The 
Daguerreian Society


The following article appeared in the March issue of "The Photographic 
and Fine-Art Journal" Vol. 8, No. 3 (March 1855) pg. 80.
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                          For the Photographic and Fine Art Journal.

     T A K I N G   P O R T R A I T S   A F T E R   D E A T H .

                         BY N. G. BURGESS.

   The occupation of the Daguerrean Artist necessarily brings him in 
contact with the most endearing feelings of the human heart, more 
especially is this true when called upon to copy the "human face 
divine"

               "After life's fitful fever is o'er."

How often has he been called upon to attend at the house of mourning to 
copy that face who, when in life was so dear to the living friends, and 
with what doubt and hesitation has he essayed the task.
   The only object of a portrait of the deceased can be to retain a 
fac-simile of the outline of the face to assist the painter in the 
delineation of the portrait, and in this particular it has been found 
of essential service.
   Having considerable experience in this branch of the art, I will 
transcribe my method for the benefit of the readers of the Journal.
   I have succeeded much better when I conveyed all my apparatus to the 
house of the deceased, except the cleaning blocks.  I therefore have a 
portable one arranged so as to place the whole in a box or basket, 
which includes the camera and stand, coating boxes, mercury bah and 
buff.  I clean several plates, say eight or ten, and buff them ready 
for coating, and place them in a plate box well cleaned, and free from 
dust, covering over the plates with a piece of tissue paper, and then 
putting the cover of the box tightly over the whole.  Cover the box 
also with black cloth.
   The plates should be retouched with the buff slightly before 
coating, to be absolutely sure that all the dust is removed from the 
surface.  Many operators coat their plates before leaving their rooms, 
and succeed in producing portraits.  But generally, with all their 
care, there will be those interminable black spots on the surface--
owing to the small particles of dust.  I have therefore always avoided 
them whenever I coated the plates at the house of the deceased.
   A small closet room can easily be found in the house, and if not, by 
closing the blinds, a corner of the room will suffice.
   A north light is the best exposure of course.  But when that cannot 
be procured, take any window with a fair exposure, free from the direct 
rays of the sun.
   If the portrait of an infant is to be taken, it may be placed in the 
mother's lap, and taken in the usual manner by a side light 
representing sleep.
   If it is an older child, it can be placed upon the table, with the 
head toward the light, slightly raised, and diagonally with the window, 
with the feet brought more towards the middle of the window.  A common 
woollen blanket may be used as a back ground, which can be held behind 
the body by two assistants.  A sheet can be used also for a reflector, 
which may also be held by assistants, or fastened to the wall.
   The table or bed as the case may be, must be so arranged that the 
light will fall down the face, and the shadows appear below the nose 
and eye brows.  As much of the sky-light effect as possible must be 
obtained, which can be done by darkening the lower portion of the 
window with some dark cloth.  Bring the camera as near the wall as 
possible.  Increase the light by opening the upper portion of the 
window when it is practicable.  Now by one experiment the light can be 
tried, and very soon a good picture produced.
   Should the body be in the coffin, it still can be taken, though not 
quite so conveniently, nor with so good results.  The coffin must be 
placed near the window, and the head placed in the same position as 
upon the table.  It is of considerable importance that the coffin 
should not appear in the picture, and it may be covered around the 
edges by means of a piece of colored cloth, a shawl, or any drapery 
that will conceal it from view.
   By making three or four trials, a skilful artist can procure a 
faithful likeness of the deceased, which becomes valuable to the 
friends of the same if no other had been procured when in life.
   All likenesses taken after death will of course only resemble the 
inanimate body, nor will there appear in the portrait anything like 
life itself, except indeed the sleeping infant, on whose face the 
playful smile of innocence sometimes steals even after death.  This may 
be and is oftimes transferred to the silver plate.
   However, all the portraits taken in this manner, will be changed 
from what they would be if taken in life--all will be changed to the 
sombre hue of death.
   How true it is, that it is too late to catch the living form and 
face of our dear friends, and well illustrates the necessity of 
procuring those more than life-like resemblances of our friends, ere it 
is too late--ere the hand of death has snatched away those we prize so 
dearly on earth.

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Posted for your enjoyment.     Gary W. Ewer     
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03-13-98


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