title: Eugene O'Neill

text: O'Neill is referenced by Upton Sinclair in "The Cup of Fury" (1956), by J.K. Simmons' character in "Whiplash" (2014), and by Tony Stark in "" (2015), specifically "Long Day's Journey into Night".


title: Eugene O'Neill

text: O'Neill's home in New London, Monte Cristo Cottage, was made a National Historic Landmark in 1971. His home in Danville, California, near San Francisco, was preserved as the Eugene O'Neill National Historic Site in 1976.


title: Eugene O'Neill

text: Connecticut College maintains the Louis Sheaffer Collection, consisting of material collected by the O'Neill biographer. The principal collection of O'Neill papers is at Yale University. The Eugene O'Neill Theater Center in Waterford, Connecticut fosters the development of new plays under his name.


title: Eugene O'Neill

text: There is also a theatre in New York City named after him located at 230 West 49th Street in midtown-Manhattan. The Eugene O'Neill Theatre has housed musicals and plays such as "Yentl", "Annie", "Grease", "M. Butterfly", "Spring Awakening", and "The Book of Mormon".


title: Eugene O'Neill

text: The Glencairn Plays, all of which feature characters on the fictional ship "Glencairn"—filmed together as "The Long Voyage Home":


title: Diamond Dallas Page

text: Dallas Page (born Page Joseph Falkinburg Jr., April 5, 1956), better known by his ring name Diamond Dallas Page (often stylized as DDP), is an American actor and retired professional wrestler. In the course of his wrestling career Page has wrestled for mainstream wrestling promotions World Championship Wrestling (WCW), the World Wrestling Federation (WWF, now WWE), Total Nonstop Action Wrestling (TNA), and All Elite Wrestling (AEW).


title: Diamond Dallas Page

text: Page first broke into the wrestling business in 1988, as a manager in the American Wrestling Association, where he worked for nine months before signing with WCW in 1991. There, he continued as a manager until late 1991, when he became a wrestler. Over a decade in WCW, Falkinburg became a three-time WCW World Heavyweight Champion, two-time WCW United States Heavyweight Champion, four-time WCW World Tag Team Champion and one-time WCW World Television Champion. He is the fourth WCW Triple Crown Champion, and the only United States Heavyweight Champion to defend the title in a pay-per-view main event, defeating Bret Hart at the 1998 World War 3.


title: Diamond Dallas Page

text: After WCW was sold in 2001, Page signed with the WWF where he made his pay-per-view debut in the main event of July's Invasion show, and went on to become a one-time WWF European Champion and one-time WWF World Tag Team Champion. Due to a series of injuries, he allowed his contract with the company to expire in 2002. He worked for TNA from 2004 to 2005, challenging for the NWA World Heavyweight Championship in the main event of Destination X 2005. On March 31, 2017, he was inducted into the WWE Hall of Fame by Eric Bischoff. He is considered "one of the finest WCW legends in history."


title: Diamond Dallas Page

text: Since 2012, Page has run a mail order and online fitness video business called DDP Yoga, based on yoga and dynamic self-resistance.


title: Diamond Dallas Page

text: Page Joseph Falkinburg Jr., the eldest of three children, was born in Point Pleasant, New Jersey, the son of Sylvia (née Seigel) and Page Falkinburg Sr. He was raised by his father during his early years after his parents divorced. He stated that he is of German, Irish, and Dutch origin. Falkinburg/Falkenburg is also the name of multiple German villages and at least three German castles. The name "Dallas" came from his love of the Dallas Cowboys.


title: Diamond Dallas Page

text: His brother Rory and sister Sally were raised by their maternal grandmother. Falkinburg lived with his father from age three to eight. His father took him, at eight years old, to live with his grandmother, who raised him. Falkinburg admitted in his autobiography he is dyslexic. He had many challenges hit him throughout his childhood and educational years.


title: Diamond Dallas Page

text: He attended St. Joseph's High School (now Donovan Catholic High School) in Toms River, New Jersey, for his freshman and second years, spending his first season on the JV basketball team and making the varsity squad as a sophomore. He transferred to Point Pleasant Borough High School in Point Pleasant, where he was a star basketball player with the Point Pleasant Boro High School Panthers. He attended Coastal Carolina University in South Carolina briefly before leaving school to work full-time.


title: Diamond Dallas Page

text: Page ran a nightclub in Fort Myers, Florida called Norma Jeans (known for its pink Cadillac) while he was working as a wrestling manager in the American Wrestling Association (AWA). He started managing in 1988, where he handled Badd Company (Paul Diamond and Pat Tanaka), a team he led to the AWA World Tag Team Championship on March 19. Badd Company, was often accompanied by female valets known as the "Diamond Dolls" (Tonya, Jennifer and Torri). During his time in the AWA, Page also managed Colonel DeBeers, Curt Hennig and Madusa Miceli as the leader of the Diamond Exchange stable. He worked for the AWA at 12 dates over a period of nine months, where they filmed all the television shows in one day.


title: Diamond Dallas Page

text: Page also worked as a color commentator in Florida Championship Wrestling (FCW), soon renamed Professional Wrestling Federation (PWF), where he worked alongside Gordon Solie, before finally debuting as a professional wrestler. Page's first pro match occurred in May 1989 against Dick Slater.


title: Diamond Dallas Page

text: In 1990, Dallas received a tryout with the WWF as an announcer, but wasn't offered a job. At WrestleMania VI, he drove Rhythm and Blues (The Honky Tonk Man and Greg Valentine) to the ring in his pink Cadillac. At this time, he was virtually unknown in the World Wrestling Federation. When FCW went out of business, Page was still involved in the club business until Dusty Rhodes returned to World Championship Wrestling. Rhodes started booking and brought him in on a small contract in early 1991.


title: Diamond Dallas Page

text: Page came to World Championship Wrestling (WCW) in 1991 as manager of The Fabulous Freebirds (Jimmy Garvin and Michael P.S. Hayes). Page managed the Freebirds to a shot at the NWA World Tag Team Championship where they defeated Doom (Butch Reed and Ron Simmons) on February 24. Before that match took place, Page unveiled the stable's new road manager, Big Daddy Dink, formerly known as Oliver Humperdink, who interfered in the match. During this match, Page introduced the "Diamond Dolls". Page added Scott Hall to the stable under the name of Diamond Studd. Page also worked as a color commentator for WCW with Eric Bischoff. With rumors that the WCW wanted to take the Diamond Studd away from Page, he decided to take the advice of Magnum T. A. and begin to wrestle himself. He headed to the WCW Power Plant where Buddy Lee Parker, The Assassin, and Dusty Rhodes trained the 35-year-old rookie. He debuted as a wrestler in a tag team match later that year. With the Diamond Studd, he faced Kevin Sullivan and his partner. He was relegated to the "jobber" list. He made his wrestling pay-per-view debut at Starrcade in 1991, teaming with Mike Graham in a losing effort to Jushin Thunder Liger and Bill Kazmaier. In regards to this period, he stated:


title: Diamond Dallas Page

text: "Bischoff gave me the job as I was a good example of work ethic, passion and someone that cares about the business. Since they wouldn't really book me, I went down to the WCW Power Plant every day I wasn't working. That's how you adapt to adversity. Even when I started to make it, I still kept going back. Until I was on the road 260 days a year-plus, I was still going to that Power Plant. For five years I went there, because that's how long it took me to get to the top."


title: Diamond Dallas Page

text: Page continued wrestling and brought other wrestlers into his stable, The Diamond Mine, such as Scotty Flamingo (Raven) and Vinnie Vegas (Kevin Nash). The relationships between DDP, Flamingo, and Vegas were used in many angles over the following months. Page went in the corner of Scotty Flamingo, at "Clash of the Champions XXI" on November 18, 1992, when Flamingo fought Johnny B. Badd in a worked boxing match. Flamingo won this bout with a little help from Page who filled Flamingo's glove with water. The following year, after Studd and Flamingo left the stable, Page teamed with Vinnie Vegas as the Vegas Connection. The team was disbanded shortly after its debut when Page tore a rotator cuff in a match against Tex Slazenger and Shanghai Pierce toward the end of 1992 and was later fired, while Nash left WCW for the World Wrestling Federation.


title: Diamond Dallas Page

text: Page, determined to continue improving his character, sought the help of Jake Roberts who advised him on the psychological aspects of the business. After his injury had healed, Page returned to WCW television in 1994, with his wife Kimberly as the Diamond Doll, and an on-screen bodyguard, Max Muscle. He held open arm wrestling challenges to win Kimberly, but Max always helped him win or arm wrestled for him. He was also involved in an angle where he was said to have amassed $13 million through victories in arm wrestling competitions, then lost it. He also had a long feud with Dave Sullivan because Sullivan gave Kimberly gifts (and largely because Page was defeated by Sullivan in one of the arm wrestling contests, which earned him a date with Kimberly). At Fall Brawl, Page won his first championship when he defeated Renegade for the WCW World Television Championship. In the build-up to his first title defence at Halloween Havoc, there was growing dissension between Page and Kimberly. Johnny B. Badd defeated Page for the TV title and again at World War 3 on November 26, winning Kimberly's freedom from DDP. At Uncensored on March 24, 1996 The Booty Man with Kimberly as The Booty Babe defeated Diamond Dallas Page in a Loser Leaves Town match.


title: Diamond Dallas Page

text: Page returned on the May 18, 1996, episode of "WCW Saturday Night" as a tweener defeating Billy Kidman. On May 19, Page participated in the Lord of the Ring Tournament (Battle Bowl) at Slamboree. Falkinburg was victorious when he defeated The Barbarian with two Diamond Cutters. The winner was to be the number one contender for the World Title which at that time was held by The Giant. He never received the title shot that he earned that night. Page was feuding with Eddie Guerrero when the New World Order (nWo) was formed. Since Nash and Hall were both former partners of Page, they assisted him in his matches in the tournament being held for the vacant United States Heavyweight Championship. Believing their assistance was not appreciated, Hall and Nash attacked him during the tournament final, allowing Guerrero to win. After demonstrating the benefits of the nWo, they asked him to join. He responded by giving them Diamond Cutters on January 25, 1997, at Souled Out, starting a face turn and a feud with the nWo. Soon after, Page began a feud with recent nWo recruit "Macho Man" Randy Savage. On an episode of "Nitro", Savage, aided by Scott Hall and Kevin Nash, attacked Page and spray-painted "nWo" on his back. A few weeks later at Uncensored, Savage and Miss Elizabeth "broke" (a worked shoot) by revealing to the world that Page and Kimberly were, in fact, married. Savage then proceeded to beat up Page, ensuring a future match between the two. At Spring Stampede, in Page's first pay-per-view main event, he and Savage battled in a match where Page emerged victorious, but it was not the end of conflict between the two. A few months later at The Great American Bash, they squared off again in an anything goes, lights out match. The match ended with Savage defeating Page with help from (then) Tag Team Champion Scott Hall. At Bash at the Beach, Scott Hall and Randy Savage defeated Diamond Dallas Page and Curt Hennig. Curt Hennig, who Diamond Dallas Page had recruited personally to join WCW and team with him, turned on DDP during the match. Hennig defeated Diamond Dallas Page in a grudge match at Road Wild. At Fall Brawl, Page teamed with Lex Luger to defeat Scott Hall and Randy Savage in a No Disqualification match. Page even dressed up as masked wrestler La Parka and beat Savage on the July 7 edition of Monday Nitro. Around this time, Page also started fighting nWo leader, Hollywood Hogan. Page and Savage battled for the last time at Halloween Havoc. The match was billed as a Las Vegas sudden-death match, where Savage pinned Page after Hogan, dressed as Sting, came out and hit Page with a baseball bat in his already "injured" midsection, resulting in Savage picking up the win. On an episode of "Nitro" shortly after Halloween Havoc, Page fought Hogan, but was again beaten down by the nWo.


title: Diamond Dallas Page

text: At Starrcade, Page won the United States Heavyweight Championship from Curt Hennig. The following year at Uncensored, Page defended the title in a Triple Threat, Falls Count Anywhere contest against Chris Benoit and Raven, putting Raven through a table with a Diamond Cutter to retain the belt. Page later lost the title to Raven at Spring Stampede. Later in the year, Page tagged with Karl Malone against Hulk Hogan and Dennis Rodman at Bash at the Beach, losing due to interference. Page tagged with late night talk show host Jay Leno at Road Wild, where they defeated Hogan and Eric Bischoff.


title: Diamond Dallas Page

text: At Fall Brawl, Page won the WarGames main event, and got a World title shot against the undefeated Goldberg at Halloween Havoc. Page did not win the match, but the match was voted "WCW Magazine"s "Match of the Year" 1998. Halloween Havoc ran slightly longer than expected resulting in a number of cable companies blacking out the end of the Hogan versus Warrior match and all of the DDP versus Goldberg contest. WCW decided to air the Goldberg versus DDP title bout in its entirety on the October 26 episode of "Nitro", which proved immensely popular in the ratings and resulted in a ratings win for "Nitro" over "Raw" – the last win "Nitro" ever had. Despite this setback in the World title picture, Page rebounded this same following night of Halloween Havoc, on the October 26 episode of "Nitro", with a win over Bret Hart to capture the United States Heavyweight Title. The two headlined the following month's World War 3, in a title match which Page won. Page lost the title to Hart on the November 30 episode of "Nitro" in a No Disqualification match, when he was assaulted by The Giant.


title: Diamond Dallas Page

text: Page became WCW World Heavyweight Champion in April 1999, at Spring Stampede when he defeated Sting, Hogan, and Ric Flair for the title in a Four Way Dance with "Macho Man" Randy Savage as Special Guest Referee. Page pinned Flair after giving Flair the Diamond Cutter. Around this time some fans were starting to boo Page at various WCW events, so shortly after Spring Stampede a decision was made to turn Page heel for the first time in three years. The turn played out slowly at first, with Page undergoing a change in attitude. Then, on April 19, Page defended his title against Goldberg, where he cemented the turn by first knocking Goldberg out with brass knuckles and then propping his leg up against the ring stairs and repeatedly smashing it with a steel chair, all while taunting the fans with repeated utterances of "boo me now". Page only stopped when Kevin Nash, an ally of Hogan's who was angry at Page for (kayfabe) injuring Hogan's knee during the match at Spring Stampede, came back from injury and chased him away.


title: Diamond Dallas Page

text: On April 26, 1999, Page lost and regained his title in the span of two hours. Sting challenged him to defend his title in the first hour of that night's "Nitro" and defeated him to regain the title he had lost a year earlier. This ended Page's reign at 15 days, but he gained an opportunity to get the title back ninety minutes later. Nash came to the ring and made a challenge for a four-way match for the title, and the just-dethroned Page joined defending champion Sting and Goldberg in the match. Page regained the WCW World Heavyweight Championship by using a foreign object to hit Nash and take the win and regain the title without actually defeating the reigning champion. Nash became the number one contender shortly after and vowed to get revenge on Page for his friend Hogan, culminating in a match at Slamboree in May. Page originally retained the WCW World Heavyweight Championship after Savage interfered and hit Nash, but the match was ordered to continue by Eric Bischoff and Nash pinned Page to win the title after a powerbomb. Page dropped out of the title picture shortly thereafter.


title: Diamond Dallas Page

text: Shortly after Slamboree, Page entered into an alliance with fellow New Jerseyan Bam Bam Bigelow and won the WCW World Tag Team Championship from then champions Perry Saturn and Raven on May 31, thanks to Chris Kanyon turning heel on former ally Raven and costing the team the championships. Page, Bigelow, and Kanyon became known as the Jersey Triad and through their alliance with WCW "President for Life" Ric Flair took advantage of the Freebird Rule in their subsequent matches (meaning any combination of the three could defend the championship). The Triad held the titles until June 10, when Saturn and Chris Benoit (now stablemates in The Revolution) took the title from them. They regained the belts at The Great American Bash three days later, and lost them to Harlem Heat at Road Wild in August. Later that night, Chris Benoit defeated Diamond Dallas Page to retain the United States title. The group broke up shortly thereafter and Page began feuding with Hogan again, joining Sid Vicious and Rick Steiner in a team effort to take on Hogan, Sting, and Goldberg. Soon after that feud ended Page turned into a hero again and feuded with both Kanyon and Bigelow before the year ended.


title: Diamond Dallas Page

text: In 2000, with WCW under new management, Page earned a shot at the vacant WCW World Heavyweight Championship at Spring Stampede against Jeff Jarrett. In a surprise twist, Page's wife, Kimberly, turned on Page and helped Jarrett become the new WCW World Heavyweight Champion. Page got the better of Jarrett on the April 24 episode of "Nitro", where he defeated Jarrett in a steel cage match to become WCW World Heavyweight Champion for the third time, then lost the title to his tag partner, actor David Arquette, three days later on "Thunder"; the rules stated that whoever got the pin would win the title, and Arquette pinned Jarrett's partner, Eric Bischoff. Page attempted to win the title back at Slamboree later that month in a triple cage match against Arquette and Jarrett, but lost after Arquette hit him with a guitar. Page then entered a feud with Mike Awesome, who defeated him in an Ambulance Match at The Great American Bash after Kanyon turned on Page.


title: Diamond Dallas Page

text: Page took some time off shortly after this, but returned in late 2000 as a full-time wrestler. After Page came back he formed a tag team with Kevin Nash called The Insiders, and the team won the WCW World Tag Team Championship on November 26 at Mayhem by defeating Perfect Event (Shawn Stasiak and Chuck Palumbo). The team was temporarily stripped of the titles but won them back at Starrcade defeating Stasiak and Palumbo again. Page and Nash lost the titles to Palumbo and Sean O'Haire at Sin in January and broke up shortly thereafter. After his tag team run Page briefly feuded with the returning Kanyon, which saw Kanyon defeat Page at SuperBrawl Revenge, and Page defeating Kanyon the following night on Nitro, ending their feud. Page then moved into the World Championship picture again by facing Scott Steiner. Their feud hit a climax at WCW's final PPV Greed, saw Page's final match in WCW and a semi-burial type defeat as he passed out in Steiner's finisher, The Steiner Recliner.


title: Diamond Dallas Page

text: When WCW was purchased by WWF owner Vince McMahon in 2001, Page was one of the few major WCW stars (along with Booker T and Buff Bagwell) who accepted buyouts of their AOL Time Warner contracts in order to immediately sign with McMahon. He debuted in the World Wrestling Federation (WWF) on the June 18, 2001, episode of "Raw" when he unveiled himself as the stalker of The Undertaker's wife, Sara. Page revealed he didn't care about Sara; he only did it to make an impact and wanted to take on the "biggest dog in the yard". At King of the Ring, he fought The Undertaker in an unsanctioned brawl that was never announced as an official match. On the July 5 episode of "SmackDown!", Page competed against WCW Champion Booker T, but failed to win the title after a distraction from the Undertaker. On the July 9 episode of "Raw", WCW owner Shane McMahon and ECW owner Paul Heyman joined to create The Alliance, with former WCW and ECW alumni joining forces in an attempt to take control of the WWF. At the Invasion pay-per-view, Page formed part of Team Alliance alongside Booker T, Rhyno and The Dudley Boyz, defeating Team WWF, after Team WWF member Stone Cold Steve Austin turned on his team members mid-match.


title: Diamond Dallas Page

text: Page and Chris Kanyon reunited on the August 6 episode of "Raw" when Kanyon helped Page attack The Undertaker backstage. Three days later on the August 9 taping of "SmackDown!", Page and Kanyon defeated the APA to win the WWF Tag Team Championship.


title: Diamond Dallas Page

text: His feud with the Undertaker culminated when Undertaker and Kane defeated Page and Kanyon at SummerSlam on August 19, 2001, in a Steel cage match for the WWF Tag Team Championship. During the match, Page was injured, keeping him out of action until late October 2001. While Page was injured, he developed a new gimmick in which he became a motivational speaker. The character involved Page constantly smiling and acting optimistic, with his trademark phrase "That's not a bad thing... that's... a good thing".


title: Diamond Dallas Page

text: His return televised match was on November 3 at Rebellion losing to Big Show. After the Alliance lost at Survivor Series, Page, along with the rest of the Alliance members, kayfabe lost their jobs.


title: Diamond Dallas Page

text: Page eventually returned as a face and won his job back by defeating Big Boss Man on the January 17, 2002, episode of "SmackDown!". Page competed in the Royal Rumble match at the titular event on January 20 but did not win.


title: Diamond Dallas Page

text: Page became the WWF European Champion on the January 31, 2002, episode of "SmackDown!", when he defeated Christian, a former follower of his positive "philosophy." At WrestleMania X8, Page successfully retained in a rematch against Christian. He lost the title to William Regal on an episode of "SmackDown!" that aired March 21. On March 25, Page was drafted to the SmackDown! brand as part of the 2002 WWF draft lottery.


title: Diamond Dallas Page

text: On the April 18 episode of "SmackDown!", he sustained a serious neck injury during a match with Hardcore Holly, after botching a superplex. After receiving opinions from multiple doctors, Page announced his retirement in June 2002. He left the promotion soon after.


title: Diamond Dallas Page

text: In 2004, Page made his in-ring return by wrestling for several independent promotions. His first match was on April 21, 2004, teaming with Satoshi Kojima as they lost to former WCW star Sting and The Great Muta for HCW Battle Hawaii.


title: Diamond Dallas Page

text: He signed with Total Nonstop Action Wrestling (TNA). He debuted for the company on the November 12 taping of "Impact!", where he attacked Raven, beginning a feud between the two. At Turning Point on December 5, DDP defeated Raven.


title: Diamond Dallas Page

text: and at Final Resolution in January 2005, Page competed in a three-way elimination match to determine the number one contender for the NWA World Heavyweight Championship also involving Monty Brown and Kevin Nash, which was won by Brown. Page and Brown subsequently formed a tag team. The following month at Against All Odds, Page and Brown defeated Team Canada (Bobby Roode and Eric Young). Page received an NWA World Heavyweight Championship title shot on March 13 at Destination X, but was defeated by reigning champion Jeff Jarrett when Brown turned heel and hit Page with the Pounce. At Lockdown, Page teamed with B.G. James and Waltman to defeat Jeff Jarrett, Monty Brown and The Outlaw in a Lethal Lockdown match. At Hard Justice on May 15, Page and Ron Killings faced Monty Brown and The Outlaw where they were defeated in what was Page's final match in TNA. Page left TNA shortly thereafter in order to pursue an acting career.


title: Diamond Dallas Page

text: After TNA, Page returned to the independent circuit. He lost to Larry Zbyszko at WrestleReunion. DDP had Bruno Sammartino in his corner during the match. Then Page defeated Buff Bagwell on December 9, 2005, at GLCW Blizzard Brawl. In 2006, Page defeated his former Jersey Triad partner Chris Kanyon twice before retiring once again.


title: Diamond Dallas Page

text: On August 9, 2009, Diamond Dallas Page made a special appearance for Juggalo Championship Wrestling (JCW) at their Bloodymania III event, aligning himself with the jWo. He hit his trademark Diamond Cutter finisher on Trent Acid.


title: Diamond Dallas Page

text: DDP returned to wrestling on January 2, 2010, teaming with Air Paris to defeat Bobby Hayes and Alexander the Great at PICW event. On October 15, 2011, DDP teamed with Kevin Nash as they defeated The Rock 'n' Roll Express at AWE Night Of The Legends.


title: Diamond Dallas Page

text: In late 2010, Page agreed to work on a DVD for WWE, titled "The Very Best of WCW Monday Nitro", after being approached on the project due to his ties to WCW. Page hosted the DVD, which was released on June 7, 2011. On the June 27 episode of "Raw", Page made an appearance promoting this DVD with Booker T.


title: Diamond Dallas Page

text: In 2012, Page appeared on WWE Classics on Demand in "Legends of Wrestling Roundtable: Renegades" along with Jim Ross, Michael P.S. Hayes, Roddy Piper, and Gene Okerlund. Page also appeared alongside Kevin Nash and X-Pac at the WWE Hall of Fame ceremony on March 31, 2012. On July 2, 2012, Page made an appearance on "Raw", where he hit a Diamond Cutter on Heath Slater. He also appeared at "Raw 1000", accompanied by other WWE Legends, during Slater's match with Lita.


title: Diamond Dallas Page

text: On the January 6, 2014, episode of "Raw", Page, along with a number of other legends, appeared on the show as part of its "Old School" theme. On April 5, Page inducted his wrestling mentor and noted DDP Yoga practitioner Jake Roberts into the WWE Hall of Fame.


title: Diamond Dallas Page

text: On January 25, 2015, at Royal Rumble, Page was a surprise entrant in the Rumble match, entering at number 14 and hitting his finishing move, the Diamond Cutter, on Stardust, Bray Wyatt and Fandango from the top rope, before being eliminated by Rusev. At WrestleMania 32, Page competed in the Andre the Giant Memorial Battle Royal, but was eliminated by Konnor.


title: Diamond Dallas Page

text: At All In on September 1, 2018, Page accompanied Cody Rhodes in his match against NWA Worlds Heavyweight Champion Nick Aldis.


title: Diamond Dallas Page

text: On May 25, 2019, during their inaugural pay-per-view Double or Nothing, Page escorted Brandi Rhodes away from the ring after she refused to leave the match between Cody Rhodes and Dustin Rhodes after match referee Earl Hebner ejected her from the match. On the October 23, 2019, episode of "AEW Dynamite", Page returned to TNT programming for the first time in over 18 years, and helped Cody attack Chris Jericho and his stable The Inner Circle. On November 27, 2019, Page returned to "Dynamite" to present MJF with the first ever "Dynamite Diamond Ring" as a prize for defeating Adam Page. On January 15, 2020, at Bash at the Beach, Page had his last match, teaming with Dustin Rhodes and Q. T. Marshall to take on MJF and The Butcher and The Blade in a losing effort.


title: Diamond Dallas Page

text: Page developed a yoga fitness program initially called "Yoga for Regular Guys Workout" ("YRG"), after discovering the health benefits of yoga through his then-wife Kimberly while he recovered from ruptures to his L4/L5 discs in 1998. His favorite kind of yoga (according to his "Yoga for Regular Guys" book published in 2005) is "Power Yoga", an American-style version of "Ashtanga Style" yoga. Page worked with chiropractor Dr. Craig Aaron, and developed the "Yoga for Regular Guys Workout".


title: Diamond Dallas Page

text: Page developed the book into a series of workout videos titled DDP Yoga (formerly YRG). DDP Yoga was featured in a video about Arthur Boorman in May 2012. The story was picked up by the mainstream media, including "Good Morning America". The video describes the journey of Arthur Boorman, a disabled veteran who was told by doctors he would never walk again. After spending fifteen years on crutches, Boorman followed Page's yoga plan for ten months and documented his progress on home video. He lost 140 pounds and regained the strength and flexibility to walk and run without his crutches, back braces or leg braces.


title: Diamond Dallas Page

text: On February 21, 2014, Page appeared on the ABC series "Shark Tank", where he was seeking $200,200 for a 5% share in the DDP Yoga company. He declined to sell a 50% share for that same amount to Kevin O'Leary. Page had hoped to use the money to develop a mobile app. The other investors were impressed by Boorman's improvement but believed the home exercise market was too competitive and also predicted net profits ($800,000 in the previous year) would fall. Page later said he sold more than $1 million worth of products in the first six days after his appearance.


title: Diamond Dallas Page

text: In 2015, he was a main subject in the documentary "The Resurrection of Jake the Snake", which chronicled Page helping Jake Roberts through rehabilitation.


title: Diamond Dallas Page

text: In 2016, Page was featured on the "Nine Legends" Expansion Pack to talk about his friend Bill Goldberg.


title: Diamond Dallas Page

text: Page currently hosts a radio show titled "DDP Radio". Since January 4, 2022, Page has taken part in a podcast with Jake Roberts and Conrad Thompson titled "DDP Snakepit".


title: Diamond Dallas Page

text: Page is commonly associated with the "Self High Five" as well as the "Diamond Cutter" symbol, a hand gesture made by joining the thumbs and index fingers on each hand to form a diamond shape, then parting the two hands in one swift motion. He created the symbol in 1996 and later trademarked it. In December 2005, Page filed a lawsuit against rapper Jay-Z, who, he claimed, had "illegally adopted his trademark hand gesture". Page accused Jay-Z of trademark infringement and sought a prohibitive injunction and monetary damages. It resulted in Page dropping the lawsuit for an undisclosed amount of money. On August 31, 2010, Page filed a lawsuit against American electronica musical duo 3OH!3 for infringement of his trademarked "Diamond Cutter" hand gesture.


title: Diamond Dallas Page

text: Page's WCW entrance music, "Self High-Five", intentionally contained similarities to the 1991 Nirvana song "Smells Like Teen Spirit", as composer Jimmy Hart and Page felt it exemplified the "sound of the '90s". According to Page, Nirvana drummer Dave Grohl in turn claimed that "WCW owes us [the band] money", but before any further actions or lawsuits took place, the track was altered to "sound like it was it, but wasn't".


title: Diamond Dallas Page

text: Page released his autobiography, "Positively Page: The Diamond Dallas Page Journey", on February 1, 2000.


title: Diamond Dallas Page

text: On December 1, 1991, Page married Kimberly Page. On July 3, 2004, they announced their amicable separation, before divorcing in 2005.


title: Diamond Dallas Page

text: Page has two daughters, Brittany Page (born 1987) and Kimberly Page (born 1994), and two stepdaughters, Alexandra "Lexy" Nair (born 1996) and Rachel Nair (born 2001). Lexy currently works with All Elite Wrestling (AEW) as a backstage interviewer.


title: Diamond Dallas Page

text: On January 15, 2019, Page released another book, "Positively Unstoppable: The Art of Owning It", through Rodale Books. The book includes a foreword by Mick Foley.


title: Star Trek: Picard (season 3)

text: The third and final season of the American television series "" features the character Jean-Luc Picard as he is reunited with the former command crew of the USS "Enterprise". The season is produced by CBS Studios in association with Secret Hideout, Weed Road Pictures, and Roddenberry Entertainment, with Terry Matalas serving as showrunner.


title: Star Trek: Picard (season 3)

text: Patrick Stewart stars as Jean Luc Picard, reprising his role from the series "" as well as other "Star Trek" media. Also returning from "The Next Generation" are LeVar Burton, Michael Dorn, Jonathan Frakes, Gates McFadden, Marina Sirtis, and Brent Spiner, with Jeri Ryan and Michelle Hurd also starring. A third season was informally green-lighted by January 2020, allowing it to be filmed back-to-back with the . Some third-season scenes were filmed during production on the second, which began in California in February 2021, before filming segued fully to the third in September. Stewart officially announced the season soon after, with filming ending in March 2022. The return of other "Next Generation" cast members was confirmed a month later, and Matalas hoped to make the season a satisfying ending for Picard's story and the whole "Next Generation" cast.


title: Star Trek: Picard (season 3)

text: The season is expected to premiere on the streaming service Paramount+ on February 16, 2023, and run for 10 episodes until April 20.


title: Star Trek: Picard (season 3)

text: In February 2019, during development of the series "", star Patrick Stewart said "we are set up for possibly three years of this show". Showrunner Michael Chabon and the writers were reported in January 2020 to have begun work on a second and third season, with Terry Matalas joining them to fill the void that would be created by Chabon's planned departure later that year. CBS officially announced the then, but did not confirm an informal third season green-light. The latter allowed the second and third seasons to be filmed back-to-back, which helped save costs and simplify scheduling. Stewart officially announced the season in September 2021, shortly after filming had begun. By February 2022, the producers had decided to end the series with the third season. Matalas served as showrunner for the season.


title: Star Trek: Picard (season 3)

text: The third season begins just over a year after the second, and tells a new story despite the two seasons being developed together. Matalas said the third season was "incredibly different" from the first two, saying it would be less intimate and have some "game-changing "Star Trek" Universe ideas". He added that some elements from "" and the films starring the "Original Series" cast would be used in the season to "tie some "Star Trek" together", including the Spacedock and boatswain's whistle from those films, and other references to their "more nautical, cat and mouse submarine-movie" ideas. "" (1982) was a "major touchstone" for the season, which features "mental games" between Picard and a new villain.


title: Star Trek: Picard (season 3)

text: Matalas hoped the season would be a satisfying conclusion for Picard's story. In April 2022, when it was revealed that other "" cast members would be starring in the season, Matalas recalled watching that series as a child and said it was "most fitting that the story of Jean-Luc Picard ends honoring the beginning, with his dearest and most loyal friends from the USS "Enterprise"". The series' producers felt the group's final appearance in the film "" (2002) had not been a "proper send off" and wanted to use the final season of "Picard" to "send [them] off the right way", similar to what the film "" (1991) had done for the "Original Series" cast. This was Matalas's core pitch to Stewart and the other returning actors, and he worked with each of them to develop their storylines for the season to avoid telling a story that they were not happy with. Kurtzman said the season would take its time showing where each character is before bringing them all together, and Matalas compared this aspect to "" (2015) revealing where the original "Star Wars" characters are after many years. Matalas also compared the season to a serialized version of a theoretical "The Next Generation" season eight, and said it was "passing the torch from one generation to the next" like when actors from "The Original Series" guest starred on "The Next Generation". He added that he liked endings that promised more story with the characters.


title: Star Trek: Picard (season 3)

text: When originally developing the series, the creative team discussed not bringing back any other characters from "The Next Generation" to allow "Picard" to stand alone and not become reliant on nostalgia. Part of this was to allow newcomers who had not seen the previous series to enjoy "Picard". However, the writers wanted to be respectful to longtime fans of "Star Trek" and felt they were missing opportunities by not including certain characters, so they decided to add some returning guests who organically served the new story. In January 2020, Stewart said it was his hope that all of the main cast of "The Next Generation" would appear on "Picard" before the end of the series.


title: Star Trek: Picard (season 3)

text: In April 2022, members of the "Next Generation" cast were confirmed to be starring in the third season with Stewart: LeVar Burton as Geordi La Forge, Michael Dorn as Worf, Jonathan Frakes as William Riker, Gates McFadden as Beverly Crusher, Marina Sirtis as Deanna Troi, and Brent Spiner. Matalas confirmed that these would not be brief cameo appearances and said all of the cast would appear together in the season. After initially avoiding bringing back the full cast, executive producer Alex Kurtzman said they had a good story reason to reunite them in the third season and the producers felt that they had earned the right to do so after the first two seasons. McFadden said she loved the story that had been written for the cast in the season, while Sirtis said they had been "cherished" by the producers in contrast to their experience on "Nemesis". Burton said he would be happy if he did not portray La Forge again after getting to "put a period at the end of this sentence and close the book" on the character with this season. After Spiner decided that he would not portray his "Next Generation" character Data again after the , Matalas said he would play a "new old character that you have seen and never seen before" that connects to the plot of the third season. This was revealed in October 2022 to be a version of the android Lore, Data's evil twin.


title: Star Trek: Picard (season 3)

text: Wil Wheaton, who starred as Wesley Crusher in "The Next Generation", was not included in the season but did make a guest appearance in the second-season finale. After that episode was released in May, series regulars Santiago Cabrera, Alison Pill, Evan Evagora, and Isa Briones revealed that they did not return for the third season. Jeri Ryan, Michelle Hurd, and Orla Brady did return as Seven of Nine, Raffi Musiker, and Laris, respectively. Matalas explained that budget and time limitations meant some "hard choices" had to be made about which characters to bring back for the season, especially with the need to sign on all of the returning "Next Generation" actors.


title: Star Trek: Picard (season 3)

text: Matalas stated in late May that the season's villain was portrayed by a well-known actor who had not appeared in "Star Trek" before, and said they had given "one of the all-time great "Star Trek" villain performances". That June, Burton revealed that his daughter Mica had been cast as one of La Forge's daughters in the season. In August, Matalas said there would be more "legacy characters" appearing in the season beyond the main "Next Generation" cast. The writers considered including a grown-up version of the "Voyager" character Naomi Wildman for a specific sequence that was ultimately deemed too expensive to film. Also that month, Denise Crosby said her "Next Generation" character Tasha Yar would appear in the season, despite the actress previously stating that she was not involved in the series during filming. Matalas soon confirmed that the character would appear in the season as a reference to her "Next Generation" role. At New York Comic-Con in October, Amanda Plummer was revealed to be portraying the season's villain, Vadic. Her father Christopher Plummer had previously played an unrelated "Star Trek" villain, General Chang in the film "" (1991). Additionally, Daniel Davis was announced to be reprising his "Next Generation" role as a sentient hologram of Arthur Conan Doyle's literary character Professor Moriarty, Mica Burton's casting as La Forge's youngest daughter Alandra was confirmed, and Ashlei Sharpe Chestnut was revealed to be portraying La Forge's oldest daughter Sidney.


title: Star Trek: Picard (season 3)

text: Matalas said each season of "Picard" would be differentiated visually, but he and production designer Dave Blass wanted the second and third seasons to return to the visual style of the "Next Generation" era. In April 2022, Blass announced that several crew members from "Next Generation" era "Star Trek" had returned to work on the design team for "Picard": computer graphics engineer Ben Betts, visual effects producer Dan Curry, set designer Daren Dochterman, concept designer and visual effects artist Doug Drexler, starship designer John Eaves, graphic designer Monica Fedrick, graphic designer Alan Kobayashi, production designer Geoffrey Mandel, video engineer Larry Markart, computer playback supervisor Todd A. Marks, production illustrator Jim Martin, art director Karl J. Martin, and graphic designer Michael Okuda who designed the LCARS computer system for "The Next Generation".


title: Star Trek: Picard (season 3)

text: Kurtzman said Dorn's prosthetics for the Klingon character Worf would match his "Next Generation" appearance and not be changed to match the new Klingon designs from "". Worf uses a new weapon in the season called a "kur'leth", which was designed by Curry who designed other Klingon weapons for "The Next Generation" such as the bat'leth.


title: Star Trek: Picard (season 3)

text: The sets for the USS "Stargazer" from the second season were re-dressed to portray a different starship in the third, the USS "Titan". The "Titan" previously appeared in the animated series "" as a "Luna"-class ship designed by Sean Tourangeau, but Matalas felt that design was specific to the "Next Generation" era and wanted to consider new designs that aligned with the "Picard" era's "Stargazer" design. He worked with Blass, Drexler, and Eaves to determine what the design could be based on potential fictional events that would impact Starfleet design decisions. They decided that some older design elements from before the "Next Generation" era could be brought back for the new period of scientific exploration, which led to them creating the USS "Titan"-A, a new version of the ship that was refit to feature "Constitution"-class design elements (based on the starships from the "Original Series" era) after the original was retired. The new ship is a "Neo-Constitution"- or "Constitution III"-class ship, and was based on "Star Trek" fan Bill Krause's designs for an "Original Series"-era "Constitution"-style ship called the "Shangri-La"-class. The season also reveals that before the "Next Generation"-era "Luna"-class "Titan" there was an earlier version of the ship that was "Shangri-La"-class. Matalas described the USS "Titan"-A as a "long-range workhorse of a ship. Harkening back to the "Constitution"-class that was designed for the long 5-year missions. It is an exploratory vessel with some serious maneuvering capabilities." He compared the use of an older-style ship to Tom Cruise's Pete "Maverick" Mitchell flying a P-51 Mustang fighter plane from the 1940s in "" (2022). The season also introduces the SS "Eleos", a former Starfleet science and medical ship that Beverly Crusher uses, as well as a new Spacedock based on the one that was first introduced in "" (1984). Matalas added that the USS "Enterprise" (NCC-1701-F) would have a role in the season.


title: Star Trek: Picard (season 3)

text: Filming for the second season began on February 16, 2021, with some third-season scenes being filmed at the same time. Production was taking place in California where the series received tax incentives to continue filming there after the first season. The second and third seasons had one of the largest television series crews at the time with more than 450 crewmembers. Due to the COVID-19 pandemic, strict guidelines were followed on set and cast and crew members were regularly tested. Principal photography for the second season ended on September 2, and the production then segued fully into filming the third.


title: Star Trek: Picard (season 3)

text: As with the previous seasons, filming was divided into two-episode blocks. Matalas wanted Joe Menendez, who he worked with on the series "12 Monkeys", to return as a director from the second season, but Menendez was unable to due to a scheduling conflict with his series "Kung Fu". "Picard" producing director Doug Aarniokoski and frequent "Star Trek" director Frakes both returned from the previous seasons, respectively directing the first two blocks of episodes. Frakes completed filming for his episodes by the end of December 2021. There was a break in filming for the Christmas holidays and production resumed on January 3, 2022, but more than 50 members of the production crew and main cast tested positive for COVID-19 on that day. Filming for the season was immediately shutdown, but resumed on January 7. Dan Liu and Deborah Kampmeier directed the next two blocks of episodes, and Matalas directed the last block. He was filming the series finale by February 28. Production on the series wrapped on March 8.


title: Star Trek: Picard (season 3)

text: The user interfaces for the starships were created by visual effects company Twisted Media, based on the LCARS computer system. They referenced the designs from "The Next Generation" and the films of that era, as well as the "" (1991) reference guide by Rick Sternbach and Michael Okuda. Okuda consulted on the company's LCARS designs, as did Drexler who also provided digital models that were integrated into the interface screens. For two episodes in the second season, Todd A. Marks and his video playback company Images on Screen used a combination of LG OLED screens and Screen Innovations' FlexGlass projection screens (paired with rear screen projectors) to display the user interfaces on set during filming. The success of the FlexGlass projection technology led to it being used much more in the third season.


title: Star Trek: Picard (season 3)

text: Stephen Barton composed the score for the season, replacing Jeff Russo from the first two seasons. Frederik Wiedmann provided additional music for the third season. Matalas previously worked with Barton on the series "12 Monkeys", and they began work on the season's score by April 2022. Matalas said he was spending a lot of time on the music, which was strongly influenced by the work of composers Jerry Goldsmith and James Horner for the "Star Trek" films. He added that themes from four different iterations of "Star Trek" would be used together in the score. Craig Huxley contributed performances on the blaster beam, an instrument that he invented and previously played on the soundtrack of "" (1979). At the end of July, Barton and Matalas were recording the score with an 80-person orchestra at the Eastwood Scoring Stage at Warner Bros. Studios in California. Barton described the season's score as a "6 1/2 hour love letter in music to the incomparable Jerry Goldsmith, James Horner and the ["Star Trek: The Next Generation"] composers".


title: Star Trek: Picard (season 3)

text: A teaser for the season was released on April 5, 2022, celebrating "First Contact Day" which marks the fictional holiday when first contact between humans and aliens was made in the "Star Trek" universe. The teaser included the announcement of the returning "Next Generation" cast members with voiceover from those actors and footage of Picard looking at an old uniform. Another teaser was released during the "Star Trek" Universe panel at San Diego Comic-Con in July 2022, giving a first look at the returning "Next Generation" cast members in costume. Character posters for Stewart, Ryan, Hurd, and the returning "Next Generation" actors were also released.


title: Star Trek: Picard (season 3)

text: On September 8, Stewart, Ryan, and Hurd promoted the series at a ""Star Trek" Day" event where the season's premiere date was announced and a new teaser introducing the USS "Titan" was revealed. A month later, at New York Comic-Con, the season was promoted during a "Star Trek" Universe panel with Stewart, Sirtis, McFadden, Dorn, Burton, Frakes, Spiner, and executive producers Matalas, Roddenberry, and Kurtzman. A new trailer was released at the panel, revealing Plummer's casting as the villain as well as the returns of Lore and Professor Moriarty. James Whitbrook at "Gizmodo" praise the trailer for teasing what will happen in the season beyond the nostalgic returns of the "Next Generation" cast that the previous teasers focused on. Whitbrook described the new trailer as "absolutely bananas", mostly because of the Lore and Moriarty reveals. At "Den of Geek", John Saavedra said there was "plenty to point out" in the trailer and also highlighted those two characters. Samantha Coley at "Collider" said the trailer was "jam-packed with action, emotion, and new and returning characters".


title: Star Trek: Picard (season 3)

text: The season is expected to premiere on Paramount+ in the United States on February 16, 2023, and run for 10 episodes until April 20. Each episode of "Picard" is broadcast in Canada by Bell Media on the same day as the Paramount+ release, on the specialty channels CTV Sci-Fi Channel (English) and Z (French) before streaming on Crave. Amazon Prime Video streams the episodes within 24 hours of their U.S. release in over 200 other countries and territories around the world. Matalas said in August 2022 that the season would be ready for release later that year and he had tried to move the premiere to Christmas 2022, but Paramount+ wanted it to be released in 2023.


title: Daguerreotype

text: Daguerreotype (; ) was the first publicly available photographic process; it was widely used during the 1840s and 1850s. "Daguerreotype" also refers to an image created through this process.


title: Daguerreotype

text: Invented by Louis Daguerre and introduced worldwide in 1839, the daguerreotype was almost completely superseded by 1860 with new, less expensive processes, such as ambrotype (collodion process), that yield more readily viewable images. There has been a revival of the daguerreotype since the late 20th century by a small number of photographers interested in making artistic use of early photographic processes.


title: Daguerreotype

text: To make the image, a daguerreotypist polished a sheet of silver-plated copper to a mirror finish; treated it with fumes that made its surface light-sensitive; exposed it in a camera for as long as was judged to be necessary, which could be as little as a few seconds for brightly sunlit subjects or much longer with less intense lighting; made the resulting latent image on it visible by fuming it with mercury vapor; removed its sensitivity to light by liquid chemical treatment; rinsed and dried it; and then sealed the easily marred result behind glass in a protective enclosure.


title: Daguerreotype

text: The image is on a mirror-like silver surface and will appear either positive or negative, depending on the angle at which it is viewed, how it is lit and whether a light or dark background is being reflected in the metal. The darkest areas of the image are simply bare silver; lighter areas have a microscopically fine light-scattering texture. The surface is very delicate, and even the lightest wiping can permanently scuff it. Some tarnish around the edges is normal.


title: Daguerreotype

text: Several types of antique photographs, most often ambrotypes and tintypes, but sometimes even old prints on paper, are commonly misidentified as daguerreotypes, especially if they are in the small, ornamented cases in which daguerreotypes made in the US and the UK were usually housed. The name "daguerreotype" correctly refers only to one very specific image type and medium, the product of a process that was in wide use only from the early 1840s to the late 1850s.


title: Daguerreotype

text: Since the Renaissance era, artists and inventors had searched for a mechanical method of capturing visual scenes. Using the camera obscura, artists would manually trace what they saw, or use the optical image as a basis for solving the problems of perspective and parallax, and deciding color values. The camera obscura's optical reduction of a real scene in three-dimensional space to a flat rendition in two dimensions influenced western art, so that at one point, it was thought that images based on optical geometry (perspective) belonged to a more advanced civilization. Later, with the advent of Modernism, the absence of perspective in oriental art from China, Japan and in Persian miniatures was revalued.


title: Daguerreotype

text: In the early seventeenth century, the Italian physician and chemist Angelo Sala wrote that powdered silver nitrate was blackened by the sun, but did not find any practical application of the phenomenon.


title: Daguerreotype

text: The discovery and commercial availability of the halogens—iodine, bromine and chlorine a few years earlier (iodine was discovered by Courtois in 1811, bromine by Löwig in 1825 and Balard in 1826 independently, and chlorine by Scheele in 1774)—meant that silver photographic processes that rely on the reduction of silver iodide, silver bromide and silver chloride to metallic silver became feasible. The daguerreotype is one of these processes, but was not the first, as Niépce had experimented with paper silver chloride negatives while Wedgwood's experiments were with silver nitrate as were Schultze's stencils of letters. Hippolyte Bayard had been persuaded by François Arago to wait before making his paper process public.


title: Daguerreotype

text: Previous discoveries of photosensitive methods and substances—including silver nitrate by Albertus Magnus in the 13th century, a silver and chalk mixture by Johann Heinrich Schulze in 1724, and Joseph Niépce's bitumen-based heliography in 1822 contributed to development of the daguerreotype.


title: Daguerreotype

text: The first reliably documented attempt to capture the image formed in a camera obscura was made by Thomas Wedgwood as early as the 1790s, but according to an 1802 account of his work by Sir Humphry Davy:


title: Daguerreotype

text: The images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver. To copy these images was the first object of Mr. Wedgwood in his researches on the subject, and for this purpose he first used the nitrate of silver, which was mentioned to him by a friend, as a substance very sensible to the influence of light; but all his numerous experiments as to their primary end proved unsuccessful.


title: Daguerreotype

text: In 1829 French artist and chemist Louis Daguerre, when obtaining a camera obscura for his work on theatrical scene painting from the optician Chevalier, was put into contact with Nicéphore Niépce, who had already managed to make a record of an image from a camera obscura using the process he invented: heliography.


title: Daguerreotype

text: Daguerre met with Niépce and entered into correspondence with him. Niépce had invented an early internal combustion engine (the Pyréolophore) together with his brother Claude and made improvements to the velocipede, as well as experimenting with lithography and related processes. Their correspondence reveals that Niépce was at first reluctant to divulge any details of his work with photographic images. To guard against letting any secrets out before the invention had been improved, they used a numerical code for security. 15, for example, signified the tanning action of the sun on human skin ("action solaire sur les corps"); 34 – a camera obscura ("chambre noir"); 73 – sulphuric acid.


title: Daguerreotype

text: The written contract drawn up between Nicéphore Niépce and Daguerre includes an undertaking by Niépce to release details of the process he had invented – the asphalt process or heliography. Daguerre was sworn to secrecy under penalty of damages and undertook to design a camera and improve the process. The improved process was eventually named the physautotype.


title: Daguerreotype

text: Niépce's early experiments had derived from his interest in lithography and consisted of capturing the image in a camera (then called a camera obscura), resulting in an engraving that could be printed through various lithographic processes. The asphalt process or heliography required exposures that were so long that Arago said it was not fit for use. Nevertheless, without Niépce's experiments, it is unlikely that Daguerre would have been able to build on them to adapt and improve what turned out to be the daguerreotype process.


title: Daguerreotype

text: After Niépce's death in 1833, his son, Isidore, inherited rights in the contract and a new version was drawn up between Daguerre and Isidore. Isidore signed the document admitting that the old process had been improved to the limits that were possible and that a new process that would bear Daguerre's name alone was sixty to eighty times as rapid as the old asphalt (bitumen) one his father had invented. This was the daguerreotype process that used iodized silvered plates and was developed with mercury fumes.


title: Daguerreotype

text: To exploit the invention four hundred shares would be on offer for a thousand francs each; secrecy would be lifted after a hundred shares had been sold, or the rights of the process could be bought for twenty thousand francs.


title: Daguerreotype

text: He sees difficulty with this proceeding by subscription; it is almost certain – just as I myself have been convinced ever since looking on my first specimens – that subscription would not serve. Everyone says it is superb: but it will cost us the thousand francs before we learn it [the process] and be able to judge if it could remain secret. M. de Mandelot himself knows several persons who could subscribe but will not do so because they think it [the secret] would be revealed by itself, and now I have proof that many think in this way. I entirely agree with the idea of M. Arago, that is get the government to purchase this discovery, and that he himself would pursue this in the chambre. I have already seen several deputies who are of the same opinion and would give support; this way it seems to me to have the most chance of success; thus, my dear friend, I think it is the best option, and everything makes me think we will not regret it. For a start M. Arago will speak next Monday at the Académie des Sciences ...


title: Daguerreotype

text: Isidore did not contribute anything to the invention of the Daguerreotype and he was not let in on the details of the invention. Nevertheless, he benefited from the state pension awarded to him together with Daguerre.


title: Daguerreotype

text: Miles Berry, a patent agent acting on Daguerre's and Isidore Niépce's behalf in England, wrote a six-page memorial to the Board of the Treasury in an attempt to repeat the French arrangement in Great Britain, 'for the purpose of throwing it open in England for the benefit of the public.'


title: Daguerreotype

text: Without bills being passed by Parliament, as had been arranged in France, Arago having presented a bill in the House of Deputies and Gay-Lussac in the Chamber of Peers, there was no possibility of repeating the French arrangement in England which is why the daguerreotype was given free to the world by the French government with the exception of England and Wales for which Richard Beard controlled the patent rights.


title: Daguerreotype

text: Daguerre patented his process in England, and Richard Beard patented his improvements to the process in Scotland During this time the astronomer and member of the House of Deputies François Arago had sought a solution whereby the invention would be given free to the world by the passing of Acts in the French Parliament. Richard Beard, controlled most of the licences in England and Wales with the exception of Antoine Claudet who had purchased a licence directly from Daguerre.


title: Daguerreotype

text: In the US, Alexander S. Wolcott invented the mirror daguerreotype camera, according to John Johnson's account, in one single day after reading the description of the daguerreotype process published in English translation.


title: Daguerreotype

text: Johnson's father travelled to England with some specimen portraits to patent the camera and met with Richard Beard who bought the patent for the camera, and a year later bought the patent for the daguerreotype outright. Johnson assisted Beard in setting up a portrait studio on the roof of the Regent Street Polytechnic and managed Beard's daguerreotype studio in Derby and then Manchester for some time before returning to the US.


title: Daguerreotype

text: Wolcott's Mirror Camera, which gave postage stamp sized miniatures, was in use for about two years before it was replaced by Petzval's Portrait lens, which gave larger and sharper images.


title: Daguerreotype

text: Antoine Claudet had purchased a licence from Daguerre directly to produce daguerreotypes. His uncle, the banker Vital Roux, arranged that he should head the glass factory at Choisy-le-Roi together with Georges Bontemps and moved to England to represent the factory with a showroom in High Holborn. At one stage, Beard sued Claudet with the aim of claiming that he had a monopoly of daguerreotypy in England, but lost. Niépce's aim originally had been to find a method to reproduce prints and drawings for lithography. He had started out experimenting with light-sensitive materials and had made a contact print from a drawing and then went on to successfully make the first photomechanical record of an image in a camera obscura – the world's first photograph. Niépce's method was to coat a pewter plate with bitumen of Judea (asphalt) and the action of the light differentially hardened the bitumen. The plate was washed with a mixture of oil of lavender and turpentine leaving a relief image. Later, Daguerre's and Niépce's improvement to the heliograph process, the physautotype, reduced the exposure to eight hours.


title: Daguerreotype

text: Early experiments required hours of exposure in the camera to produce visible results. Modern photo-historians consider the stories of Daguerre discovering mercury development by accident because of a bowl of mercury left in a cupboard, or, alternatively, a broken thermometer, to be spurious.


title: Daguerreotype

text: Another story of a fortunate accident, which modern photo historians are now doubtful about, and was related by Louis Figuier, of a silver spoon lying on an iodized silver plate which left its design on the plate by light perfectly. Noticing this, Daguerre supposedly wrote to Niépce on 21 May 1831 suggesting the use of iodized silver plates as a means of obtaining light images in the camera.


title: Daguerreotype

text: Daguerre did not give a clear account of his method of discovery and allowed these legends to become current after the secrecy had been lifted.


title: Daguerreotype

text: Letters from Niépce to Daguerre dated 24 June and 8 November 1831, show that Niépce was unsuccessful in obtaining satisfactory results following Daguerre's suggestion, although he had produced a negative on an iodized silver plate in the camera. Niépce's letters to Daguerre dated 29 January and 3 March 1832 show that the use of iodized silver plates was due to Daguerre and not Niépce.


title: Daguerreotype

text: Jean-Baptiste Dumas, who was president of the National Society for the Encouragement of Science (Société d'encouragement pour l'industrie nationale) and a chemist, put his laboratory at Daguerre's disposal. According to Austrian chemist Josef Maria Eder, Daguerre was not versed in chemistry and it was Dumas who suggested Daguerre use sodium hyposulfite, discovered by Herschel in 1819, as a fixer to dissolve the unexposed silver salts.


title: Daguerreotype

text: A paragraph tacked onto the end of a review of one of Daguerre's Diorama spectacles in the "Journal des artistes" on 27 September 1835, a Diorama painting of a landslide that occurred in "La Vallée de Goldau", made passing mention of rumour that was going around the Paris studios of Daguerre's attempts to make a visual record on metal plates of the fleeting image produced by the camera obscura:


title: Daguerreotype

text: It is said that Daguerre has found the means to collect, on a plate prepared by him, the image produced by the camera obscura, in such a way that a portrait, a landscape, or any view, projected upon this plate by the ordinary camera obscura, leaves an imprint in light and shade there, and thus presents the most perfect of all drawings ... a preparation put over this image preserves it for an indefinite time ... the physical sciences have perhaps never presented a marvel comparable to this one.


title: Daguerreotype

text: A further clue to fixing the date of invention of the process is that when the Paris correspondent of the London periodical "The Athenaeum" reported the public announcement of the daguerreotype in 1839, he mentioned that the daguerreotypes now being produced were of considerably better quality than the ones he had seen "four years earlier".


title: Daguerreotype

text: At a joint meeting of the French Academy of Sciences and the Académie des Beaux-Arts held at the "Institut de Françe" on Monday, 19 August 1839François Arago briefly referred to the earlier process that Niépce had developed and Daguerre had helped to improve without mentioning them by name (the heliograph and the physautotype) in rather disparaging terms stressing their inconvenience and disadvantages such as that exposures were so long as eight hours that required a full day's exposure during which time the sun had moved across the sky removing all trace of halftones or modelling in round objects, and the photographic layer was apt to peel off in patches, while praising the daguerreotype in glowing terms. Overlooking Nicéphore Niépce's contribution in this way led Niépce's son, Isidore to resent his father being ignored as having been the first to capture the image produced in a camera by chemical means, and Isidore wrote a pamphlet in defence of his father's reputation "Histoire de la decouverte improprement nommé daguerréotype"(History of the discovery improperly named the daguerreotype)


title: Daguerreotype

text: Daguerre was present but complained of a sore throat. Later that year William Fox Talbot announced his silver chloride "sensitive paper" process.


title: Daguerreotype

text: Together, these announcements caused early commentators to choose 1839 as the year photography was born, or made public. Later, it became known that Niépce's role had been downplayed in Arago's efforts to publicize the daguerreotype, and the first photograph is recorded in Eder's "History of Photography" as having been taken in 1826 or 1827. Niépce's reputation as the real inventor of photography became known through his son Isidore's indignation that his father's early experiments had been overlooked or ignored although Nicéphore had revealed his process, which, at the time, was secret.


title: Daguerreotype

text: The phrase "the birth of photography" has been used by different authors to mean different things – either the publicizing of the process (in 1839) as a metaphor to indicate that previous to that the daguerreotype process had been kept secret; or, the date the first photograph was taken by or with a camera (using the asphalt process or heliography), thought to have been 1822, but Eder's research indicates that the date was more probably 1826 or later. Fox Talbot's first photographs, on the other hand, were made "in the brilliant summer of 1835."


title: Daguerreotype

text: Daguerre and Niépce had together signed a good agreement in which remuneration for the invention would be paid for by subscription. However, the campaign they launched to finance the invention failed. François Arago, whose views on the system of patenting inventions can be gathered from speeches he made later in the House of Deputies (he apparently thought the English patent system had advantages over the French one) did not think the idea of raising money by subscription to be a good one, and supported Daguerre by arranging for motions to be passed in both Houses of the French parliament.


title: Daguerreotype

text: Daguerre did not patent and profit from his invention in the usual way. Instead, it was arranged that the French government would acquire the rights in exchange for lifetime pensions to Daguerre and to Niépce's son and heir, Isidore. The government would then present the daguerreotype process "free to the world" as a gift, which it did on 19 August 1839. However, five days previous to this, Miles Berry, a patent agent acting on Daguerre's behalf filed for patent No. 8194 of 1839: "A New or Improved Method of Obtaining the Spontaneous Reproduction of all the Images Received in the Focus of the Camera Obscura". The patent applied to "England, Wales, and the town of Berwick-upon-Tweed, and in all her Majesty's Colonies and Plantations abroad". This was the usual wording of English patent specifications before 1852. It was only after the 1852 Act, which unified the patent systems of England, Ireland and Scotland, that a single patent protection was automatically extended to the whole of the British Isles, including the Channel Isles and the Isle of Man. Richard Beard bought the patent rights from Miles Berry, and also obtained a Scottish patent, which he apparently did not enforce. The United Kingdom and the "Colonies and Plantations abroad" therefore became the only places where a license was legally required to make and sell daguerreotypes.


title: Daguerreotype

text: Much of Daguerre's early work was destroyed when his home and studio caught fire on 8 March 1839, while the painter Samuel Morse was visiting from the US. Malcolm Daniel points out that "fewer than twenty-five securely attributed photographs by Daguerre survive—a mere handful of still lifes, Parisian views, and portraits from the dawn of photography."


title: Daguerreotype

text: The "camera obscura" (Latin for "dark chamber") in its simplest form is a naturally occurring phenomenon.


title: Daguerreotype

text: A broad-leaved tree in bright sunshine will provide conditions that fulfill the requirements of a pinhole camera or a camera obscura: a bright light source (the sun), the shade that the leafy canopy provides, a flat surface onto which the image is projected and holes formed by the gaps between the leaves. The sun's image will show as a round disc, and, in a partial eclipse, as a crescent.


title: Daguerreotype

text: A clear description of a camera obscura is given by Leonardo da Vinci in Codex Atlanticus (1502): (he called it "oculus artificialis" which means "the artificial eye")


title: Daguerreotype

text: If the facade of a building, or a place, or a landscape is illuminated by the sun and a small hole is drilled in the wall of a room in a building facing this, which is not directly lighted by the sun, then all objects illuminated by the sun will send their images through this aperture and will appear, upside down, on the wall facing the hole.


title: Daguerreotype

text: You will catch these pictures on a piece of white paper, which placed vertically in the room not far from that opening, and you will see all the above-mentioned objects on this paper in their natural shapes or colors, but they will appear smaller and upside down, on account of crossing of the rays at that aperture. If these pictures originate from a place which is illuminated by the sun, they will appear colored on the paper exactly as they are. The paper should be very thin and must be viewed from the back.


title: Daguerreotype

text: In the 16th century, Daniele Barbaro suggested replacing the small hole with a larger hole and an old man's spectacle lens (a biconvex lens for correcting long-sightedness), which produced a much brighter and sharper image.


title: Daguerreotype

text: By the late 18th century, small, easily portable box-form units equipped with a simple lens, an internal mirror, and a ground glass screen had become popular among affluent amateurs for making sketches of landscapes and architecture. The camera was pointed at the scene and steadied, a sheet of thin paper was placed on top of the ground glass, then a pencil or pen could be used to trace over the image projected from within. The beautiful but fugitive little light-paintings on the screen inspired several people to seek some way of capturing them more completely and effectively—and automatically—by means of chemistry.


title: Daguerreotype

text: Daguerre, a skilled professional artist, was familiar with the "camera obscura" as an aid for establishing correct proportion and perspective, sometimes very useful when planning out the celebrated theatrical scene backdrops he painted and the even larger ultra-realistic panoramas he exhibited in his popular Diorama.


title: Daguerreotype

text: The daguerreotype image is formed on a highly polished silver surface. Usually the silver is a thin layer on a copper substrate, but other metals such as brass can be used for the substrate and daguerreotypes can also be made on solid silver sheets. A surface of very pure silver is preferable, but sterling (92.5% pure) or US coin (90% pure) or even lower grades of silver are functional. In 19th century practice, the usual stock material, Sheffield plate, was produced by a process sometimes called plating by fusion. A sheet of sterling silver was heat-fused onto the top of a thick copper ingot. When the ingot was repeatedly rolled under pressure to produce thin sheets, the relative thicknesses of the two layers of metal remained constant. The alternative was to electroplate a layer of pure silver onto a bare copper sheet. The two technologies were sometimes combined, the Sheffield plate being given a finishing coat of pure silver by electroplating.


title: Daguerreotype

text: In order that the corners of the plate would not tear the buffing material when the plate was polished, the edges of the plate were bent back using patented devices that could also serve as plate holders to avoid touching the surface of the plate during processing.


title: Daguerreotype

text: To optimize the image quality of the end product, the silver side of the plate had to be polished to as nearly perfect a mirror finish as possible. The silver had to be completely free of tarnish or other contamination when it was sensitized, so the daguerreotypist had to perform at least the final portion of the polishing and cleaning operation not too long before use. In the 19th century, the polishing was done with a buff covered with hide or velvet, first using rotten stone, then jeweler's rouge, then lampblack. Originally, the work was entirely manual, but buffing machinery was soon devised to assist. Finally, the surface was swabbed with nitric acid to burn off any residual organic matter.


title: Daguerreotype

text: In darkness or by the light of a safelight, the silver surface was exposed to halogen fumes. Originally, only iodine fumes (from iodine crystals at room temperature) were used, producing a surface coating of silver iodide, but it was soon found that a subsequent exposure to bromine fumes greatly increased the sensitivity of the silver halide coating. Exposure to chlorine fumes, or a combination of bromine and chlorine fumes, could also be used. A final re-fuming with iodine was typical.


title: Daguerreotype

text: The plate was then carried to the camera in a light-tight plate holder. Withdrawing a protective dark slide or opening a pair of doors in the holder exposed the sensitized surface within the dark camera and removing a cap from the camera lens began the exposure, creating an invisible latent image on the plate. Depending on the sensitization chemistry used, the brightness of the lighting, and the light-concentrating power of the lens, the required exposure time ranged from a few seconds to many minutes. After the exposure was judged to be complete, the lens was capped and the holder was again made light-tight and removed from the camera.


title: Daguerreotype

text: The latent image was developed to visibility by several minutes of exposure to the fumes given off by heated mercury in a purpose-made developing box. The toxicity of mercury was well known in the 19th century, but precautionary measures were rarely taken. Today, however, the hazards of contact with mercury and other chemicals traditionally used in the daguerreotype process are taken more seriously, as is the risk of release of those chemicals into the environment.


title: Daguerreotype

text: In the Becquerel variation of the process, published in 1840 but very rarely used in the 19th century, the plate, sensitized by fuming with iodine alone, was developed by overall exposure to sunlight passing through yellow, amber or red glass. The silver iodide in its unexposed condition was insensitive to the red end of the visible spectrum of light and was unaffected, but the latent image created in the camera by the blue, violet and ultraviolet rays color-sensitized each point on the plate proportionally, so that this color-filtered "sunbath" intensified it to full visibility, as if the plate had been exposed in the camera for hours or days to produce a visible image without development. Becquerel daguerreotypes, when fully developed and fixed, typically take on a somewhat bluish hue. The image quality may not be as magnificently sharp as a daguerreotype developed using mercury vapor, although modern photographers pursuing daguerreotypy tend to favor the Becquerel process due to the hazards and expense of working with mercury.


title: Daguerreotype

text: After development, the light sensitivity of the plate was arrested by removing the unexposed silver halide with a mild solution of sodium thiosulfate; Daguerre's initial method was to use a hot saturated solution of common salt.


title: Daguerreotype

text: Gilding, also called gold toning, was an addition to Daguerre's process introduced by Hippolyte Fizeau in 1840. It soon became part of the standard procedure. To give the steely gray image a slightly warmer tone and physically reinforce the powder-like silver particles of which it was composed, a gold chloride solution was pooled onto the surface and the plate was briefly heated over a flame, then drained, rinsed and dried. Without this treatment, the image was as delicate as the "dust" on a butterfly's wing.


title: Daguerreotype

text: Even when strengthened by gilding, the image surface was still very easily marred and air would tarnish the silver, so the finished plate was bound up with a protective cover glass and sealed with strips of paper soaked in gum arabic. In the US and UK, a gilt brass mat called a preserver in the US and a pinchbeck in Britain, was normally used to separate the image surface from the glass. In continental Europe, a thin cardboard mat or "passepartout" usually served that purpose.


title: Daguerreotype

text: In the US and Britain, the tradition of preserving miniature paintings in a wooden case covered with leather or paper stamped with a relief pattern continued through to the daguerreotype. Some daguerreotypists were portrait artists who also offered miniature portraits. Black-lacquered cases ornamented with inset mother of pearl were sometimes used. The more substantial Union case was made from a mixture of colored sawdust and shellac (the main component of wood varnish) formed in a heated mold to produce a decorative sculptural relief. The word "Union" referred to the sawdust and varnish mixture—the manufacture of Union cases began in 1856. In all types of cases, the inside of the cover was lined with velvet or plush or satin to provide a dark surface to reflect into the plate for viewing and to protect the cover glass. Some cases, however, held two daguerreotypes opposite each other. The cased images could be set out on a table or displayed on a mantelpiece. Most cases were small and lightweight enough to easily carry in a pocket, although that was not normally done. The other approach, common in France and the rest of continental Europe, was to hang the daguerreotype on the wall in a frame, either simple or elaborate.


title: Daguerreotype

text: Conservators were able to determine that a daguerreotype of Walt Whitman was made in New Orleans with the main clue being the type of frame, which was made for wall hanging in the French and continental style. Supporting evidence of the New Orleans origin was a scrap of paper from "Le Mesager", a New Orleans bilingual newspaper of the time, which had been used to glue the plate into the frame. Other clues used by historians to identify daguerreotypes are hallmarks in the silver plate and the distinctive patterns left by different photographers when polishing the plate with a leather buff, which leaves extremely fine parallel lines discernible on the surface.


title: Daguerreotype

text: As the daguerreotype itself is on a relatively thin sheet of soft metal, it was easily sheared down to sizes and shapes suited for mounting into lockets, as was done with miniature paintings. Other imaginative uses of daguerreotype portraits were to mount them in watch fobs and watch cases, jewel caskets and other ornate silver or gold boxes, the handles of walking sticks, and in brooches, bracelets and other jewelry now referred to by collectors as "daguerreian jewelry". The cover glass or crystal was sealed either directly to the edges of the daguerreotype or to the opening of its receptacle and a protective hinged cover was usually provided.


title: Daguerreotype

text: Daguerreotypes are normally laterally reversed—mirror images—because they are necessarily viewed from the side that originally faced the camera lens. Although a daguerreotypist could attach a mirror or reflective prism in front of the lens to obtain a right-reading result, in practice this was rarely done.


title: Daguerreotype

text: The use of either type of attachment caused some light loss, somewhat increasing the required exposure time, and unless they were of very high optical quality they could degrade the quality of the image. Right-reading text or right-handed buttons on men's clothing in a daguerreotype may be the only evidence that the specimen is a copy of a typical wrong-reading original.


title: Daguerreotype

text: The experience of viewing a daguerreotype is unlike that of viewing any other type of photograph. The image does not sit on the surface of the plate. After flipping from positive to negative as the viewing angle is adjusted, viewers experience an apparition in space, a mirage that arises once the eyes are properly focused. When reproduced via other processes, this effect associated with viewing an original daguerreotype will no longer be apparent. Other processes that have a similar viewing experience are holograms on credit cards or Lippmann plates.


title: Daguerreotype

text: Although daguerreotypes are unique images, they could be copied by re-daguerreotyping the original. Copies were also produced by lithography or engraving. Today, they can be digitally scanned.


title: Daguerreotype

text: A well-exposed and sharp large-format daguerreotype is able to faithfully record fine detail at a resolution that today's digital cameras are not able to match.


title: Daguerreotype

text: In the early 1840s, two innovations were introduced that dramatically shortened the required exposure times: a lens that produced a much brighter image in the camera, and a modification of the chemistry used to sensitize the plate.


title: Daguerreotype

text: The very first daguerreotype cameras could not be used for portraiture, as the exposure time required would have been too long. The cameras were fitted with Chevalier lenses which were "slow" (about f/14). They projected a sharp and undistorted but dim image onto the plate. Such a lens was necessary in order to produce the highly detailed results which had elicited so much astonishment and praise when daguerreotypes were first exhibited, results which the purchasers of daguerreotype equipment expected to achieve. Using this lens and the original sensitizing method, an exposure of several minutes was required to photograph even a very brightly sunlit scene. A much "faster" lens could have been provided—simply omitting the integral fixed diaphragm from the Chevalier lens would have increased its working aperture to about f/4.7 and reduced the exposure time by nearly 90 percent—but because of the existing state of lens design the much shorter exposure would have been at the cost of a peripherally distorted and very much less clear image. With uncommon exceptions, daguerreotypes made before 1841 were of static subjects such as landscapes, buildings, monuments, statuary, and still life arrangements. Attempts at portrait photography with the Chevalier lens required the sitter to face into the sun for several minutes while trying to remain motionless and look pleasant, usually producing repulsive and unflattering results. The Woolcott mirror lens that produced tiny, postage stamp size daguerreotypes made portraiture with the daguerreotype process possible and these were the first photographic portraits to be produced. In 1841, the Petzval Portrait Lens was introduced. Professor Andreas von Ettingshausen brought the need for a faster lens for daguerreotype cameras to his colleague, Professor Petzval's attention, who went ahead in cooperation with the Voigtländer firm to design a lens that would reduce the time needed to expose daguerreotype plates for portraiture. Petzval was not aware of the scale of his invention at the start of his work on the lens, and later regretted not having secured his rights by obtaining letters patent on his invention. It was the first lens to be designed using mathematical computation, and a team of mathematicians whose specialty was in fact calculating the trajectories of ballistics was put at Petzval's disposal by the Archduke Ludwig. It was scientifically designed and optimized for its purpose. With a working aperture of about f/3.6, an exposure only about one-fifteenth as long as that required when using a Chevalier lens was sufficient. Although it produced an acceptably sharp image in the central area of the plate, where the sitter's face was likely to be, the image quality dropped off toward the edges, so for this and other reasons it was unsuitable for landscape photography and not a general replacement for Chevalier-type lenses. Petzval intended his lens to be convertible with two alternative rear components: one for portraiture and the other for landscape and architecture.


title: Daguerreotype

text: The other major innovation was a chemical one. In Daguerre's original process, the plate was sensitized by exposure to iodine fumes alone. A breakthrough came with the discovery that when exposure to bromine or chlorine fumes was correctly combined with this, the sensitivity of the plate could be greatly increased, which in turn greatly reduced the required exposure time to between fifteen and thirty seconds in favorable lighting conditions, according to Eder. Several experimenters discovered the propensity of using chlorine and bromine in addition to iodine: Wolcott, whose "Wolcott's mixture" was marketed by his partner, John Johnson that they called "quickstuff"; two unrelated individuals with the surname Goddard – Philadelphia physician and chemist Paul Beck Goddard, and John Frederick Goddard who lectured at the Adelaide Gallery before assisting Beard with setting up the first daguerreotype portraiture studio on the roof of the Regent Street Polytechnic; (John Frederick Goddard was the first to publish information that bromine increased the sensitivity of daguerreotype plates in the "Literary Gazette" of 12 December 1840) and in Vienna: Krachowila and the Natterer brothers.


title: Daguerreotype

text: One early attempt to address the lack of a good "fast" lens for portraiture, and the subject of the first US patent for photographic apparatus, was Alexander S. Wolcott's camera, which used a concave mirror instead of a lens and operated on the principle of the reflecting telescope. The mirror was fitted at one end of the camera and focusing was done by adjusting the position of the plate in a holder that slid along a rail. Designed solely for portraiture, this arrangement produced a far brighter image than a Chevalier lens, or even the later Petzval lens, but image quality was only marginal and the design was only practical for use with small plates.


title: Daguerreotype

text: Friedrich Voigtländer's small, all-metal Daguerrotype camera (1841) was small enough to be carried. It was fitted with a f/3.5 Petzval portrait lens at the front and a focusing lens at the back, and took round plates. Only 600 of these cameras were produced.


title: Daguerreotype

text: Directions for the use of the new daguerreotype apparatus for the making of portraits, executed according to the calculations of Professor Petzval by Voigtländer and Son, Vienna, printed by J.P.Sollinger, August 1, 1841.


title: Daguerreotype

text: The person to be photographed must be seated in the open air. For an exposure by overcast, dark skies in winter 3 ½ minutes is sufficient; on a sunny day in the shade 1½ to 2 minutes are enough, and in direct sunlight it requires no more than 40–45 seconds. The last, however, is seldom employed on account of the deep shadows direct sunlight creates.


title: Daguerreotype

text: The stated exposure times are evidently for plates sensitized with iodine only; improved sensitization methods were just being introduced in 1841–42.


title: Daguerreotype

text: In 1845 Friedrich von Martens invented the first panoramic camera for curved daguerreotype plates with a lens that turned to cover an angle of 150 degrees. It was called "Megaskop-Kamera" of "Panorama-Kamera".


title: Daguerreotype

text: Netto constructed, in 1841, a studio in which the front part of the camera with the lens was built into the wall between the studio and the adjoining darkroom, the rear part of the camera being inside the darkroom.


title: Daguerreotype

text: In one early attempt at portraiture, a Swedish amateur daguerreotypist caused his sitter nearly to lose an eye because of practically staring into the sun during the five-minute exposure.


title: Daguerreotype

text: Even with fast lenses and much more sensitive plates, under portrait studio lighting conditions an exposure of several seconds was necessary on the brightest of days, and on hazy or cloudy days the sitter had to remain still for considerably longer. The head rest was already in use for portrait painting.


title: Daguerreotype

text: Establishments producing daguerreotype portraits generally had a daylight studio built on the roof, much like a greenhouse. Whereas later in the history of photography artificial electric lighting was done in a dark room, building up the light with hard spotlights and softer floodlights, the daylight studio was equipped with screens and blinds to control the light, to reduce it and make it unidirectional, or diffuse it to soften harsh direct lighting. Blue filtration was sometimes used to make it easier for the sitter to tolerate the strong light, as a daguerreotype plate was almost exclusively sensitive to light at the blue end of the spectrum and filtering out everything else did not significantly increase the exposure time.


title: Daguerreotype

text: Usually, it was arranged so that sitters leaned their elbows on a support such as a posing table, the height of which could be adjusted, or else head rests were used that did not show in the picture, and this led to most daguerreotype portraits having stiff, lifeless poses. Some exceptions exist, with lively expressions full of character, as photographers saw the potential of the new medium, and would have used the tableau vivant technique. These are represented in museum collections and are the most sought after by private collectors today. In the case of young children, their mothers were sometimes hidden in the frame, to calm them and keep them still so as to prevent blurring.


title: Daguerreotype

text: The image in a daguerreotype is often described as being formed by the amalgam, or alloy, of mercury and silver because mercury vapor from a pool of heated mercury is used to develop the plate; but using the Becquerel process (using a red filter and extra exposure) daguerreotypes can be produced without mercury, and chemical analysis shows that there is no mercury in the final image with the Becquerel process. This brings into question the theory that the image is formed of amalgam with mercury development.


title: Daguerreotype

text: Although the daguerreotype process could only produce a single image at a time, copies could be created by re-daguerreotyping the original. As with any original photograph that is copied, the contrast increases. With a daguerreotype, any writing will appear back to front. Recopying a daguerreotype will make the writing appear normal and rings worn on the fingers will appear on the correct hand. Another device to make a daguerreotype the right way round would be to use a mirror when taking the photograph.


title: Daguerreotype

text: The daguerreotypes of the 1852 Omaha Indian (Native American) delegation in the Smithsonian include a daguerreotype copied in the camera, recognizable by the contrast being high and a black line down the side of the plate.


title: Daguerreotype

text: André-Adolphe-Eugène Disdéri and Jules Itier of France, and Johann Baptist Isenring of Switzerland, became prominent daguerreotypists. In Britain, however, Richard Beard bought the British daguerreotype patent from Miles Berry in 1841 and closely controlled his investment, selling licenses throughout the country and prosecuting infringers. Among others, Antoine Claudet and Thomas Richard Williams produced daguerreotypes in the UK.


title: Daguerreotype

text: Daguerreotype photography spread rapidly across the United States after the discovery first appeared in US newspapers in February 1839.


title: Daguerreotype

text: It is possible that Morse may have been the first American to view a daguerreotype first-hand. Morse's experience with art and technology in the early 1800s attracted him to the daguerreotype; in the summers of 1820 and 1821 he conducted proto-photographic experiments with Benjamin Silliman. In his piece The Gallery of the Louvre Morse used a Camera obscura to precisely capture the gallery which he then used to create the final painting.


title: Daguerreotype

text: Morse met the inventor of the daguerreotype, Louis-Jacques-Mande Daguerre, in Paris in January 1839 when Daguerre's invention was announced [2]. While the daguerreotype fascinated Morse, he was concerned about how the new invention would compete with his telegraph. However, Morse's viewing of the daguerreotype alleviated his fears when he saw how revolutionary its technology was. Morse wrote a letter to his brother Sidney describing Daguerre's invention, which Sidney then published in the New-York Observer on April 20, 1839. While this was not the first report of the daguerreotype to appear in America, it was the first in-person report to appear in the United States.


title: Daguerreotype

text: Morse's account of the brand-new invention interested the American public, and through further publishings the technique of the daguerreotype was integrated into the United States. Magazines and newspapers included essays applauding the daguerreotype for advancing democratic American values because it could create an image without painting, which was less efficient and more expensive. The introduction of the daguerreotype to America also promoted progress of ideals and technology. For example, an article published in the Boston Daily Advertiser on February 23, 1839 described the daguerreotype as having similar properties of the camera obscura, but introduced its remarkable capability of "fixing the image permanently on the paper, or making a permanent drawing, by the agency of light alone," which combined old and new concepts for readers to understand.


title: Daguerreotype

text: By 1853, an estimated three million daguerreotypes per year were being produced in the United States alone. One of these original Morse Daguerreotype cameras is currently on display at the National Museum of American History, a branch of the Smithsonian Institution, in Washington, D.C. A flourishing market in portraiture sprang up, predominantly the work of itinerant practitioners who traveled from town to town. For the first time in history, people could obtain an exact likeness of themselves or their loved ones for a modest cost, making portrait photographs extremely popular with those of modest means. Celebrities and everyday people sought portraits and workers would save an entire day's income to have a daguerreotype taken of them, including occupational portraits.


title: Daguerreotype

text: Notable U.S. daguerreotypists of the mid-19th century included James Presley Ball, Samuel Bemis, Abraham Bogardus, Mathew Brady, Thomas Martin Easterly, François Fleischbein, Jeremiah Gurney, John Plumbe, Jr., Albert Southworth, Augustus Washington, Ezra Greenleaf Weld, John Adams Whipple, and Frederick Douglass.