Anno Domini 1839
August 1839 in Paris, the umbilicus mundi. Napoleon and his Grandeur—the underlying substrate of transalpine cousins descending from Caesar’s Gauls, though their tribal formats trace back to the dark forests of Germanic cavemen—have long been buried with a dose of poison. The air is electric in the not-yet Ville Lumière. A static buzz of whispers passes mouth to mouth among the common folk. Meanwhile, the powdered wigs—laden with lice, because washing is deemed a sign of popular decay, far removed from the public latrines, free fountains, and Roman thermae of every social stratum—see Deputies, "scientists" of every mandatory capitalized Order, and a horde of court hangers-on paid off by the "daubers" gather. Those Messieurs of the Academy of Fine Arts, no less.
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In a teeming Paris, the invention of Monsieur Jacques Mandé Daguerre is handed to the world Urbi et Orbi. His mentor is François Arago (accent on the final o), the Grand Master of the Grand Orient of France and a "radical" Deputy. A staged performance to give you chills, thrown together haphazardly. True, the political machinery began rolling in Parliament back in January of that same year, but the heavy marketing deployment hits around mid-August, right when the Masonic Sun sits at its true or false zenith.
Hugs, kisses, pats on the back, and Arago is completely unstoppable. A picturesque scene, precisely how the sacred texts of the "magnificent and progressive destinies" of Capital swallowed it whole.
Across the white cliffs of Dover (England) stands a pompous, short-tempered landowner, immortalized by history as a filthy lord barely holding back his rage: Lord Fox Talbot. A clever fox, yet he has every right to be furious: by Jove, these French people are inspicable! I am the pure truth, I am the inventor of Photography! Negative to positive, the famous window fixed on wax-treated paper, placed in contact with another, et voilà. "Stop the game," says Talbot.
Yet there is a third party, far away between the Pampas and the Amazon: another Frenchman forgotten by mainstream history and Masonic lodges alike.
The accepted story no longer holds up, which is why the trumpets are sounding—not yet of the Apocalypse, but perhaps pointing to the real inventor.
The image (tiny image) where Niépce and Daguerre formalize their business partnership, a square and compass sit right on the edge. Intelligenti pauca.of the "generous" Daguerre and his partnership with Nicéphore Niépce—whom hagiography credits with recording the rooflines of Le Gras after an eight-hour exposure—presents a specific narrative. Yet earlier still life shots of plaster casts suggest a history shaped by well-fed, directed historians. The birth of photography has many fathers not fully brought to light, while Freemasonry has pulled strings since Babel, institutionalized in London 1717 at the Goose Tree Tavern.
The Forgotten Pioneer of São Carlos to Brazil
While Paris celebrated and Talbot protested to the Royal Society, Hercules Florence—a Frenchman living in Vila de São Carlos (now Campinas, Brazil)—was working in total isolation as early as 1832–1833.
The Terminology: Florence used the word Photographie in his manuscript diaries in 1833, six years before John Herschel and Daguerre popularized the term in Europe.
The Method: Lacking European materials, Florence developed a contact printing process using silver nitrate-sensitized paper, fixed first with urine (for ammonia) and later ammonium hydroxide. He used a negative/positive system to reproduce pharmaceutical labels, diplomas, and his Zoophonie illustrations documenting animal calls.
The Rediscovery: His work remained buried in his notebooks until Brazilian photographer and historian Boris Kossoy uncovered and authenticated his precedence and scientific autonomy through laboratory analysis in the 1970s.
The Map of Fathers and Shadows
Official history imposed a narrative of simultaneous discovery between France and England. Looking past 19th-century institutional marketing reveals a broader set of key figures:
Nicéphore Niépce (left, sitdow in drawn image with Daguerre, up): Produced the 1826/27 heliograph on pewter coated with Bitumen of Judea, establishing the technical foundation Daguerre later commercialized.
Louis-Jacques-Mandé Daguerre (left image cover) was the inventor of daguerrotype more different to Photography
Hercule Florence (center image cover) Independently produced stable photographic images on paper years before the Paris announcement.
William Henry Fox Talbot (right image cover) Invented the negative/positive paper process that formed the methodological foundation for analog photography.
Hippolyte Bayard: Developed a direct positive paper process prior to August 1839. Persuaded by Arago to delay his announcement to clear the way for the Daguerreotype, Bayard staged his Self-Portrait as a Drowned Man in protest—one of the earliest conceptual photographic works.
The end of Tragedy named Photography (at this days noticied as Fotto-grafia, or exactly Fuck-graphy" right up the ass, through the Kapital's marketing propaganda)? I don't no. And Hippolyte Bayard..?
Ps. On table (image) below hand of Daguerre a "square & compass" like sign of Freemassonery
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