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Portrait Photography

In the 1830s, Nièpce discovered the process for setting images onto pewter plates. In 1833, upon Nièpce's death, Louis Daguerre and François Arago continued his experiments and invented the daguerreotype, a process which created a printed image on a silver plate that had been exposed to light. Photography was born.

Similarly to how portrait painting had dominated artistic output in previous centuries, portrait photography was to become the pillar of the Second French Empire's photographic industry. Lenses with a shorter focal length, which enabled reduced exposure times, gradually appear on the market. The required equipment was expensive and difficult to handle. Some photographers, called daguerreotypists, decided to open their own photography studios to make a profit from their endeavours. The daguerreotype process was temperamental, and photographers had to take their pictures with great precision and attention to detail. They welcomed many people into their studios and customers choose how they wished to be photographed from catalogue of poses. Originally only accessible to the bourgeoisie, lower prices resulting from the growing number of studios eventually attracted a wider customer base. This phenomenon infuriated the poet Charles Baudelaire who was frustrated by the sense of narcissism sparked by the daguerreotypists.

Despite his protests, the egotistical trend only grew with the emergence of 'carte de visite' portraits (small photographs, the size of today's business cards). These were the brainchild of Adolphe Eugène Disdéri came up with the idea of producing portraits akin to visiting cards in 1859. He printed eight portraits in a variety of poses onto a single plate and once developed they could be cut up into eight distinct “visiting cards". Very popular with the bourgeoisie, they highlighted the sitters' social status. 'Carte de visite' portraits featuring celebrities were also sold to customers, who could subsequently add them to their albums.

The photographer Nadar was one of the first to demonstrate a conscious artistic approach to producing these portraits. He emphasised facial expressions and ensured the sitter was comfortable and at ease before taking the photograph. He photographed the era's greatest thinkers and artists, including Honoré de Balzac, George Sand, and Victor Hugo. He even managed to reconcile Baudelaire with portraiture.

At the end of the 19th century, the art of photography started to enter the mainstream, with the arrival of the Kodak company. The use of the camera, and the taking of portraits, became everyday occurrences. A century later, it was the invention of the digital camera which challenged the status quo. Whereas before alterations could only be made to photographs when they were being taken or developed, with the digital camera editing became easier, quicker and more convenient. Digital photography has given photographers much more freedom when it comes to editing and new methods and techniques are constantly being explored.

Some of the photographers who have left their mark on the last century include: Cindy Sherman, who excelled in self-portraits, Annie Leibovitz, who captured celebrities, the wacky duo, Pierre and Gilles, as well as Diane Arbus, Irving Penn, Richard Avedon, Helmut Newton and Bettina Rheims.

So, do portraits help us to learn more about each other, to remember, to invent, to act, or to reconnect with ourselves? Find out on Artsper, by exploring the works of Formento & Formento, Naomi Vona, Ahmed Bennani, Chou Ching Hui, Samuel Cueto, Brno del Zou, Ren Hang, Markus + Indrani, Jerome Liebling as well as Annina Roescheisen.

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