The public announcement of Louis-Jacques-Mande
Daguerre's photographic process in August 1839 is sually accepted as the
birth date of photography. But in fact, Daguerre's compatriot Nicephore
Niepce had succeeded in fixing images with a camera obscura a good decade
earlier.
The view must have been very familiar to the photographer. After all,
what does a thoughtful person do when the flow of ideas is blocked, and
though merely spin in circles around the problem without advancing furt-her?
One looks out the window, beyond the limitations of one's own desk, and
seeks new ideas and inspiration from the distance. The study of Joseph
Niepce - who signed himself Niepce, but by the end of 1787 had adopted a
second forename, Nicephore - was located on the second floor of his family
estate Maison du Gras, in the village of Saint-Loup-de Varennes, just
under three miles from the village of Cha!on-sur-Saone in French Burgundy.
Just how often Niepce must have glanced out the win-dow of this room we
can only guess, but what he saw is a matter of abso-lute certainty: to the
right is an at least partially visible barn roof; some-what to the left, a
dovecote; to the far left, a recessed baking kitchen; and finally, in the
background, the pear tree, whose leafy crown nonetheless allows a clear
glimpse of the sky to show through in two places, even in the summer
months. And what he saw, he captured with the camera. View from the Study
Window at Maison du Gras, taken in June or July 1827, is in all
probability the first permanent - although mirror-reversed -image in the
history of photography.
Long way from permanent camera images
Nicephore Niepce had returned to Burgundy in 1801 after a number of
years spent in Italy, on the island of Sardinia, and in Nice. Now, as a
gentleman-farmer, he raised beets and produced sugar; financially,
however, he was in fact independent, for in spite of the vicissitudes of
the French Revolution and the Napoleonic era, his inheritance was large
enough to support him comfortably. With the years, he increasingly devoted
his time to scientific experiments, busying himself as a private scholar
and devel-oping (together with his brother Claude) the so-called
pyreolophore, a combustion engine meant to revolutionize human locomotion,
but which in fact turned into a financial debacle. Furthermore, Niepce
attempted to Find a substitute for indigo, which had become scarce as a
result of the Continental Blockade, invented a kind of bicycle, and last
but not least, set himself the task of fixing the fleeting images produced
by the camera obscura.
Niepce had already produced his first heliographs, as he called the
results of his experiments, in the spring of 1816. And already at this
point, it was precisely the view from the window that he attempted to
depict in his 'sun drawings'. One wonders what motivated Niepce again and
again specifically to aim the eye of his camera from his study down onto
his property in Le Gras. Was it sentimentality? Or did the experiment of
capturing precisely the view that he knew so well appeal to him because
its very familiarity would make it easier for him to check its precision
and accuracy - the qualities that he was most striving for? In all
probability, the reason lies elsewhere: Niepce could work with his camera
on the window sill at length, without interruption and without having to
answer questions of the curious - and without alerting possible
competitors to the progress of his experiments. For he knew that discovery
was in the air. "My dear friend," he wrote in May 1816 with unusual candor
to his brother Claude, now living in Paris, "I am rushing to send you my
four latest test results. Two large and two small ones, all considerably
clearer and more exact, which I succeeded in making with the help of a
simple trick: namely, I reduced the aperture of the lens by means of a
piece of paper. Now less light makes its way into the interior of the
camera. As a result, the image becomes more lively, and the outlines as
well as the light and shadows are clearer and better illuminated." And
what does Claude see in the pictures, insofar as he can make out anything
at all? For Nicephore has not yet found a means of permanently fixing the
silver-chloride images made with the help of his home-made camera obscura.
Together with Nicephore, he gazes out the window of their hereditary
Maison du Gras: before him are the two wings already described, the
dovecote, the dominating slate roof of the baking kitchen. Admittedly, all
that he sees is reversed from left to right; similarly, the shadows and
light appear as negative images; and the whole is merely black and white.
Niepce is still a long way from either positive or perma-nent camera
images. At the same time, he remains confident and con-fides in his
brother in order to convince himself of his own progress. He has no
inkling that it will in fact take him another ten years to produce a
permanent photographic image.
Searching for a new technology
Nicephore Niepce, born the scion of a wealthy family in March 1765, was
not the only one searching at the turn of the nineteenth century for a new
technology that would produce images appropriate to the new positivistic
age. It had been four hundred years since Gutenberg introduced a true
textual revolution. In contrast, the development of the visual image had
stagnated, at least in the technical sense. Of course Aloys Senefelder's
invention of lithography (1797) signified an important flat-printing
process for the graphic arts. But here also - and in this, lithography did
not differ from woodcuts or copper engraving - the active hand of the
artist remained necessary to the creation of a picture. Still missing was
a quasi-automatic process that would be both fast and inexpensive. Above
all, the new technology had to be dependable, objective, and precise in
detail - in short, it must correspond to a rational age oriented to
exactitude. To this end, research and systematic experiments were being
conducted in almost all the lands of Europe, but nowhere more intensively
than in England and France. After all, the principles behind an analogue
process for producing pictures were already long familiar: the operation
of the camera obscura, known from the Renaissance, and Johann Heinrich
Schulze's discovery ofthe light sensitivity of silver salts in 1727.
Actually, it was only necessary to combine the two principles - the
physical and the chemical - together.
Views according to nature
In his quest, Niepce was a child of his age; his research was not at
all directed toward the discovery of a new medium of artistic expression.
He strove for a pictorial mass medium: quick, cheap, and dedicated to the
realistically oriented Zeitgeist of a bourgeois age. Niepce had actually
begun quite early to employ various acids for etching transitory images
onto metal and stone. "This kind of engraving," claimed Niepce in 1816,
"would be even better than the [the silver chloride images] because they
can be so easily replicated and because they are unalterable." In the end,
however, his efforts, whether to obtain a direct positive image or to
produce plates that could be used for printing, remained unsuccessful. Not
until 1822 did Niepce discover in bitumen, an asphalt-like substance used
by both copper engravers and lithographers, a medium capable of holding an
image. He realized that bitumen eventually bleaches out and, more
importantly, hardens under the influence of light; on the other hand,
bitumen kept in the shade remains soluble and can be rinsed away. Niepce
succeeded in copying a portrait of Pius VII by using oil to make the
copperplate print transparent, placing it on a bitumen-coated glass plate,
and laying it in the sunlight. After two or three hours, the exposed
portions had hardened to such an extent that the shadowed areas could be
rinsed away with a solution of lavender oil and turpentine.