The Early Photographic Studio Relations

In the early years of photography, the craft was confined to the studio due to the cumbersome nature of the equipment and the slow pace of the process. This period saw photography as an expensive endeavor, compelling those who had invested in the necessary apparatus, plates, and chemicals to seek financial returns on their investment. Fortuitously, their commercial pursuits aligned with a burgeoning enthusiasm for images, particularly portraits that captured the human likeness.

Despite the novelty and demand, photography during the 19th century was not without its challenges. Often regarded with trepidation, the process was also physically demanding for the models. They were required to sit motionless for extended periods in stifling parlors, typically situated on the upper floors where heat accumulated. To alleviate concerns, photographers' advertisements promised "Photographs in any style without pain," drawing a comparison between a photo session and a daunting appointment with a 19th-century dentist.

The 1886 caricature from Punch humorously illustrates the 'Joys of Photography,' encapsulating the era's sentiment. In cases where clients were particularly anxious or restless, contemporary journals even recommended the use of laudanum, known today as opium, to ensure their tranquility.

However, the results of these painstaking sessions were far from guaranteed. While some early photographers, like the renowned French portraitist Nadar, pursued perfection obsessively, many others were merely opportunists capitalizing on the booming interest in photography for what they hoped would be easy profits.

Compare these two portraits — the first one taken by the illustrious Nadar, and the second coming from an anonymous studio photographer of the same era.

The true is that the majority of 19th-century photographers were not professionals in the modern sense. With no patents protecting the photographic process, these early practitioners hailed from diverse backgrounds. Many were painters who found themselves out of work due to the new medium, but, intriguingly, a significant number were former barbers. This led to photography studios often doubling as hair parlors, where clients could not only get a photograph but also use the same hazardous chemicals for hair darkening as were used in developing photos.

Given these circumstances, would one consider bringing children to such a studio? The Victorians did, despite the formidable challenge of photographing the unpredictable nature of children. Nineteenth-century babies and toddlers were just as restless as those today, struggling to remain still. Photographers often resorted to positioning them on their mothers' laps, who were draped in fabric to resemble a chair, or hidden otherwise, giving rise to the "invisible mothers" style.

If all else failed, practical 19th-century photographers kept a collection of 'generic' baby photos on hand to appease parents, should their own child's portrait prove unsuccessful.

And finally, if a person was not photographed during their lifetime, there was always the option of posthumous photography, which I will discuss next week.