HF The History of Photography 600pág

6
The early years of photography
illustrated with lithographs based on the new art, Paris et ses environs reproduits par le
daguerreotype, had appeared in r 840.
THEOPHILE GAUTIER took a daguerreotype outfit with him when in r 840 he set
out with his friend Eugene Piot on a trip to Spain. But judging from his book Voyage
en Espagne, frequent rain made it impossible to take many pictures, though he does
mention obtaining a good view of Burgos cathedral.
Some of the finest architectural and landscape views of the early period were taken
by a French amateur JOSEPH-PHILIBERT GIRAULT DE PRANGEY, whose work remained
entirely unknown until 1952. De Prangey was an expert on Islamic architecture.
Engravings of his sketches made in r 832-3 of the Alhambra in Granada, in
Dibujo and other places in southern Spain are exhibited in the Casa de los Tiros,
Granada. In r 842 de Prangey undertook a long and arduous journey through Italy,
Greece, Egypt, Syria and Palestine, arriving home two years later with about a
Pls 44, 45 thousand fine daguerreotypes. Some of the close-ups-as far as we know the first ever
taken-formed the basis of the illustrations in his book Monuments arabes d' Egypte, de
Syrie et d' Asie Mineure, Paris, r 846.
Some unusual daguerreotypes were taken by a Frenchman named Tiffereau in
Mexico in r 842-4 7. They included documentary pictures such as a Coli ma family
preparing a meal outside their hut, and the extraction of silver ore.2
Despite Arago's opinion that 'one is little disposed to admit that the instrument will
ever serve to make portraits',3 there was a universal desire for portraits and attempts
began almost immediately. One of the first was taken by sussE in September, but
owing to the long exposure in direct sunshine 'the sitter had contracted features and
a grimace expressing suffering'.4 In spite of the poor results, Lerebours and Susse's
edition of Daguerre's Manual published in November 1839 contains probably the
earliest instructions on portraiture.
To make a portrait, it is necessary to have recourse to a bright light; and this
precaution is all the more necessary when the subject's complexion is highcoloured,
for red is, so to speak, the equivalent of black.5 One can only succeed
well by exposing the person to the sun in the open air, with reflections from white
draperies.
If, as indicated by M. Arago [on Daguerre's advice], one places a large square of
blue glass in front of the sitter, this will avoid fatigue which would inevitably cause
blinking, and as the blue rays act in the most energetic manner, the operation will
not be any slower.
The exact date of Susse's earliest portrait is not known but it may have been taken
as early as September. From Theodore Maurisset's cartoon it could be inferred that
Susse Freres took non-inverted portraits professionally by December (the date of the
cartoon) in thirteen minutes without direct sunshine, but they must have been
extremely poor as no-one can keep his eyes open for so long-even if head and body
are supported. As we have been unable to trace any written evidence concerning a
public portrait studio of Susse, we feel justified in not accepting the doubtful reference
of a comic cartoon as fact.
The first portrait in Europe which can be documented was taken by DR ALFRED
DONNE, head of the Charite Clinic and a well-known microscopist, and shown by
him at the Academie des Sciences on 14 October r 839.6 According to a German
newspaper7 Donne's portrait of a lady left much to be desired, for she had to keep
her eyes shut on account of the bright sunshine, which made her look asleep or blind.
Her face was powdered white, to act more quickly on the plate than flesh tones.