Article #168-2 | Gutenberg Articles

Excerpt

Excerpt from The History and Practice of the Art of Photography, by Henry Hunt Snelling

Such a treatise has long been needed, and the manner in which you have
handled the subject will make the book as interesting to the reading
public as it is valuable to the Daguerrean artist, or the amateur
dabbler in Photography. I have read nearly all of the many works upon
this art that have emanated from the London and Paris presses, and I
think the reader will find in yours the pith of them all, with much
practical and useful information that I do not remember to have seen
communicated elsewhere.

There is much in it to arouse the reflective and inventive faculties of
our Daguerreotypists. They have heretofore stumbled along with very
little knowledge of the true theory of their art, and yet the quality
of their productions is far in advance of those of the French and
English artists, most of whose establishments I have had the pleasure
of visiting I feel therefore, that when a sufficient amount of
theoretic knowledge shall have been added to this practical skill on
the part of our operators, and when they shall have been made fully
acquainted with what has been attained or attempted by others, a still
greater advance in the art will be manifested.

A GOOD Daguerreotypist is by no means a mere machine following a
certain set of fixed rules. Success in this art requires personal
skill and artistic taste to a much greater degree than the unthinking
public generally imagine; in fact more than is imagined by nine-tenths
of the Daguerreotypists themselves. And we see as a natural result,
that while the business numbers its thousands of votaries, but few rise
to any degree of eminence. It is because they look upon their business
as a mere mechanical operation, and having no aim or pride beyond the
earning of their daily bread, they calculate what will be a fair per
centage on the cost of their plate, case, and chemicals, leaving MIND,
which is as much CAPITAL as anything else (where it is exercised,)
entirely out of the question.

Explanation

**Detailed Explanation of the Excerpt from The History and Practice of the Art of Photography by Henry Hunt Snelling (1849)**

This passage is taken from the preface (likely written by an unnamed admirer or colleague) of The History and Practice of the Art of Photography, one of the earliest American manuals on daguerreotypy—the first commercially successful photographic process, invented by Louis Daguerre in 1839. Snelling’s book (published in 1849) was a significant contribution to the field, as it compiled practical techniques, theoretical insights, and artistic advice for both professional Daguerreotypists and amateurs.

The excerpt praises the book while critiquing the state of early photography, emphasizing the artistic and intellectual demands of the medium—contrasting it with the mechanical, profit-driven approach of many practitioners. Below is a breakdown of its key elements:

1. Context & Purpose of the Text

Historical Background:
- The daguerreotype (1839–1860s) was the dominant form of photography before the advent of paper prints.
- Early photographers (called Daguerreotypists) were often tinkers, scientists, and artists who experimented with chemicals, light, and composition.
- By the late 1840s, daguerreotypy had become a booming commercial industry, but many practitioners treated it as a trade rather than an art.
Snelling’s Role:
- Henry Hunt Snelling (1817–1897) was an American photographer, writer, and inventor who sought to elevate the craft by documenting best practices.
- His book was one of the first to bridge theory and practice, addressing both the scientific principles (chemistry, optics) and the artistic sensibilities required for high-quality work.
Audience:
- The preface speaks to three groups:
  1. The "reading public" (general audience curious about this new technology).
  2. Professional Daguerreotypists (seeking to improve their craft).
  3. Amateurs ("dabblers") who experimented with photography as a hobby.

2. Key Themes in the Excerpt

A. The Need for a Comprehensive Guide

The opening lines argue that Snelling’s book fills a long-standing gap in photographic literature.
Unlike previous works (mostly from London and Paris), Snelling’s text distills the best knowledge while adding new, practical insights.
- "the pith of them all, with much practical and useful information that I do not remember to have seen communicated elsewhere."
- This suggests that earlier manuals were either too theoretical (French/English academic treatises) or too vague (trade secrets hoarded by professionals).

B. The Tension Between Theory and Practice

The writer observes that American Daguerreotypists have outperformed their European counterparts in quality of production, despite having less theoretical knowledge.
- "They have heretofore stumbled along with very little knowledge of the true theory of their art, and yet the quality of their productions is far in advance of those of the French and English artists."
- This implies that American photographers relied on intuition, experimentation, and craftsmanship rather than formal training.
- However, the writer believes that combining theory with practice will lead to even greater advancements.

C. Photography as an Art, Not Just a Trade

The most critical argument in the passage is that true mastery of daguerreotypy requires more than mechanical skill—it demands artistic vision and intellectual engagement.
- "A GOOD Daguerreotypist is by no means a mere machine following a certain set of fixed rules."
- The writer rejects the idea that photography is just a technical process (like operating a machine) and instead frames it as a creative and cognitive endeavor.
Critique of Commercialization:
- Many Daguerreotypists treat their work as a means to an end (earning money) rather than an art form.
- "having no aim or pride beyond the earning of their daily bread, they calculate what will be a fair percentage on the cost of their plate, case, and chemicals, leaving MIND... entirely out of the question."
- The writer laments the commodification of photography, where practitioners undervalue intellectual and artistic investment.

D. The Role of "Mind" as Capital

The passage introduces a radical idea for the time: that intellectual and creative effort ("MIND") is a form of capital just as important as physical materials (plates, chemicals).
- "MIND, which is as much CAPITAL as anything else (where it is exercised)."
- This reflects Romantic and Transcendentalist ideals (popular in 19th-century America) that elevated individual genius and creativity over mere labor.

3. Literary & Rhetorical Devices

Device	Example from Text	Effect/Purpose
Contrast/Juxtaposition	"stumbled along with very little knowledge... yet the quality of their productions is far in advance"	Highlights the paradox of American success despite lack of theory.
Metaphor	"mere machine following a certain set of fixed rules"	Critiques photographers who work mechanically without creativity.
Hyperbole	"nine-tenths of the Daguerreotypists themselves"	Emphasizes how widespread the misconception is.
Personification	"reflective and inventive faculties"	Gives human-like agency to intellectual qualities.
Economic Metaphor	"MIND... is as much CAPITAL as anything else"	Frames creativity as an investment, not just a skill.
Appeal to Authority	"most of whose [French/English] establishments I have had the pleasure of visiting"	Establishes the writer’s credibility.

4. Significance of the Passage

A. Historical Significance

This excerpt captures a transitional moment in photography’s evolution from a scientific curiosity to a commercial and artistic medium.
It reflects the debate over photography’s status: Is it a craft, a science, or an art?
Snelling’s book (and this preface) advocates for photography as an intellectual and artistic pursuit, not just a technical trade.

B. Artistic & Philosophical Implications

The writer challenges the devaluation of creative labor—a theme that resonates with modern discussions about AI-generated art, gig economy labor, and the commodification of creativity.
The idea that "Mind is capital" foreshadows later Marxist and post-industrial economic theories about intellectual property and creative labor.

C. Influence on Later Photography

Snelling’s emphasis on theory + practice influenced later photographic education (e.g., Alfred Stieglitz’s Photo-Secession movement, which sought to establish photography as fine art).
The critique of mechanical reproduction anticipates Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction (1936), which examines how mass production affects art’s aura.

5. Close Reading of Key Lines

"They have heretofore stumbled along with very little knowledge of the true theory of their art..."
- "Stumbled along" → Implies trial-and-error learning, lacking systematic understanding.
- "True theory" → Suggests that photography has underlying scientific and artistic principles that most practitioners ignore.
"A GOOD Daguerreotypist is by no means a mere machine..."
- "Mere machine" → Dehumanizing term; critiques photographers who lack originality.
- The capitalization of "GOOD" emphasizes that true mastery is rare.
"leaving MIND... entirely out of the question."
- "MIND" in all caps → Treats intellect as a tangible, valuable resource, not an abstract concept.
- "Out of the question" → Implies that most Daguerreotypists don’t even consider the role of thought in their work.

6. Conclusion: Why This Matters

This excerpt is more than just a preface to a technical manual—it is a manifest for photography as an art form. The writer:

Celebrates American ingenuity (practical skill without formal theory).
Warns against complacency (urging photographers to study and innovate).
Elevates creativity as essential to mastery, not just technical skill.

In an era where photography was often dismissed as a mechanical process, this passage defends its artistic and intellectual value—a debate that continues today in discussions about AI art, digital photography, and the role of the artist in a technologically driven world.

Final Thought:

Snelling’s book (and this preface) championed photography as a fusion of science, craft, and art—a vision that would later define movements like Pictorialism and modern fine-art photography. The excerpt’s critique of mindless commercialization remains relevant in any field where creativity risks being reduced to mere technique.

Questions

Question 1

The passage’s characterization of American Daguerreotypists as having “stumbled along with very little knowledge of the true theory of their art” yet producing work “far in advance of those of the French and English artists” primarily serves to:

A. Undermine the credibility of European photographic traditions by implying their reliance on outdated theoretical frameworks.
B. Suggest that artistic intuition is inherently superior to systematic study in the development of photographic mastery.
C. Highlight the paradox of technical proficiency existing independently of intellectual engagement with the medium.
D. Establish a rhetorical foundation for advocating the synthesis of empirical practice with theoretical understanding.
E. Criticize the American photographic community for its resistance to formal education in the sciences.

Question 2

The assertion that “MIND... is as much CAPITAL as anything else” functions most effectively as:

A. A utilitarian argument that recasts intellectual labor as a quantifiable economic input to justify its valuation.
B. A rejection of the Romantic idealization of artistry in favor of a strictly materialist conception of creative production.
C. A provocative metaphor that challenges the dominant mercantile mindset by equating cognitive effort with tangible resources.
D. An appeal to the vanity of amateur photographers by flattering their intellectual contributions over those of professionals.
E. A literal accounting principle intended to standardize the pricing of photographic services based on mental labor.

Question 3

The passage’s critique of Daguerreotypists who “calculate what will be a fair percentage on the cost of their plate, case, and chemicals” is primarily concerned with:

A. The ethical implications of pricing strategies that exploit the scarcity of photographic materials.
B. The aesthetic consequences of prioritizing cost efficiency over the pursuit of technical innovation.
C. The economic inefficiency of failing to account for depreciation in equipment value over time.
D. The psychological detachment of artists who reduce their craft to a series of repetitive, algorithmic tasks.
E. The conceptual limitation of valuing only measurable inputs while neglecting the intangible dimensions of artistic creation.

Question 4

The phrase “nine-tenths of the Daguerreotypists themselves” underestimating the role of “personal skill and artistic taste” is deployed to:

A. Introduce a statistical claim that grounds the argument in empirical demographic analysis.
B. Signal the writer’s alignment with a minority of elite practitioners who reject the commodification of photography.
C. Imply that the majority of photographers are inherently incapable of achieving true artistic distinction.
D. Create a sense of urgency by framing the problem as a widespread crisis within the profession.
E. Amplify the rhetorical force of the critique by presenting it as a near-universal failure of self-awareness.

Question 5

The passage’s closing sentiment—that most Daguerreotypists “leave MIND... entirely out of the question”—is most closely aligned with which of the following philosophical positions?

A. The Kantian distinction between mechanistic skill and autonomous artistic judgment.
B. The Marxist critique of alienated labor under capitalist modes of production.
C. The Platonic dismissal of mimetic arts as inferior to pure intellectual pursuits.
D. The Aristotelian virtue ethics of balancing practical wisdom with technical competence.
E. The Nietzschean celebration of instinctual creativity over rationalistic constraint.

Solutions and Explanations

1) Correct answer: D

Why D is most correct: The passage uses the apparent contradiction of American Daguerreotypists’ success despite their theoretical ignorance to set up an argument for the necessity of combining practice with theory. The rhetorical structure moves from observing this paradox to advocating for a synthesis (“when a sufficient amount of theoretic knowledge shall have been added to this practical skill... a still greater advance in the art will be manifested”). This makes D the most defensible answer, as it captures the purposeful tension between the two states (practice without theory vs. their potential union).