Photographic Historical Timeline 1838 Louis Jacques Mande Daguerre The Daguerreotype скачать в хорошем качестве

Photographic Historical Timeline 1838 Louis Jacques Mande Daguerre The Daguerreotype

Photographic Historical Timeline 1838 Louis Jacques Mande Daguerre The Daguerreotype The shiny metal picturemirror with a memory Louis Daguerre, a Parisian artist renowned for his skills in scenic painting and showmanship, was among the fortunate few who were privy to the knowledge of Nicéphore Niépce's pioneering experiments. Prior to his encounter with Niépce's work, Daguerre had already carved out a name for himself with his captivating 'diorama' presentations. These mesmerizing spectacles transported audiences to distant locales through the ingenious combination of expansive painted panoramas and precisely orchestrated lighting effects. Daguerre's dioramas offered audiences a unique visual experience, immersing them in captivating depictions of far-flung corners of the world, iconic architectural marvels, and more. Intriguingly, Daguerre's connection with the world of imagery went beyond the stage. His creative process involved the use of camera obscuras, allowing him to meticulously sketch scenes that would later find life on his diorama canvas. Daguerre initially embarked on a cautious correspondence with Niepce, their exchange of ideas eventually leading them into a partnership aimed at combining the secrets and potential profits of their respective discoveries in heliography. This collaboration, however, yielded little fruit. The bitumen process, employed by Niepce, proved to lack the necessary sensitivity, while Niepce's reluctance to further explore the use of silver salts, as suggested by Daguerre, hampered progress. Undeterred by setbacks, Daguerre continued his pursuit of photographic advancement, employing metal plates once more. This time, copper plates were plated with silver and rendered photosensitive through exposure to iodine vapor, resulting in the formation of a coating of silver iodide. Despite employing the best lenses available at the time, the process still fell short in terms of its responsiveness to light. A turning point in Daguerre's journey arrived when he made a pivotal discovery: exposing his plate to heated mercury led to an intensification or 'development' of the image. This revelation marked a critical breakthrough. By 1837, he had refined his process, resulting in a workable System. To capture well-lit scenes in their full detail, an exposure time of approximately 30 minutes was required. While Daguerre's innovation had significant potential, he faced a financial barrier that hindered its broader promotion. However, the French government recognized the importance of his discovery. This recognition led to a significant outcome: Daguerre and Isidore Niepce were granted State pensions in acknowledgment of their contributions. In August 1839, an extraordinary gathering convened—the confluence of the Academy of Science and the Academy of Art. The purpose of this special meeting was to unveil the intricacies of the daguerreotype process, meticulously explained by a close associate of Daguerre. Paris was alight with an air of fervent expectancy, as the populace eagerly anticipated the revelation of this groundbreaking innovation. In this climate of eager anticipation, the daguerreotype emerged as a remarkable phenomenon, offering a portal to a world where images could be summoned through the artful manipulation of light itself. Amidst the prevailing scarcity of visual representation, the concept of capturing images through such a magical process garnered wide attention. Within a few days, an intriguing transformation swept across the squares of Paris. These public spaces became adorned with an array of peculiar three-legged dark boxes strategically positioned before prominent churches and majestic palaces. Yet, amidst this spectacle, a wave of concern rippled through the artistic community. Painters, who had long been the custodians of visual representation, found themselves confronted by an unexpected challenge to their craft. Paul Delaroche, a prominent figure in the art world, voiced his apprehensions in stark terms: "From today, painting is dead." As the dark-boxes proliferated across Paris, they symbolized a paradigm shift in the realm of visual art. The emergence of this new technology stirred both excitement and trepidation, igniting debates about the evolving landscape of artistic expression. As word of the innovative process spread throughout Europe, a surge of inventive thinking led to proposals for chemical enhancements. Simultaneously, a groundbreaking lens, meticulously crafted for the art of daguerreotyping by Josef Petzval of Vienna, emerged on the scene. Starting from 1841, this optical advancement triggered a notable change: exposure times were significantly curtailed to approximately one minute. This reduction heralded a new era, facilitating the emergence of Portraiture Studios that rapidly gained popularity.