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Within A Camera Obscura: Containing the New Optical Laws of the Camera Obscura or Daguerreotype, demonstrated that converging perpendiculars of the Camera image were indeed mathematically correct and concluded: "Art has always represented objects geometrically, or as they cannot be seen in the perpendicular and visually, or as they can be seen in the horizontal direction."3 But his findings were ignored. Indeed, amateurs were warned in manuals and instruction books never to tip the camera. Many hand cameras were even equipped with levels to assure the viewer that he was holding the Camera horizontally.Daguerre continued alone. Although Isidore Niepce had succeeded to the partnership, he contributed nothing, in spite of Daguerre's constant urging. News of his secret experiments leaked out. Reviewing the Diorama show "The Valley of Goldau" in 1835, the Journal des Artistes noted that Daguerre has found out a method of receiving, on a plate prepared by him, the image produced by the Camera obscura, so that a portrait, a landscape or view of any kind, projected upon,this plate by the ordinary Camera obscura, leaves its impress there in light and shade, and thus makes the most perfect of drawings. A preparation applied to this image preserves it for an indefinite period. Physical science has, perhaps, never offered a marvel comparable to this.
To fill their needs, manufacturers began to introduce in the 1890s a new kind of finder: a second Camera mounted on top of the Camera with which the exposure was made. It was fitted with a lens of exactly the same focal length of the taking lens; both were focused together. On the top of the finder-camera was a ground glass the size of the negative. within a Camera obscura was a mirror, fixed at 45° to the lens axis, which reflected the image upwards, like the eighteenth-century Camera obscura. A collapsible hood shaded the ground glass so that the image could be seen clearly. |
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