Photography descended directly from panorama painting

Evidence

The predecessor of the photographer was in many cases the panorama painter, men like David Roberts and Robert Ker Porter who travelled to the Middle East in the first three decades of the nineteenth century. They returned to produce not just prints or easel pictures but enormous panoramic paintings, often with moving shadows and mechanical animations, which the general public came to see in places of entertainment such as the Leicester Square Panorama. Daguerre himself, the inventor of the photographic process, was a panorama painter in Paris (where he had pioneered the technique of changing shadows known as the diorama). — Timothy Mitchell, Colonising Egypt, 108 (#corroborates, via linked claim)

Categorization

• XREF: connects to: Photography and cinema continued rather than challenged the realist program of painting — Jean-François Lyotard, The Postmodern Condition: A Report on…, 474; Photography grew directly out of panoramic entertainment painting. — Timothy Mitchell, Colonising Egypt, 108; The Panopticon’s central vantage mirrors the panorama’s sovereign gaze — Michel Foucault, Discipline & Punish- The Birth of the…, 527

Broader Connections

• Photography grew directly out of panoramic entertainment painting. #corroborates (0.98) — Timothy Mitchell, Colonising Egypt, 108