Daguerreotype Studios


Figure 1.--Rthis 1/6 plate daguerreotype signed on the brass frame, “JAQUITH 98 B. WAY.” This is the name of the Daguerreotypist--Nathaniel C. Jacquith. The studio was located om Broadway in New York City. This is an especially interesting dag in that it shows child daguerreotype case makers. Occupational daguerreotypes are scarce, and even more so occupational images of children. They pose for their portrait dressed in protective work coats and matching suits. The fact that they are wearing suits for the type of work they were foing is iteresting. Both are holding rags and daguerreotype cases. The boy on the right is holding a large, fancy case made with inlaid mother of pearl. Rags were an essential tool in the production of daguerreotype cases. They were constantly used during the gluing, staining, varnishing, shellacking, and buffing/polishing stages of making cases. Both boys proudly hold up their finished work for the daguerreotypist to record. This daguerreotype is in a one half brown leather case. The image has been colorized to give the boys rosy cheeks. What makes this one so great is that the subjects are children and the image is signed. This is an early, artistic and very historical portrait of child labor. This is a fine and beautiful portrait of two boys who worked in the beginning stages of the blossoming photography industry. An exceptional portrait daguerreotype and a fantastic piece of Americana. The boys look to us like brothers. They could be aprentics or perhaps even the Daguerreotypist sons. Note their long hair. The portrait is not dated, but would presumably have been taken during 1850s, because Jacquith was active from about 1849-60.

We do not know a great deal about Daguerreotype studios. They no dobnt varied greatly. The facilities a studio might have would be: 1) a reception/waiting area, 2) the shoot area (here light was critical), 3) dark room/chemistry area, and workshop area. Some studios were more basic than others and some of these areas might be mixed purpose areas. Customers or example might wait in the shooting area, but of course not the darkroom/chemistry area. An established studio might have an attractive display of the finished produt, especially if they had photographed some notable individuals. The the sophistication of the studio. would depend on the success of the Daguerreotypist and the clientel he attracted. A successful Paris, London, and New York studio would be much more likely to be a sophisticated estabkishment than say a studio in a fronteir American studio. The studio would not have been sitiated just anywhere. They were commonly located at top of a building, which would have a glass roof to let in light. The more light, the shorter the exposure time. Of course long exposures increased the chances the subject would spoil the image by noving. This was a special problem with children. Most Daguerreotype studios were opened in the 1840s or early 50s. Thus there were not as many multiple-story buildings than would be the case by the late-19th century. Thus finding a top story location would not have been a great problem. The employees at the studio would be likely almost men and boys. The Daugerreotypist might have an assistant, nore in a big city studio to help with the posing and chemical processing. Other employees would be needed to fill other requirements such as preparing the right sized polished plates. Others were needed to prepare the decorated, prolished cases.

Studio Facilities

We do not know a great deal about Daguerreotype studios. They no dobnt varied greatly. The facilities a studio might have would be: 1) a reception/waiting area, 2) the shoot area (here light was critical), 3) dark room/chemistry area, and workshop area. Some studios were more basic than others and some of these areas might be mixed purpose areas. Customers or example might wait in the shooting area, but of course not the darkroom/chemistry area. An established studio might have an attractive display of the finished produt, especially if they had photographed some notable individuals. The the sophistication of the studio. would depend on the success of the Daguerreotypist and the clientel he attracted. A successful Paris, London, and New York studio would be much more likely to be a sophisticated estabkishment than say a studio in a fronteir American studio. The studio would not have been sitiated just anywhere. They were commonly located at top of a building, which would have a glass roof to let in light. The more light, the shorter the exposure time. Of course long exposures increased the chances the subject would spoil the image by noving. This was a special problem with children. Most Daguerreotype studios were opened in the 1840s or early 50s. Thus there were not as many multiple-story buildings than would be the case by the late-19th century. Thus finding a top story location would not have been a great problem. The posing chair would have been position where it got the most light. I may have been moved or adjusted. Some well equipped studios might be able to rotate the chair. Some studios had raised platforms. We have even noted platforms that could be rotated to get the most light on the face. There may be chairs with supports or clamps to hold the head steady. Many Daguerreotypes have the subject or subjects in chaies, primarily because a seated operson is better able to hold steady. Some studios might do all the work in the studio, including making the cases. Other might contract out work like making the cases.

Employees

The employees at the studio would be likely almost men and boys. There may have been some female Daguerreotists, but my guess is that this was extremely rare. The Daugerreotypist might have an assistant, nore in a big city studio to help with the posing and chemical processing. Other employees would be needed to fill other requirements such as preparing the right sized polished plates. Others were needed to prepare the decorated, prolished cases. Some Daguerreotist may have employed family members. This probably often included sons, nut rarely daughters. Boys may have been employed as aprentices, but formal contracts were less common by the mid-19th century as had been the case in the 18th century. Boys would have been employed to sweep up, help build and decorates the cases, and polish plates. As they got older they might have been entrusted with the chemical processing as part of their education learning the trade.






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Created: 11:56 PM 2/20/2007
Last updated: 11:57 PM 2/20/2007