My self using the vines & stucco for support

Popular demand for the portrait was the engine that drove photography forward in the 19th century. Although I made a few, it certainly was not something many of my friends wanted - not too many of them had the patience to wait for their picture anymore (or the ability to hold really still for at least 10 seconds.) The daguerreotype as I made them was a pretty contrasty beast - even open shade resulted in harsh contrast. This is an old picture, today the beard and mustache are long gone and I do not look as . . .

Note: The daguerrotype is primarily sensitive to blue light. This monochromaticity contributes to its apparent sharpness because lenses are freed from chromatic aberrations. The daguerreotype exaggerates complexion flaws because reddened skin photographs darker than it appears to the eye - very unflattering. Typically portrait subjects would have their heads clamped motionless with the aid of a "posing stand" which would be concealed behind the figure. Portraits of children could be a challenge.. 19th century studios were often on the top floors of buildings and had skylights to illuminate the photographers workspace. Some studios used blue tinted glass to cut down the glare and to facilitate the actinic properties of the lighting. Young men were often employed to develop the plates with mercury. Probably quite a few had shortened lives as a result.