There are moments in life we wish we could hold forever the sparkle in a child&rsquo;s eye, the tenderness of a parent&rsquo;s hand, the laughter of friends in the fading light of evening. For centuries, people tried to preserve these fleeting instants in paintings and sketches, but memory always slipped through the cracks of time. Then, in the 19th century, light itself became the brush, and humanity learned to capture life as it was. The story of photography is not just the story of science and invention; it is the story of longing, of wonder, and of the tears and gasps that greeted the world&rsquo;s very first photographs.
<h2 dir="ltr">The Dawn of the Photograph</h2>
The word &ldquo;photography&rdquo; comes from the Greek words phos (light) and graphein (to draw). To "draw with light", what could be more poetic?
The earliest step came in the form of the camera obscura. As early as the 11th century, scholars like Alhazen in the Arab world described how light passing through a small hole projected an inverted image onto a wall inside a darkened room. It was a marvel, but only a fleeting one. The images disappeared as soon as the light changed.
It wasn&rsquo;t until the early 19th century that this projection could finally be made permanent. Joseph Nic&eacute;phore Ni&eacute;pce, a French inventor, etched the world&rsquo;s first photograph in 1826, a grainy image of the view from his window. He called it heliograph (&ldquo;sun drawing&rdquo;), and though it took eight hours of exposure, it marked a revolution. For the first time, light itself had written history.
<h2 dir="ltr">Daguerreotypes and the World&rsquo;s Amazement</h2>
Ni&eacute;pce&rsquo;s partner, Louis Daguerre, refined the process. In 1839, he unveiled the daguerreotype, the first widely practical photographic method. Exposure time was shortened, and the clarity was breathtaking.
When Daguerre presented his invention to the public in Paris, the reaction was nothing short of astonishment. Crowds gathered to see tiny, silver-plated images that reflected reality like a mirror. The French painter Paul Delaroche reportedly exclaimed, &ldquo;From today, painting is dead.&rdquo;
Ordinary people, too, were overwhelmed. Some wept, believing they were seeing fragments of life stolen from time. Others felt uneasy, even frightened. Superstitions spread: could the soul be captured in these metallic plates? In some rural communities, people resisted being photographed for fear that the camera was stealing part of their spirit. Yet curiosity and wonder soon triumphed.
<h2 dir="ltr">Portraits for the Common Soul</h2>
Before photography, only the wealthy could afford painted portraits. But daguerreotypes and, later, other processes such as the calotype (developed by William Henry Fox Talbot in England) made portraits more accessible. Families flocked to studios, dressed in their finest clothes, and sat motionless for long exposures.
There was a profound sentimentality in these images. For the first time, ordinary mothers, fathers, and children, not just kings and aristocrats, could leave behind a likeness for future generations. People began tucking photographs into lockets, placing them on mantels, or sending them across oceans to loved ones. Soldiers carried photographs of sweethearts into battlefields. Parents held onto the likeness of children who grew up too fast or passed away too soon.
The photograph became not just technology, but memory incarnate.
As Ajit Solanki, a photojournalist from Gujarat, reflects: &ldquo;Photography is an everyday learning process. To me, I believe it is something that needs me to stay updated every day. To me, a frame is something that appeals to me and my soul. I don&rsquo;t try to copy anyone&rsquo;s photograph,s but instead something that calls me.&rdquo;
His words echo the sentiment that even from its early days, photography has never just been about imitation; it has been about the personal connection between the subject, the frame, and the soul of the one behind the lens.
<h2 dir="ltr">Public Fascination and Fears</h2>
The arrival of photography stirred powerful emotions. Newspapers in the 1840s and 1850s were filled with descriptions of crowds thronging to exhibitions of photographic images. People marvelled at landscapes from faraway lands they would never visit, feeling as though the world had shrunk. For the first time, history could be documented visually: the streets of Paris, the ruins of Athens, even the horrors of war, as Roger Fenton did in the Crimean War.
Yet, scepticism lingered. Some artists dismissed photography as mechanical trickery, devoid of soul. Others feared it would erase the art of painting. There were even spiritual anxieties in Victorian England; &ldquo;spirit photography&rdquo; became popular, with some claiming cameras could reveal the presence of ghosts beside the living. Whether viewed with awe or suspicion, photographs stirred something primal in the human heart: a recognition that time could now be stopped.
<h2 dir="ltr">The Sentiment of the First Photographs</h2>
Imagine the astonishment of a mother in 1840, seeing her child&rsquo;s likeness fixed forever on a polished silver plate. For centuries, parents had clung to fading sketches or fading memories. Now, here was her child&rsquo;s face, immortalised with every freckle, every curl of hair.
Imagine a young man, about to set sail for another continent, leaving his photograph behind for his family. His mother might hold it to her chest in tears, whispering to the image as though it were him.
Public reaction was not just technological awe; it was deeply emotional. The photograph was not merely an invention; it was a promise against forgetting.
<h2 dir="ltr">From Bulky Boxes to Pockets</h2>
Through the late 19th and early 20th centuries, cameras became smaller, cheaper, and more accessible. George Eastman&rsquo;s Kodak camera in 1888 democratized photography further: &ldquo;You press the button, we do the rest.&rdquo; Suddenly, ordinary people could capture birthdays, picnics, weddings, and simple afternoons.
Photographs became the silent witnesses of everyday life. They recorded revolutions and coronations, but also laughter around a kitchen table. With the invention of film, then colour photography, and eventually digital cameras, the act of preserving memory became second nature. Today, with smartphones, billions of photographs are taken daily, perhaps more in a single year than in the entire 19th century combined.
Sam Panthaky, another Gujarati photojournalist, reflected: &ldquo;It is always a frame that visually appeals to me and things that tell the truth. To me, a situation&rsquo;s photograph is the utter truth. But at the same time, I don&rsquo;t forget to be a human first. I remember the days when I waited for hours to get a perfect still.&rdquo;
His reflection brings us full circle. Photography is not just about seizing a moment but respecting it, waiting with patience, and remembering our humanity even as we chase truth through the lens.
<h2 dir="ltr">A Love Letter to Time</h2>
The history of photography is not just about chemistry, glass, and silver plates. It is about human yearning to remember, to hold onto love, to testify that &ldquo;we were here.&rdquo;
When the first photographs were revealed, people gasped, cried, and even trembled. They realised they were looking at more than an image. They were looking at time itself, captured and held still. That awe, though dulled by familiarity today, is still buried in us. Every time we flip through old albums, stumble on a childhood snapshot, or find a faded photo of someone no longer with us, we feel the same wonder as those first Parisians in 1839.
Today, we snap pictures in seconds, sometimes thousands in a single month, often without pausing to think of the miracle in our hands. But behind every pixel and print lies a history of awe: of strangers in Paris who wept at their first glimpse of a daguerreotype, of families who clutched the only photograph of a loved one gone to war, of children who grew up with their faces frozen in sepia forever.
Photography has always been more than technology; it is humanity&rsquo;s promise against forgetting. It whispers to us across generations: you were here, you mattered, you are remembered.
Photography is, at its core, a love letter to time.
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From daguerreotypes to smartphones, photography has always preserved human memory

Through the Lens: A History of Photography

From daguerreotypes to smartphones, photography has always preserved human memory

August 19, 2025 | 22:45 IST