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

我对知识的最初贡献是挑战摄影史上一个基本的“给定的”：15/33普遍认为银版印刷术的独特性。这种理解源于照相底片是在相机中单独准备和曝光的，不可能有多张照片。然而，在1839年至1860年期间，至少有40名实践者练习了将银版转换为印刷板的方法，以便在纸上用墨水创造图像：它们是蚀刻、雕刻、电镀、电印，或者图像是用明胶转移或用石膏铸造的。这使得图像能够与可以被认为是最早的照相机械印刷过程相乘。事实上，转换后的凹版为后来的照相凹版、照相平版印刷和凸版印刷奠定了基础。因此，我认为银版印刷术的独特性的概念需要修改。为了验证这一假设，我的方法将包括历史文献研究和对遗产收藏中的原始材料的检查，然后是亲手重新创造的过程，最后是比较工具分析，以研究印刷技术之间的物理差异。DMU摄影史研究中心拥有广泛的专业图书馆，为该项目带来了该领域的国际卓越表现。由Kelley Wilder、Joanne Horton和Haida Leung分别在摄影史和科学史、19世纪电镀和艺术材料仪器分析方面的专业知识指导下，将提供无与伦比的广泛和具体的学术和实践研究卓越的独特融合。

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.