Redefining the origins of photomechanical printing: etching, electrotyping and multiplying daguerreotypes in Europe from 1839 to 1860

My original contribution to knowledge is to challenge a fundamental 'given' in photographic history: the 15 / 33 common concept of the daguerreotype's uniqueness. This understanding derives from the photographic plates being individually prepared and exposed in the camera, and no multiple prints being possible. However, at least 40 practitioners between 1839 and 1860 practiced methods of converting daguerreotypes into printing plates for creating images in ink on paper: they were etched, engraved, electroplated, electrotyped, or the image was transferred in gelatine or cast in plaster. This enabled the multiplication of images with what might be considered the earliest photomechanical printing processes. The converted aguerreotype, in fact, set the stage for the later photogravure, photolithography, and relief printing. I therefore argue that the concept of the daguerreotype's uniqueness needs revision. To test this hypothesis, my methodology will consist of historical literature research and examination of original materials in heritage collections, followed by hands-on re-creation of the processes, and finally comparative instrumental analysis to study the physical differences between printing techniques. The DMU Photographic History Research Centre brings to the project international excellence in this field with an extensive specialised library. Supervision by Kelley Wilder, Joanne Horton and Haida Liang with expertise respectively in history of photography and science, 19th century electroplating and instrumental analysis of art materials will provide a unique blend of broad and specific academic and practice-based research excellence that is unrivalled.