Abstract
In the first decades of the nineteenth century the invention of photography involved low-hanging fruit. There was existing demand in the growing middle classes for affordable ‘likenesses’ (i.e., portrait pictures), a practice well established in that stratum of society. The camera obscura, technology known for centuries, could render a more detailed image than any painting or carving and without apparent effort. Also, the light-sensitive nature of silver salts (silver nitrate and silver chloride) was widely known among contemporary practitioners. All that was needed was a way to permanently record the camera obscura’s image in order to produce likenesses for an existing market.
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Notes
- 1.
Freund 1982, p. 9.
- 2.
- 3.
- 4.
Batchen 1997.
- 5.
Harmant 1977.
- 6.
Batchen 1997.
- 7.
Benson 2008, p. 100.
- 8.
Rosenblum 2007.
- 9.
Ibid., p. 17. However, Rosenblum (2007, p. 18) points out that Daguerre’s process was not royalty-free on the other side of the English Channel. Daguerre patented his invention in England, and British subjects had to purchase a franchise from Daguerre’s agent.
- 10.
Ibid., p. 21.
- 11.
Auer 1975, p. 35.
- 12.
- 13.
Jenkins 1975, p. 31.
- 14.
- 15.
Jenkins 1975, p. 30.
- 16.
Benson 2008, p. 106.
- 17.
- 18.
Auer 1975, p. 26.
- 19.
Benson 2008, p. 108.
- 20.
Ibid., p. 108. However, the daguerreotype remained popular in the United States for longer than in Europe (Rosenblum 2007, p. 23).
- 21.
An underexposed negative image appears as a positive against a black background (Benson 2008, p. 118).
- 22.
Allison 1989, p. 48.
- 23.
Ibid., Benson 2008, p. 118.
- 24.
Allison 1989, p. 48.
- 25.
Rosenblum 2007, p. 40.
- 26.
Ibid., p. 41.
- 27.
Ibid., pp. 41–42.
- 28.
Auer 1975, p. 47.
- 29.
Czech 1996, p. 13.
- 30.
Holland 2009, p. 127.
- 31.
Jenkins 1975, p. 2.
- 32.
Rosenblum 2007, p. 96.
- 33.
Ibid., p. 97.
- 34.
Ibid., p. 96.
- 35.
Ibid., p. 98.
- 36.
Ibid., p. 105.
- 37.
Jenkins 1975, p. 50.
- 38.
Allison 1989, p. 58.
- 39.
Ibid., p. 58.
- 40.
Czech 1996, p. 37.
- 41.
Jenkins 1975, p. 60.
- 42.
Rosenblum 2007, p. 107.
- 43.
A view of Mammoth Hot Springs, in the US’s Yellowstone National Park, captured by F.J. Haynes. Czech 1996, p. 37.
- 44.
- 45.
Rosenblum 2007, pp. 109–110.
- 46.
Johnson et al. 2005, p. 165.
- 47.
Ibid., p. 173.
- 48.
Allison 1989, p. 53.
- 49.
Ibid., p. 54.
- 50.
Rosenblum 2007, p. 196.
- 51.
- 52.
Batchen 2009, p. 81.
- 53.
Ibid., p. 81.
- 54.
- 55.
Goldberg 1991, p. 104.
- 56.
Batchen 2009, p. 81.
- 57.
Allison 1989, p. 55.
- 58.
Batchen 2009, p. 88.
- 59.
Ibid., p. 88.
- 60.
Ibid.
- 61.
Ibid.
- 62.
Allison 1989, p. 46.
- 63.
Auer 1975, p. 46.
- 64.
Wichard and Wichard 1999, p. 74.
- 65.
Ibid., p. 74.
- 66.
Ibid., p. 76.
- 67.
Ibid., p. 74.
- 68.
Ibid., p. 75.
- 69.
Ibid., pp. 74–75.
- 70.
Ibid., p. 75.
- 71.
Ibid., p. 75.
- 72.
Ibid., p. 76.
- 73.
- 74.
Holland 2009, p. 128.
- 75.
- 76.
Chambers 2003, p. 99.
- 77.
- 78.
- 79.
Goldberg 1991, p. 104.
- 80.
- 81.
Goldberg 1991, p. 105.
- 82.
Ibid., p. 105.
- 83.
Ibid., p. 104.
- 84.
Ibid., pp. 107–108.
- 85.
Ibid., p. 108.
- 86.
Ibid., p. 112.
- 87.
- 88.
Goldberg 1991, p. 108.
- 89.
Wichard and Wichard 1999, pp. 79–80.
- 90.
- 91.
Goldberg 1991, p. 105.
- 92.
Holland 2009, p. 125.
- 93.
Batchen 2009, p. 81.
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Sarvas, R., Frohlich, D.M. (2011). The Portrait Path (ca. 1830s–1890s). In: From Snapshots to Social Media - The Changing Picture of Domestic Photography. Computer Supported Cooperative Work. Springer, London. https://doi.org/10.1007/978-0-85729-247-6_3
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