eugenio Maria Dagati.
- [09:46]
Holly Fry
And Dagati was born in Turin, Italy in 1758. And like young Louis Daguerre, he showed artistic proclivity from a very young age. And he too had moved to Paris to pursue his art, although he did so when he was in his 30s. And by the time his life met up with Deguers, he had become a renowned theatrical designer and a painter for the Paris Opera. And Daguerre moved in with him as part of this apprenticeship deal. That was something his parents insisted upon.
- [10:15]
Tracy V. Wilson
This was A time in his life when Louis de Guerre lived a pretty enviable existence. He was young, he was making connections in the Paris art scene, and he made the most of that. There are stories about how much fun he was at parties and how he would go into such gatherings walking on his hands. He loved Paris and Paris loved him back. He was really beloved among his peers. At one point, he even appeared on stage in a small role in the Paris Opera.
- [10:43]
Holly Fry
Yeah, there was one section of a biography about him I was reading where it said that he knew how to walk a tightrope and that he may have learned this when he was a young boy, because festivals would come through the area where they lived. And I'm like, yes, but how did that come up while he's just hanging out with his friends, like, oh, would you like to see me walk this tightrope that just happens to be here at present? That's a little less clear. But he had a lot of fun skills, it sounds like. And just as he had spent three years as an architect's apprentice, he spent three years under Ducati's tutelage before deciding that he wanted to move on. And this was a pretty natural progression because his next move was to take on an assistantship with another artist. And this time it was Pierre Prevost, famed panorama painter.
- [11:35]
Tracy V. Wilson
Panoramas are enormous paintings. They were mounted in circular rooms and intended to be viewed from a central viewing platform. They had made their debut in London in 1793, and then Paris had quickly embraced this medium. And Provost really excelled at creating deeply detailed vistas that captured the attention of visitors. He didn't do all this on his own. He had a team of assistants who worked with him. And that is where Daguerre fit in. In addition to being an apparently delightful party guest, Daguerre was also a really hard worker.
- [12:10]
Holly Fry
Yeah, he did not ever shirk his work. And moreover, he seemed to have an attitude of like, I will learn everything I can from my mentors. And he really applied himself in every position he was in. By all reports, in 1810, while Daguerre was still working for Prevost and he was 23 at the time, he married the 20 year old Louise Georgina Arrowsmith. Her name is English. That's because her parents were English. Although she was born and raised in France and these two were very much in love, this was a love match. And when Louise's brother had a child out of wedlock, the Daguerres raised her as their own daughter. Her name was Marguerite felicite.
- [12:49]
Tracy V. Wilson
After almost 10 years working under Provost, Daguerre was offered and accepted a new job that was chief painter at the Theatre de Lambergu Comique. In that job, Daguerre elevated the production significantly. He didn't just create backdrops that were far superior to what the theater had before. He also introduced a new way to use them through lighting design. He devised systems of lighting effects to create convincing moonlight scenes. And when it came time to stage the eruption of Mount Etna in a play titled Le Belvedere, Daguerre created a sensation with his lighting design. This spurred ticket sales for the theater. He became so recognized as an asset for the theater that the Paris Opera wanted to hire him. So for a couple of years, he was designing the scenery for both of those at the same time.
- [13:40]
Holly Fry
Yeah, this is such a striking development because again, remember, right, like they're doing all of this manually. And at a time when it was like, night has fallen and all of the lights would be blown out or all of the windows closed, he was like, no, no. What if we find a way to do this subtly? Which was a complete shift. So all of this and working for these two theater houses at the same time kept Louis very busy. But he still had time to think of new projects. And in 1821, he partnered with an old friend and colleague who had worked as an assistant to Pierre Prevost at the same time that Daguerre had. That was a man named Charles Marie Bouton. And the two men had a plan to launch a new entertainment venture that built on their knowledge of panorama painting and incorporated the lighting expertise that Daguerre had acquired through his theater work.
- [14:33]
Tracy V. Wilson
The two men set up a limited stock company and they leased a plot of land and they sold shares to investors to fund their project. On July 11, 1822, Bouton and Daguerre opened the Paris Diorama. This scenographic entertainment was something completely new. The two had to design a theater to house and display what they were working on. It had large scale images in common with the Panorama, but it offered entirely new spectacles for audiences to witness.
- [15:03]
Holly Fry
And we're going to talk more about what the Diorama was and how it was received in just a moment. But first, we'll pause for a quick sponsor break.
- [15:15]
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- [15:17]
Holly Fry
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Holly Fry
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- [15:29]
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- [15:42]
Holly Fry
code free meat@trunaturemeats.com Wouldn't it be great to never buy gas again? EVs are as easy to charge as your phone and they are a perfect addition to your everyday life. Most people are only driving driving about 40 miles a day and most EVs can handle 200 to 400 miles of range on a charge. And there are hundreds of EV models available today, so there's something perfect for every lifestyle and budget. I drive an ev. I've had it for a couple of years. It's my favorite car I've ever owned. It is so fun to drive. The pickup is incredible, it's super agile and it is easy to maintain. The way forward is electric. Learn more@electricforall.org support for the show comes
- [16:22]
Sponsor/Advertisement Voice
from Public, the investing platform for those who take it seriously. On Public, you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors llc SEC Registered Advisor. Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete Disclosures available@public.comDisclosures have you heard about Klarna?
- [17:23]
Klarna is an app designed to make everyday spending simpler and more transparent. It gives you flexibility to decide how you want to pay, whether that's paying right away, paying later, or spreading payments over time, depending on what works best for you. Everything is managed in the Klarna app so you can keep track of purchases and stay organized. You can also discover deals and even earn cash back when you shop through the Klarna app with participating brands. It's all about flexibility and staying in control of how and when you pay. Download the Klarna app today or visit klarna.com to learn more. Terms Apply California Resident Loans made or arranged pursuant to a California Finance law license NMLS number 1353190 Klarna balance account required to be eligible for Cashback Points. Limitations, Terms and conditions apply.
- [18:22]
Radhi Deblokia
This is Radhi Deblokia from A really Good Cry I absolutely love being outdoors, even if it's just stepping outside for a bit of fresh air between meals or taking a mindful walk to clear my head. But the one thing that can really ruin that is when my feet feel cramped in my shoes. So I switched to ultra running and honestly, it makes such a difference. What I love most is their signature Ultra Fit, Comfort, Balance strength. They have this roomy toe box that lets my toes actually spread and move naturally. So I really appreciate that and I feel more grounded and balanced with every single step. It's like my feet can finally do their job using all those little muscles that make me feel stronger the more I move. Whether you are a marathon runner, beginner or advanced, or just getting outside to train, altras have become my go to for running and moving mindfully. They fit so well, they're so comfortable and they just move with you. Shop now at ultrarunning.com and use my code CRY10 for 10% off. That's a L T R-A running.com experience Altra and stay out there.
- [19:25]
Holly Fry
So in the diorama, scenes like landscapes and architectural views were painted in large scale for audience viewing, but in this version they were painted on linen so they would be translucent. Then lighting effects were used to bring the painting seemingly to life before the viewer's eyes. This was again, remember before electrical current was used in buildings by a number of decades. So Daguerre had designed the theater to make use of natural light. There were windows and skylights around the theater that had shutters which could be operated manually to great effect.
- [20:01]
Tracy V. Wilson
To add to the illusion there were sound effects. Sometimes there would be an actor to fill out the image in a three dimensional way. There wasn't any story in play for these scenes. It was just the magical illusion of feeling like you were sitting in a meadow by a mountainside, or standing near a brook, or looking out over the interior of Canterbury Cathedral from a high up gallery. These scenes would last for 10 or 15 minutes and then a massive turntable would rotate the image away and bring a second one interview that would be similarly animated with light and other effects. Both the public and critics really raved over the diorama. Some were said to have been reluctant to accept that they had been looking at a two dimensional image that whole time.
- [20:46]
Holly Fry
Yeah, there was allegedly one woman who, like, asked to be led down the steps of the cathedral, and they're like, they're not there. In less than a year, the business had made back the money that it had cost to open it and to operate it, and it started to turn a profit. The next obvious step was to open a second location, and that second one was in Regent's Park, London. Because this had been a proven success already in Paris, Bouton and Daguerre had no trouble finding investors for their second theater. And when it opened, it was covered extensively in the British Press.
- [21:21]
Tracy V. Wilson
On September 29, 1823, the Morning Chronicle of London ran a story that was simply titled the Diorama. It read, quote, the diorama, which has long been an object of wonder and delight at Paris, is at length established in this metropolis. A spacious building has been expressly constructed for this exhibition in that part of the new road which adjoins Portland Place, at an expense which is said to have exceeded £10,000. And on Saturday, a select number of visitors was admitted to a private inspection previous to it being opened to the public on this day.
- [21:58]
Holly Fry
There was also an assurance in the write up to potential visitors that this was definitely a very different thing than the panoramas, which had been popular in London for years at that point. It read, quote, the diorama differs in this respect from the panorama that instead of a circular view of the objects represented, the whole picture is seen at once in perspective. But it differs from it still more essentially in the extraordinary fidelity with which the objects are depicted and in the completeness of the optical illusion. Later on, after describing pretty much every corner of the theater in detail, the journalist writes, quote, in the diorama, every thing contributes to favor the illusion. The skill of the artist is the first thing which strikes us in the panorama and the last in the diorama.
- [22:47]
Tracy V. Wilson
Both Daguerre and Bouton were made knights in the French legion of honor by Louis xviii. Many dioramas popped up in Europe and in North America after their success in Paris and in London. These were run by other operators who were hoping to cash in on the popularity of the medium. But the original partners kept developing shows in only their two theaters.
- [23:09]
Holly Fry
And while the diorama business was still growing, Daguerre had begun to conduct experiments in image capture. As early as 1824, he had set up a lab in the basement of the Paris diorama. Building so that he could pursue his fascination with the field of photography. Although it was of course not called that yet, it didn't get that name until 1839. He just knew he was trying to capture light and use it to replicate the imagery of the world around him. He did not seem to know that a lot of other men had already been doing the same thing for quite a while, with no real success.
- [23:44]
Tracy V. Wilson
It makes sense that after creating the Diorama, Daguerre would feel driven to find a new level of realism to keep audiences buying tickets. Part of his drive was probably the realization that Bhutan wasn't really interested in staying with the Diorama long term. Daguerre knew the success of the business was totally up to him. Additionally, the business had a lot of overhead. Every time a new scene was staged, it had to be created from scratch, and that was expensive. But if Daguerre didn't keep new images rotating in, audiences would just stop coming. He eventually sold off his interest in the London location just to keep his finances afloat.
- [24:25]
Holly Fry
And according to friends and acquaintances, none of whom were allowed to see what he was up to, he was completely obsessed with his secret project. His beloved wife Louise brought him food, but even she was not allowed into the lab. He sometimes, again according to friends, went for two to three days without leaving that lab, often forgoing sleep for unhealthy long stretches as he worked.
- [24:50]
Tracy V. Wilson
He had been familiar with the camera obscura for a while for a refresher. This is a dark chamber, either a room or a box, that has a tiny hole to allow light in. Through that hole, an image of whatever is outside of the chamber is projected onto the opposite wall. Inverted camera obscura, which means dark chamber in Latin, is a concept that's been around since antiquity. So this was not a new technology when Daguerre was alive, but he thought that somehow it could be used not just to project images, but also to capture the light somehow.
- [25:26]
Holly Fry
Because Daguerre didn't really document what he was doing, but also he probably didn't really know what he was doing. To be able to put it into words. We don't have a lot of information about how this whole thing played out for him. There were certainly experiments being done by other men using chemistry to try to create images with light, including the work of people like Jacques Charles, who figured out that you could capture a person's silhouette on paper by treating the paper with light sensitive chemicals and then projecting the person's shadow onto it. But even Charles's images were temporary the entire paper would eventually darken because it had been treated. The use of chemical processes was also probably pretty challenging for Daguerre, thanks to his inconsistent education in his early years. He really just did not have a command of chemistry to start from. But he did have access to optics expertise and the associated equipment, thanks to his friend, Charles Chevalier. The Chevalier family business was in producing various scientific equipment, including lenses. So at least in that area, Daguerre had a very steady supply.
- [26:35]
Tracy V. Wilson
It was through Chevalier that Daguerre made a crucial connection that would finally give him a breakthrough. Nicifour Niepce sent his cousin to Chevalier's shop to purchase a camera obscura. Nicifour Niepce had been working on a process to create pictures using sunlight since the 18 teens. He had used a camera to create a heliograph with bitumen on paper in 1826, but that had needed eight hours of exposure to work. Even with that eight hours, it was kind of gauzy and faded in appearance. So he was trying to improve on that. When he asked about a new camera obscura, Charles Chevalier got Niep's address, gave it to Louis Daguerre, who in turn reached out to Niepce via a letter.
- [27:25]
Holly Fry
Both of these men were a bit cautious initially. Daguerre did not want to risk any potential business interest by giving away what he had been working on. And Niepce was not entirely clear who Daguerre was or how he had gotten his address. And this letter out of the blue seemed kind of rude and suspicious to him. It was very forward. It would be like if a stranger called you Tracy and went like, hey, can I have your research logins at the following three places? Yeah, and you'd be like, jim, excuse.
- [27:53]
Tracy V. Wilson
Considering my response, When I get unsolicited PR pitches to a personal email address that I've never publicized, I totally get this reaction.
- [28:03]
Holly Fry
Yeah. So the reply that Nep sent was brief, and it merely confirmed that, yes, he had been doing some experiments along the lines of what Daguerre was asking about.
- [28:13]
Tracy V. Wilson
It took Daguerre months to reply, but when he did, he once again offended Niepce by asking for a sample of his experiments. Niepce knew that Daguerre was the man behind the popular diorama. So he started asking acquaintances in Paris if they knew him. He found that Daguerre had a reputation in the art world for his talent and his work with light. But Niep's still only wrote him a short reply. Without a sample. He said that he thought they were on different paths.
- [28:42]
Holly Fry
He's so polite. He wouldn't leave it unanswered, but he was kind of like, hey, go with God, but I'm doing something else. Whether out of genuine interest or just desperation, Daguerre wrote him once more and this time he actually sent along a sample of his own work. But he didn't know that Neps had also reached a sort of breaking point where the family money was running out. He had spent a lot on this effort and he too was hitting a dead end and not progressing any farther. He still thought Daguerre might not be trustworthy, but he did reach out with the suggestion that, quote, it should be of mutual interest to reciprocate our efforts to attain the goal. And he sent a sample, which Daguerre sent him a pretty scathing critique of.
- [29:30]
Tracy V. Wilson
These two men finally had a meeting in Paris in 1827. Understandably, they remained pretty tentative with one another. Each was concerned that he was lagging behind the other, but Niepce described having a pretty great time with Daguerre, who had given him a tour of the diorama. There was another gap in their exchange due to the illness and death of Niepp's brother Claude, but eventually the two of them were writing to one another with regularity. It was not until autumn of 1829 that the two officially entered into a partnership which had a 10 year contract.
- [30:04]
Holly Fry
So we're going to talk about some of the details of NEPSA's progress in image capture after we first pause and hear from the sponsors that keep stuff you missed in history class Going
- [30:16]
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- [30:43]
Holly Fry
freemeat@truenaturemeats.com Wouldn't it be great to never buy gas again? EVs are as easy to charge as your phone and they are a perfect addition to your everyday life. Most people are only driving about 40 miles a day and most EVs can handle 200 to 400 miles of range on a charge. And there are hundreds of EV models available today, so there's something perfect for every lifestyle and budget. I drive an ev. I've had it for a couple of years. It's my favorite car I've ever owned. It is so fun to drive. The pickup is incredible. It's super agile and it is easy to maintain. The way forward is electric. Learn more@electricforall.org support for the show comes
- [31:23]
Sponsor/Advertisement Voice
from Public, the investing platform for those who take it seriously. On Public, you can build a multi asset portfolio of stocks, bonds, options, crypto and now generated assets which allow you to turn any idea into an investable index with AI. It all starts with your prompt. From renewable energy companies with high free cash flow to semiconductor suppliers growing revenue over 20% year over year, you can literally type any prompt and put the AI to work. It screens thousands of stocks, builds a one of a kind index and lets you back test it against the S&P 500. Then you can invest in a few clicks. Generated assets are like ETFs with infinite possibilities, completely customizable and based on your thesis, not someone else's. Go to public.com podcast and earn an uncapped 1% bonus when you transfer your portfolio. That's public.com podcast paid for by Public Investing Brokerage Services by Open to the Public Investing Inc. Member FINRA and SIPC Advisory Services by Public Advisors, llc. SEC Registered Advisor Generated Assets is an interactive analysis tool. Output is for informational purposes only and is not an investment recommendation or advice. Complete Disclosures available@public.comDisclosures have you heard about Klarna?
- [32:25]
Klarna is an app designed to make everyday spending simpler and more transparent. It gives you flexibility to decide how you want to pay, whether that's paying right away, paying later, or spreading payments over time, depending on what works best for you. Everything is managed in the Klarna app so you can keep track of purchases and stay organized. You can also discover deals and even earn cash back when you shop through the Klarna app with participating brands. It's all about flexibility and staying in control of how and when you pay. Download the Klarna app today or visit klarna.com to learn more. Terms Apply California Resident Loans made or arranged pursuant to a California Finance Law License NMLS Number 1353190 Klarna Balance Account required to be eligible for cashback points. Limitations Terms and conditions apply.
- [33:23]
Radhi Deblokia
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- [34:32]
Holly Fry
In his work, Niepce had coated a paper with silver chloride to capture an image from his studio window of the landscape outside. This was what he called heliography. Eventually he made a more permanent image from that same window, this time on a pewter plate. He wanted to make a printable plate, and he had also managed to reproduce an engraved portrait with his process and make two prints from it. Daguerre traveled to visit Niepce and learn about how he had progressed. And he took all of the information he learned back to Paris so that he could do more experiments.
- [35:05]
Tracy V. Wilson
But then in 1830, everything got complicated. The Diorama was in financial trouble. Bouton finally left the business entirely, and the July Revolution, in which Charles X was deposed and King Louis Philippe took the throne. That left France in a tense time when letters that talked about something like chemicals could easily be misconstrued as some kind of revolutionary correspondence. So Daguerre and Niep stopped communicating.
- [35:33]
Holly Fry
Things were so financially tenuous that Daguerre wrote to the Crown to ask for a promotion to officer in the Legion of Honor. The thinking was that that would come with a financial payment that would help to keep him from his own financial ruin.
- [35:47]
Tracy V. Wilson
But in the time that he had, free from working on the diorama to try to keep that going, Daguerre learned Niep's method of capturing images. He wanted to see if he had any ideas for how to move it forward. He and Niepce were writing to each other in code so they could keep collaborating. This was really a frantic time. Daguerre declared bankruptcy in March of 1832. But he and Niepce kept working.
- [36:11]
Holly Fry
Yeah, eventually they came up with a list where they gave chemicals number assignments and they each had it. So they would just like use numbers in their letters, which to me would look like a suspicious code more than just putting words in. So Niebs had used a bitumen coating that hardened when exposed to light for some of his experiments. And Daguerre came up with a variation on that idea that used distilled lavender oil to improve on the heliograph. That lavender oil left a white residue in areas of the image where light had hit it. And that created an improved image than they had had before. That the duo called a phys autotype. This was an improvement, but it wasn't really a breakthrough, not at the level they needed. So they kept working.
- [36:55]
Tracy V. Wilson
I like to think that this smelled really nice.
- [36:59]
Holly Fry
I hope so. If nothing else, they could say the studio smelled beautiful. Yeah.
- [37:04]
Tracy V. Wilson
So Daguerre shifted his work back to using silver salts instead of a resin based image capture. There's an apocryphal story about how he got to his next breakthrough. In it, he had accidentally left a spot spoon on an iodized plate and then later realized that a perfect shadow of the spoon had been created on the plate when the light hit it. So he started to purposefully sensitize the silver on the plates that they were using. He did this with iodine fumes. Daguerre is said to have shared this story verbally throughout his life, but he never wrote it down. We don't really know how accurate it is.
- [37:41]
Holly Fry
Yeah, there are some questions about how much that story may have changed in the telling. Initially, Daguerre's work with iodine to sensitize plates did not really return results. But he never got to share his frustration about this with Niepce because Nisafor died suddenly in July 1833 after having a stroke. And this left Daguerre without the scientific expertise of his collaborator. But once again, he was tenacious and he kept at the work.
- [38:09]
Tracy V. Wilson
And an accident is again said to have given him the next advancement. Daguerre is said to have placed one of his polished silver coated plates into a cupboard after having exposed it in a camera obscura. The cupboard was a light proof chemical cupboard that was intended for storing exposed plates. But he noticed when he returned to the place roughly half an hour later, the image that he had exposed in the camera obscura had already developed. A thermometer had broken in the cupboard. And Louis Daguerre realized that mercury vapor was speeding the development, yeah, again, this is apocryphal.
- [38:45]
Holly Fry
So in some versions of it, you'll see that he left it overnight, frustrated that it had not initially developed. But regardless, this was a huge step forward, but the process was still not solid. And that is mostly because the images themselves were not. Permanence of those images remained a problem. Those plates would just keep developing over time and the image would be lost. So they would just like, like keep having more details until they just became a big blob. Eventually, Daguerre figured that problem out as well. It was merely a matter of stopping the developing process by removing the excess silver iodide from the plate. Daguerre used a salt solution of sodium thiosulfate to do this.
- [39:30]
Tracy V. Wilson
So the system for making what would be called a daguerreotype was one, polish a silver coated copper plate. Two, sensitize the plate with iodine fumes and place it in a light tight plate. Three, slide that plate into the camera obscura and then slide the light tight covering open. Four, expose that for some number of minutes. And that was variable depending on the light and the camera obscura and the concentration of the chemicals that were used. So this required some experience and know how of the person who was, who was trying to make the the image. Step five, develop the image in mercury vapor. And step six, stop the development process with a salt based solution.
- [40:12]
Holly Fry
The first public mention of Daguerre's work actually appeared in 1835. So several years before, like the big release about it, that was in an article in the Journal des Artistes that was about new shows at the Diorama. It wasn't about image capture at all. But at the end of the write up, which had no attribution as to its author and has even made some people question and whether maybe Daguerre wrote this himself. There was the following paragraph quote. He has discovered, we are told, the means of collecting on a plate prepared by him the image produced by a camera obscura in such a way that a portrait, a landscape, or any view projected on this plate by an ordinary camera obscura leaves its impression in light and shade. And this presents the most perfect of all drawings. A preparation applied to this image preserves it for an indefinite time. Physical science has perhaps never presented a wonder comparable to this one.
- [41:11]
Tracy V. Wilson
This was a considerable announcement, but nothing much seems to have been said about it for the entire year. But then architect Alphonse Eugene Hubert wrote a response that amounted to basically, I seriously doubt it. He had been trying to capture camera obscura images as well, but had not had any luck. So to him, it seemed highly unlikely that Daguerre, who did not have a scientific background, could have managed it.
- [41:37]
Holly Fry
By 1837, Daguerre had tested and replicated his process enough times that it was said he could always get consistent results. As with other aspects of his work, that we don't really know what that process of testing and refinement was like. We have no idea, truly no idea the manner in which he arrived at realizing each step along the way was the correct one. We do know his process was different from all of the other photographic processes that were in development by other people that were having problems.
- [42:09]
Tracy V. Wilson
The Academy of Sciences heard a presentation that laid out exactly how Daguerre's process worked. On January 7, 1839. That lecture was not given by Daguerre, but by Francois Arago. Daguerre couldn't do it. He had felt ill, or at least
- [42:26]
Holly Fry
he claimed he did. We don't know.
- [42:28]
Tracy V. Wilson
He. At least he said he felt ill.
- [42:30]
Holly Fry
He may have had nerves, and that is why an astronomer first explained photography at the Academy of Sciences. But Daguerre had decided to name this process after himself, of course, and that was something that really bothered Nisifor Niep's son Isidore, who felt that his father should really be recognized. But Daguerre really thought that he had changed the approach so much from the heliograph work that Nepes had done that the name shift was warranted. And in a revised version of the contract that he had originally agreed to with Niepce, Daguerre offered his former partner's family financial rights to half of the money made from Daguerreotyping and the promise that Niepce's name would always be included in formal announcements. Isadore Niepce signed this new deal.
- [43:17]
Tracy V. Wilson
In terms of making money from this work, Louis Daguerre took an interesting approach. He knew from his experience with the diorama that imitators would pop up as soon as he filed for a patent. And in France at the time, there was really not much that could be done about it. So instead he sold it to the French government, and in turn, the French government released it free to the world as a gift. On August 19, 1839, as part of the sale to the government, Daguerre had arranged for annual payments to be made to both himself and Niepce's family. Daguerre got 6,000 francs a year, and Nieppe's heirs got 4,000. Daguerre did manage to patent his process in England, Ireland and Scotland before the French government released it. So he maintained his rights there and in their colonies.
- [44:05]
Holly Fry
Yeah, he did try for a while, some other business sort of plans to try to make money off of this, but none of those were really working out, which is why he sold it to the government. As the daguerreotype took on a life of its own and the field of photography continued to advance through other inventors improving upon it, Daguerre retired again. He was financially set. A fire destroyed a lot of his early work in 1839, and he did not rebuild his burnt studio after that. He did give some presentations and lessons on occasion, but according to most people, he was actually kind of shy, particularly about talking about his achievement. And all he really wanted to do was go back to painting. And he did a lot of that in his later years. During the 1840s, he painted a number of huge pieces for churches in Paris.
- [44:54]
Tracy V. Wilson
Louis Daguerre died of a heart attack on July 10, 1851, at his home in Brise aux Merne, just outside of Paris. In the time between the announcement of the daguerreotype and his death, other innovators had come up with new ways to capture imagery with light. That included William Henry Fox Talbot, who patented a paper negative process, the calotype. In 1841, Daguerreotype Studios opened in Europe and the United States and two photography journals were launched in the us. They were the Daguerrean Art Journal and the Photographic Art Journal. And then immediately before his death, starting In May of 1851, a daguerreotype exhibition had been mounted at the Great Exhibition of London, which is another thing that
- [45:38]
Holly Fry
comes up a lot also. Hey, surprise. This is the first of a sort of two parter that we're doing on early photography. They are standalone episodes, but they're linked thematically. And on an upcoming episode we are going to discuss one of the people who took Daguerre's new technology kind of ran with it. Oh, Louis Daguerre,
- [46:05]
Tracy V. Wilson
Thanks so much for joining us on this Saturday. If you'd like to send us a note, our email address is history podcast@iheartradio.com and you can subscribe to the show on the iHeartRadio app, Apple Podcasts or wherever you listen to your favorite shows.
- [46:27]
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Tracy V. Wilson
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- [49:38]
Tracy V. Wilson
This is an iHeart podcast.
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