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Daguerre learned how to let one flower etch its image on his plate of iodine, and then proceeds at leisure to etch a million. There are always objects; but there was never representation. Here is perfect representation, at last; and now let the world of figures sit for their portraits.
Upon close inspection we cannot fail to notice a striking peculiarity upon the surface; the roughness is very remarkable; the planishing hammer has left amazingly visible indications of its busy work. One would suppose the manufacturer intended the surface of the plate to represent the undulations of the sea, instead of that smooth and level character so strongly recommended by M. Daguerre.
This further step seems, when we view within the camera the image in perfect panoply of all its hues, so very slight in comparison with the original discovery of Daguerre, that we can hardly refer it to a distant future. Questions of finance naturally associate themselves with sitting for one's portrait, even to the sun.
Other difficulties presented themselves seriously to the working of the discovery of Daguerre, to portrait taking one of which was the necessity for a constant and nearly horizontal light, that the shaded portions of the portrait should not be too hard, and yet, at the same time, be sufficiently well developed without the "high light" of the picture becoming overdone, solarized or destroyed.
Hunt, in referring to this subject, says: "Daguerre himself laid much stress upon the necessity of exposing the plate to the mercury at an angle of about 45 deg.. This, perhaps, is the most convenient position as it enables the operator to view the plate distinctly, and watch the development of the design; but beyond this, I am satisfied there exists no real necessity for angular position.
Such has been, in an eminent degree, the case with the discovery first announced to the world by Mons. Jean Jaques Claude Daguerre, of Paris, in the year 1839, and which excited unbounded astonishment, curiosity and surprise.
Daguerre invited Morse to his workshop, selecting a Sunday as a day convenient to him, and Morse replied in the following characteristic note: "Professor Morse asks the indulgence of M. Daguerre. The time M. Daguerre, in his great kindness, has fixed to show his most interesting experiments is, unfortunately, one that will deprive Mr. M. of the pleasure he anticipated, as Mr.
The name of Draper should be revered by every amateur photographer. The father of Henry, Dr. John William, was a friend of Daguerre, and it is said that in this building was developed the first portrait negative. The dwelling is beautifully situated on the high river bluff and affords a wonderful view up and down the watery highway.
Smith was in politics, the Vails were suffering from a financial depression, Professor Gale was a man of very limited means, and so Morse found himself without funds or support. In Paris he had met M. Daguerre, who had just discovered photography. Morse had learned the process and, in connection with Doctor Draper, he fitted up a studio on the roof of the university.
Velasquez seems to have anticipated the discovery of Daguerre, and taking a real room, and real chance grouped people, to have fixed them, as it were by magic, for all time on his canvas.
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