Los palos (del chocolate)

Details:
100x125mm Becquerel Daguerreotype
15 minutes @ f5.6 (Underexposed by 1/2 stop)
Wood: 12-14ev (inconsistent sun)

Altar de la muñeca

Details:
100x125mm Becquerel Daguerreotype
2.5 minutes @ f5.6
Inside Altar: 12.33ev
Outside Altar: 14.33ev

Cruz Doble

Details:
100x125mm Becquerel Daguerreotype
3 minutes @ f5.6
Shadowed White: 13ev

Jesús De Piedra

Details:
100x125mm Becquerel Daguerreotype
2.5 minutes @ f5.6
Midtones: 12.66ev
White : 14.66ev
Blow Out: 16ev

Panteón Wall

Details:
100x125mm Becquerel Daguerreotype
30 minutes @ f2.8
Wall: 11.66ev
Shadow: 9.66ev

Sepulcro

Details:
100x125mm Becquerel Daguerreotype
2.5 minutes @ f5.6
White: 13.66ev

El Árbol de los Vecinos

Details:
100x125mm Becquerel Daguerreotype
5 minutes @ f5.6
White: 14.66ev
Brick: 12.33ev

Papayas Insípidas

Details:
100x125mm Becquerel Daguerreotype
15 Minutes @ f4
White Wall: 12ev
Shadow: 10ev

On Daguerreotypy

Daguerreotypes are mysterious and beautiful. Their images--positive, negative and mirror at the same time--have an amazing sense of depth and delicacy. The process, although difficult, toxic, and expensive, is highly enjoyable and meditative, combining the skills of jeweler, chemist, photographer and bookbinder. Yet the most intriguing aspect of the Daguerreotype for me is its "presence", or to make up a word, its thing-ness. This seems particularly important in the age of digital reproduction. A Daguerreotype, unlike a screen image and even the most perfect silver, platinum, or albumen print, is foremost a three dimensional object. Made of copper, silver, and glass they are surprisingly heavy, yet seem to fit perfectly in the palm of a hand. Finally, daguerreotypes are all flawed. Producing a perfect blemish-free image is near impossible. I find something comforting in being forced to leave so much to chance.

Originally Published by The Online Photographer