The Daguerreotype Panorama

Cincinnati Waterfront Panorama Daguerreotype, taken by Charles Fontayne and William S. Porter in 1848

click on the image to enlarge

sources:

http://www.cs.rochester.edu/~rmessing/cincinnatti/

A zoom illustrating the extraordinary level of detail in a daguerreotype

This is plate 4 of the Cincinnati Waterfront Panorama Daguerreotype consisting of 8 plates, taken by Charles Fontayne and William S. Porter in 1848. The plate, property of the Public Library of Cincinnati and Hamilton Counties, was imaged in tiles using a stereomicroscope (Zeiss StereoDiscovery.V12) at George Eastman House International Museum of Photography & Film, Kay Whitmore Conservation Center, in Rochester, NY

source: YouTube

links: http://www.cincinnatilibrary.org/main/rb.asp#daguerreotype
http://www.tedxcincy.com/2010/09/30/fontayne-porter-panorama-part-2-by-patricia-van-skaik/

Porter, William Southgate
American (1822-1889)
Fairmount waterworks
1848
daguerreotype
36.7 x 99.8 cm.,
(8 whole plates assembled in original mount)

source: http://www.geh.org/taschen/htmlsrc1/m197705030001_ful.html#topofimage

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The name of this Group is derived from a diaphragm number of the photographic lens. It signifies to a large extent the qualities of clearness and definition of the photographic image which is an important element in the work of members of this Group.
The chief object of the Group is to present in frequent shows what it considers the best contemporary photography of the West; in addition to the showing of the work of its members, it will include prints from other photographers who evidence tendencies in their work similar to that of the Group.
Group f/64 is not pretending to cover the entire of photography or to indicate through its selection of members any deprecating opinion of the photographers who are not included in its shows. There are great number of serious workers in photography whose style and technique does not relate to the metier of the Group.
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'Street Life in London' was published in twelve instalments throughout 1877 and the beginning of 1878. Three of Thomson's photographs appeared in each edition with three stories mainly written by the journalist Adolphe Smith, who held reformist views and worked as the official interpreter for the TUC from 1886 to 1905.

With social problems gaining increased attention in the 1870s through the work of such men as Charles Dickens and the founder of homes for destitute children, Dr Barnado, these vignettes of survival among the poor proved popular with the public. The hopes and aspirations, values and needs of those portrayed were recognisable to the readers of other classes. The photographs added a gr…

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