Where Is the Evidence? Why the Researchers Behind Brother Joseph Again Must Dismiss the Unedited Photo to Sell Their Narrative

 For the Larsen Daguerreotype to gain acceptance as an image of Joseph Smith, its proponents must first address its strongest contender. The proposed contender is the Unedited Photo of Joseph Smith, also known as the Marshall Photo.

Why? Because if they can convince people that this image is not a likeness of Joseph derived from a daguerreotype, they open the field to the possibility that the Larsen daguerreotype is.

As I see it, their dismissal follows two steps:

1. They rely on the old, established narrative that the Library of Congress image of Joseph came from a painting, despite evidence presented by multiple groups of researchers challenging that conclusion.
2. In 2009, the game changed, but they stuck to the first belief. Although the Unedited Photo of Joseph introduced new insights to the discussion, their response seems to dismiss this evidence with a variety of theories, hoping it will take root.

But where is the evidence supporting these theories?

And by the way, rejecting a competing image doesn't prove the man in the Larsen daguerreotype is Joseph Smith. It does, however, lower the bar.

Their Arguments, as I Understand Them

1. The image is too similar to the painting; therefore, it must be a photographic copy of it.

My response: It is not as similar as one might think. There are numerous differences. Even the lines and contours differ, and the photograph includes small details not seen in Joseph's Mansion painting. There is a long list of variations that need to be addressed.

Resemblance alone does not establish that the painting came first.

2. The differences were introduced afterward by altering the photographic copy.

What evidence, beyond the differences themselves, supports this explanation? And what would such a process require?

I have broken down the work that I believe this theory asks us to accept.

First, the size and the fine details.

The artist would have needed to work at a size that allowed for minute additions, including what appears to be an “S” on the cravat and the fine diagonal weave of the jacket fabric, cut perfectly on the bias.

Would an 8-by-10-inch print have been sufficient? Or would the image have needed substantial enlargement before those details could be introduced and then reduced into the photograph we see today?

If the explanation depends on a solar enlargement, how much detail would that process have preserved, and how much would have required retouching, as the images are low quality? Could the proposed method account for the fine details visible in this image?

That needs to be demonstrated rather than assumed.

Second, the marks left by the artist.

A fine brush can leave variations in a stroke, deposits of pigment, or pooling. A pencil can leave lines and surface texture. This is how we know the Library of Congress Version was altered. If you magnify this image, you can see where the paintbrush slipped. See the soft shading on the nose, but then the harsh line under the lip. No one questions whether this was retouched.

What technique would account for these additions without leaving recognizable evidence of the artist’s work in the Unedited Photo?

I am not talking about a light wash of color blended over an existing feature. I am talking about introducing new elements so faint that they require an increase in contrast to make them more visible to the human eye.

If those elements were drawn or painted in, that explanation needs to account for their appearance.

Third, the changes from dark to light.

Areas that are dark in the painting appear lighter in the photograph, while other values appear much the same. How were those selective changes achieved?

If the proposed explanation is that an artist painted directly over a photographic print, how were the darker areas lightened while retaining or introducing fine detail? Look at the irises.

Painting over a dark surface is not the same as adding a dark line to a light one. Think of painting a black wall pale gray: the covering material must sufficiently obscure what lies beneath.

What evidence of that process can be identified here? If another photographic or retouching method is proposed, that method should be specified and demonstrated.

Fourth, the reflections in the eyes.

Consider the catchlights, the small reflections of light visible in the eyes. They appear smaller and more precise in the Unedited Photo than in the painting. This is indicative of a high noonday sun. And don't get started on how a skilled artist would never paint a portrait outdoors, since the sun is constantly shifting.

Their shape and the surrounding tonal transitions deserve close examination. 

Fifth, the blur.

Why would an artist alter a copy of the painting to introduce features that appear more photographic?

In the Unedited Photo, the blur around the shoulders, hair, and hand differs notably from the painting. If those effects were deliberately added, what evidence supports that conclusion?

Sixth, the proportions.

The artist would also have needed to alter the proportions, including apparently shortening Joseph’s neck and changing the ratios.

Taken together, these are substantial changes. Look at how the hairlines and the top of the cuff line up. Even with the Unedited Photo stretched, they still do not match. Look at the eyes, chin, and the bottom V of his shirt.

This would not simply be a small undertaking with a brush on photo paper. It would require an artist to almost entirely recreate the image. 

The explanation cannot stop at “someone altered it.” Which process was used? What physical or documentary evidence supports it? And can that process account for the specific details we see?

That is the question I keep returning to: Where is the evidence?

Someone made a lifelike model of Joseph and photographed it.

I have also heard it proposed that someone might have made a lifelike model of Joseph and photographed it. I admit, I laughed. To me, this seems like a considerable stretch. But let’s give it consideration nonetheless.

How convincing would that model have needed to be? The eyes would have needed to reproduce the appearance and reflections of human eyes. Not just polished glass marbles. The skin would have needed to respond to light in a way that resembled flesh, including its gradual tonal transitions as light softly bounces off it. The eyebrows and eyelashes would have required fine detail and applied tiny hairs, and any painted surface would have needed to avoid visible signs of brushwork in the resulting photograph.

Who supposedly made this model? With what materials, at what expense, and for what purpose? Where is the evidence that it ever existed?

Please provide a more reasonable and logical theory than a Madame Tussauds–like sculpture. Those figures involve molds, extensive measurements, and painstaking work to reproduce a person’s appearance. Who supposedly undertook that work for this image, and where is the evidence that such a figure ever existed? And why wouldn’t they put such a piece of work on display? Charge tickets to see it?

This seems like an elaborate and expensive explanation. Wouldn’t it have been easier to dress a real person as Joseph and photograph him? Of course, that person would also have needed to resemble the established artwork. Either suggestion requires evidence.

The Questions That Remain to Be Answered

Why does the Unedited Photo exhibit qualities consistent with light falling on a three-dimensional subject? Please provide an explanation supported by evidence, rather than asking us to imagine a large doll without documentation of its creation.

Consider the areas that appear to have “blown highlights.” This happens when a photograph records a bright area as plain white, losing the detail within it. Imagine photographing a white shirt in strong sunlight. You might see its folds, seams, and fabric texture with your eyes, but in the photograph, those details disappear into a blurry-edged patch of white. That is what I mean by a blown highlight.

Why do those areas appear as they do in the Unedited Photo?

An artist painting that same shirt would often use grays, creams, or other tinted whites to show its folds and texture, reserving pure white for the brightest highlights. Those details would be represented in paint.

If the Unedited Photo is a photographic copy of the Joseph Smith Mansion painting, how did those painted details disappear in these particular areas? In a painting, the folds and shadows are represented by different shades of paint on a flat surface. Show me a photograph of that painting with the same whites blown out in the same places, and explain how the effect was produced.

Then address the varying sharpness I described earlier. In the Unedited Photo, the shoulders, hair, and top of the hand appear blurred, while the face remains in sharper focus. The painting does not show that same pattern of blur. What accounts for this difference?

One possible explanation is depth of field: the face is in focus, while parts of the subject closer to or farther from the camera fall out of focus. If you propose instead that the blur resulted from retouching, copying, or another process, explain how that process blurred those particular areas while leaving the face sharp.

And please, don’t make people buy your book or pay for a ticket to find out how you answer these objections. Answer the questions directly, with comparisons and evidence that people can examine.

Joseph Smith III and the 1879 Image

Next, explain the history of the image Joseph Smith III had copied and placed in the Library of Congress in 1879.

If the Larsen daguerreotype was the likeness of his father that he possessed, why did he not use it as the source? Or, if you contend that he did, how do you account for the differences between that image and the Library of Congress likeness?

I will also reference Joseph Smith III’s 1910 statement about having that daguerreotype in his possession, as well as the photographer Carter and his confirmed reference to it.

Which image do those accounts describe, and what evidence connects it specifically to the Larsen daguerreotype and not the Library of Congress image of Joseph?

Perhaps the reason you do not want to address this is that those likenesses resemble the Unedited Photo rather than the man in the Larsen daguerreotype. You promote the Larsen image as resembling the death mask, yet when discrepancies are raised, the mask is supposedly too distorted to serve as a reliable comparison.

Where is the evidence for that explanation? You suggest that localized swelling altered particular features. Are you attributing those changes to general postmortem bloating or to specific injuries? Those are different explanations. Given how quickly Joseph died, I think it’s reasonable to question whether the injuries you are referring to occurred before or after his circulation stopped. If they occurred afterward, what process would have caused the localized swelling you propose? Simply invoking “swelling” is a weak argument unless you can demonstrate how it accounts for the differences in the same areas on both sides of the face.

And if the death mask was so distorted, how do you account for how closely it aligns with the Unedited Photo? You cannot reasonably treat the mask as reliable when it supports your identification, then dismiss its accuracy when it challenges it, without explaining the distinction.

Without evidence addressing those questions, these claims remain conjecture. A possible explanation is not the same as a demonstrated one supported by evidence and sound reasoning.

I ask you again, where is the evidence that the Unedited Photo is not Joseph Smith Jr.?

It has a solid link in provenance and measurable photographic qualities.

At the time of making this video, no request for a high-resolution scan of the image has been sent to the researchers at Brother Joseph Again. Nor have the researchers behind it asked to see the photo in person. All of their research was done with low-quality pictures at best.

Did a Photograph Come Before the Painting? A 1962 BYU Thesis Examines Joseph Smith’s Portrait

In 1962, William B. McCarl examined a question that remains central to the discussion of Joseph Smith’s likeness: was the familiar front-facing photograph copied from a painting, or was the painting created from a photograph?

His master’s thesis, The Visual Image of Joseph Smith, submitted to Brigham Young University’s Department of Art, supported the latter explanation. After examining portraits, historical accounts, photographic copyright records, and family testimony, McCarl concluded:

“It appears the front view oil painting was copied from a daguerreotype.”

Page 68

His research did not recover the original daguerreotype. It did, however, assemble evidence supporting a photographic source for the painting, including a direct statement from Joseph Smith’s son.

Joseph Smith III’s Letter: What He Actually Said

On March 10, 1910, Joseph Smith III wrote to the Salt Lake Tribune in response to a portrait of his father painted by a Utah artist. His letter appeared in the newspaper on March 20, 1910, and McCarl reproduced it on pages 29–30 of his thesis.

Joseph III objected to the suggestion that no authentic picture of his father existed. He described an oil painting in his son Frederick’s possession, then stated:

“It fortunately happens to us that this portrait, painted in 1843, is sustained in its characteristic likeness to my father by the daguerreotype in our possession, taken the same year, I think, by an artist by the name of Lucian Foster.”

The relationship he describes is significant. The daguerreotype sustains, or corroborates, the painting’s likeness to his father.

Joseph III expressly calls the family’s photographic image a daguerreotype. His qualification, “I think,” accompanies the attribution to Lucian Foster. He does not describe the daguerreotype as a photograph of the oil painting.

At the end of the letter, he identifies a different photographic item:

“I am enclosing a photograph taken from the oil painting referred to.”

He therefore distinguishes the oil painting, the daguerreotype that corroborates its likeness, and the photograph of the painting enclosed with his letter.

A photograph made from a painting reproduces the artist’s work. By itself, it cannot independently establish that the painting accurately depicts its subject. Joseph III’s use of the daguerreotype as corroboration is therefore meaningful: he presents it as supporting evidence for the painting’s likeness.

That is evidence of how Joseph III understood the images. His letter does not explicitly describe the painter working from the daguerreotype, but it supports taking that possibility seriously.

Clarifying Joseph Smith III’s Testimony

On page 49, McCarl lists among his unresolved questions whether Joseph III possessed an original daguerreotype or merely a photograph of one.

The distinction concerns what Joseph III actually testified to. His letter explicitly identifies the family’s possession as a daguerreotype. The photographic copy he explicitly mentions is the enclosed photograph of the oil painting.

McCarl’s inability to inspect the family’s daguerreotype was a limitation of his investigation. It should not be confused with uncertainty expressed by Joseph III about whether the object was a daguerreotype. Joseph III’s own wording is direct.

The accurate distinction is this: Joseph III stated that the family possessed a daguerreotype; McCarl could not independently verify the object.

Source: Joseph Smith III to the Salt Lake Tribune, March 10, 1910, published March 20, 1910, p. 13; reproduced in McCarl’s thesis, pp. 29–30.

The Photographs and Their Copyright Records

McCarl also investigated photographs associated with Charles W. Carter and W. B. Carson through correspondence with the Library of Congress.

On pages 40–41, he describes Carter’s photograph copyrighted on September 25, 1885. Its caption stated:

“Copied from the original daguerreotype taken at the City of Nauvoo, 1843.”

Carter copyrighted another version on December 26 of the same year. McCarl reports that the second version omitted the caption and showed considerably more retouching.

An earlier photograph, deposited by W. B. Carson of Peoria, Illinois, on July 25, 1879, was copyrighted in Joseph Smith III’s name. McCarl’s sources included letters from Library of Congress reference librarian Virginia Daiker and Copyright Office official Richard S. MacCarteney.

For McCarl, the copyright in Joseph III’s name suggested a connection between Carson’s photograph and the photographic image held by the Smith family.

The Carson photograph was copyrighted in Joseph Smith III’s name decades before his 1910 letter. That documented connection further supports his identification of his father’s likeness and should be considered alongside his explicit statement that the family possessed a daguerreotype.

The source claim attached to Carter’s photograph also matters. The assertion that the image originated in a Nauvoo daguerreotype was already being made in the nineteenth century.

Retouching Complicates the Surviving Images

McCarl’s discussion also makes clear that the photographic versions were not all untouched or identical.

He reports increased retouching in Carter’s second version and extensive touching up of the hair and clothing in Carson’s version.

This matters when evaluating whether an image looks photographic or painted. McCarl was examining reproductions whose appearance had been altered. Those alterations complicated efforts to determine the nature of their original source.

The Unedited Photo of Joseph, which came to light in 2009, adds another piece of evidence. My research identifies it as an earlier version of the image, preserving details altered or obscured in the retouched copies. Comparing these versions allows those changes to be examined directly and helps explain why the later reproductions took on a more painted appearance.

McCarl consulted Beaumont Newhall, director of George Eastman House, who said the heavy retouching prevented a determination that Carter’s photograph came from a daguerreotype. Newhall nevertheless added:

“I can only say there is no reason for believing that the picture is not copied from the original Daguerreotype.”

Quoted on page 43

Newhall’s statement was qualified. It left the daguerreotype origin possible without claiming to have authenticated it.

I think it is fair to say that an opinion had formed before 2009 that many have since refused to reexamine, regardless of the new information The Unedited Photo brought to the table. Instead, they continue repeating the same tired line.

The Ring and the Reversed Image

McCarl also points out that Joseph III’s letter states that his father wore his ring on his left hand. He observes that the front-facing oil painting shows the ring on the right.

On pages 46–48, he proposes that the artist copied a laterally reversed daguerreotype, preserving the reversal in the painting.

The argument is an inference, but it connects a specific visual detail with Joseph III’s recollection of his father.

I personally don’t believe it was flipped. However, I think it is equally plausible that the artist added a ring to the incomplete hand that is visible in the Unedited Photo of Joseph.

Who Painted the Portrait?

McCarl also challenges the attribution of the front-facing painting to David Rogers.

Through historical descriptions and comparisons with published engravings, he argues that Rogers painted the profile portraits of Joseph and Hyrum. He then identifies differences between those profiles and the front-facing painting in brushwork, surface appearance, backgrounds, and the handling of light and shadow.

McCarl considers William Warner Major a possible artist for the front-facing portrait, although he does not establish its authorship.

According to the obituary he cites, Major arrived in Nauvoo in August 1844, after Joseph Smith’s death. If Major painted the portrait, he could not have painted Joseph from a living sitting. A daguerreotype would have provided a possible source.

This introduces another disagreement with Joseph III’s letter, which dates the painting to 1843 and attributes it to the artist who painted Hyrum. McCarl’s proposed attribution to Major would require revising that chronology. It remains McCarl’s hypothesis, not something Joseph III’s letter confirms.

Through my research, I believe it is more plausible that Selah Van Sickle was responsible for this unsigned work. My understanding is that he, too, arrived in Nauvoo after Joseph’s death. That proposed attribution would therefore raise the same question about the painting’s date.

What the Thesis Supports

McCarl brought together several reasons for believing a photograph preceded the front-facing painting: the early photographers’ source claims, the family connection in the copyright records, Joseph III’s testimony, the ring’s placement, and the visual relationship between the images.

His conclusion was that the painting appeared to have been copied from a daguerreotype. Although he acknowledged that he could not prove Carter or Carson had copied an original plate, he argued that buyers familiar with Joseph and Nauvoo would have challenged a deception. He reported finding no contemporary objection of that kind.

Joseph III’s letter supplies a particularly important piece of testimony. He identifies a daguerreotype in the family’s possession and presents it as corroborating the painting’s likeness to his father. He separately identifies the photograph of the painting that he enclosed.

The 1879 copyright adds a documented connection between Joseph III and the Carson image. My research into the Unedited Photo adds a visual comparison through which the alterations in later versions can be examined.

Those distinctions deserve to remain intact when the evidence is discussed. McCarl’s thesis documents an argument made as early as 1962 that a photograph preceded the painting, while Joseph III’s own words explain the corroborating role he assigned to the family’s daguerreotype.

Sources

William B. McCarl, The Visual Image of Joseph Smith (1962), master’s thesis, Brigham Young University. Relevant passages: pp. 29–30, 40–49, and 65–76.

Read McCarl’s thesis at BYU ScholarsArchive

Joseph Smith III, letter dated March 10, 1910, published in the Salt Lake Tribune, March 20, 1910, p. 13. Letter reproduced in McCarl’s thesis, pp. 29–30.

 

Death Mask Comparison of the Larsen Daguerreotype with Joseph and Hyrum Smith

 

Hyrum Smith's identity through the examination of the Larsen Daguerreotype.

 In my new blog post, I will be discussing the Larsen Daguerreotype and presenting evidence that it is, indeed, a portrait of Hyrum Smith. To begin the analysis, it is crucial to understand the characteristics of the daguerreotype camera lens used in capturing the image. The lens, known as a meniscus lens, had a long focal length, typically ranging from 150mm to 300mm in today's specifications.

The significance of focal length becomes apparent when photographing a three-dimensional subject such as a person. In contemporary portrait photography, lenses with focal lengths around 50mm to 85mm are commonly used on DSLR cameras, while smartphone cameras typically have a focal length of around 26mm. These variations in focal length greatly influence the proportions of a human face in a photograph. We have all noticed how selfies can make our noses appear larger due to the shorter focal length.

Understanding this concept is crucial when comparing the proportions of the death mask with those in the daguerreotype photos. The new downloadable 3D masks of Hyrum and Joseph Smith, provided by the LDS, utilize an orthographic projection feature that reduces lens distortion and emulates an image more similar to a daguerreotype. This key detail seems to have been overlooked by previous researchers studying the Larsen daguerreotype.

To accurately measure a three-dimensional object in comparison to a flat object, it is essential to establish the closest possible calibration for precise analysis.

Both the death masks of Hyrum and Joseph were taken postmortem while they were lying horizontally. It is important to note that postmortem changes, such as livor mortis (pooling of blood), can have various effects on the human face. Livor mortis can act as a "facelift" of sorts, pulling the soft tissues of the mouth and nose. In some cases, it can even cause swelling of these features. Furthermore, as facial muscles relax after death, notable expressions that were present in life cease to be visible. These factors can significantly impact the reliability of measuring specific features in these circumstances.

When analyzing the daguerreotype and death mask, it is essential to take into account these variations caused by postmortem changes. It is important to approach the comparison with caution and acknowledge the potential limitations imposed by these factors.

Once I established the correct positioning of the death mask, ensuring similar lighting conditions, I proceeded with a detailed comparison between the Larsen daguerreotype and the mask of Hyrum Smith. To my amazement, I discovered an astonishing alignment of key landmarks, including the brow bone, nose ridge, and jawline. The shape of the eyes in the daguerreotype matched remarkably well. I meticulously drew landmark lines off the mask, and they aligned beautifully with the corresponding features in the daguerreotype.

Caution is necessary when relying solely on overlay images as definitive proof. Optical illusions or blending effects can deceive the eye, this is known as the morphing phenomenon.

Despite these considerations, the accuracy of the alignment between the death mask and the daguerreotype is striking. The consistency of the key facial features provides compelling evidence in support of the assertion that the Larsen daguerreotype is Hyrum Smith with a high likely probability.

It is important to note that I believe this is a "copied version" of the original daguerreotype of Hyrum due to the landmarks present in the Larsen photo. Daguerrotypes are shot as a mirrored image, when reshot again, they turn back to the correct image. This was a common practice of the time as noted by this advert.

1852- A Daguerreotypist named William A. Smith (also known as Amor de Cosmo) operated a photography studio in Kanesville, Iowa.  On May 13^th he ran an advertisement in the Kanesville Frontier Guardian and the Iowa Sentential.

NEW ADVERTISEMENT.

“Those once lov’d forms, still breathing through their dust,

Still from the fame in mould  gigantic cast,

Startling to live, -sh whisper of the past.”

Daguerrean Pictures

Of

JOSEPH AND HYRUM SMITH,

AND THE

NAUVOO TEMPLE,

May be seen at the Smith’s Gallery.

Pictures of all kinds copied.

One notable feature is his chin, which is angled unnaturally to the right (view in top right photo). This could be attributed to either a genetic defect or an injury. While the Hyrum Dibble mask does not exhibit this characteristic due to repair, the Hyrum Pedastal mask does display a similarly angled chin. Additionally, there is a slight disparity in the height of the right nostril similarly seen in the mask. This is likely a natural imperfection, as our bodies are not perfectly symmetrical.

I was amazed by the striking similarity of Hyrum's key features, including his pronounced cupid's bow, facial creases, and browbone shape. Moreover, the scars on both the death mask of Hyrum and the Larsen Daguerreotype match. Note: I don't have access to a high res image of Hyrum and this one was borrowed for commentary and research purposes. It is my belief that a higher-resolution image would only substantiate my claim. The probability of such precise scar alignment occurring randomly is astronomical! This is a daguerreotype photo of Hyrum Smith!

I have also conducted a quick study comparing a Sutcliffe Maudsley profile trace drawing of Hyrum Smith to other representations. In the study, #1 depicts a profile from Hyrum's Dibble death mask, which is slightly rotated and leaning back to match the angle of the drawing. #2 shows the Sutcliffe Maudsley drawing of Hyrum, where his brow bone is pronounced, the nose is exaggerated, and the placement of the eyes is incorrect. It is important to note that Sutcliffe was a novice artist. #3 displays the death mask with a perfect profile and a less prominent brow bone. There seems to be a discrepancy between Sutcliffe's drawing of the nose bridge and the actual profile of Hyrum, possibly due to Sutcliffe's error, Hyrum's slight turn, or damage to Hyrum's nose bridge from the pistol bullet wound.

In image #4, the same profile of Hyrum is presented but rotated into a more natural position. It is worth mentioning that when tilting one's head down, proportions appear spaced differently from the front view, so caution must be exercised when measuring linear distances in photos. Lastly, #5 showcases the Larsen Daguerreotype. However, it is important to note that the Maudsley drawings may not be reliable for precise measurements or image verification since they do not align with the death masks and are hand-drawn, possibly with multiple iterations. They may have been initially traced and then resized using a grid system or by hand.

Exciting news! Another insightful and intriguing blog post is on its way. Feel free to join the discussion by commenting here or on my Joseph Smith Photo Facebook Page. I don't mind answering questions or hearing other opinions as long as it is civil. Also, please share and spread the word! Stay tuned for more exciting content I have planned! I have some really cool topics coming up regarding both the Larsen Daguerrotype and my copy of the Joseph Smith Daguerrotype.

Using advanced AI technology, I've successfully created stunning representations of Joseph Smith Jr. and a possible depiction of his brother, Hyrum Smith. These accurate representations were generated by leveraging their original daguerreotypes as references. 📷 It's incredible how AI can help bring historical figures to life with such precision. Stay tuned for more updates and details about this fascinating AI project.

I added this link to a previous post but I am going to re-add it as it is still relevant. To see a visualization of how focal length affects the face. This guy has a really cool website. https://www.danvojtech.cz/blog/2016/07/amazing-how-focal-length-affect-shape-of-the-face/

Decoding the Alleged Connection: Exploring the RLDS Painting of Joseph Smith Jr. and its Relationship with the Marshall Photo

In this blog post, we will explore the connection between the famous RLDS (CCofC) Painting of Joseph Smith Jr and its alleged association with the Marshall photo. We will delve into the origins of this theory, its development over time, and the visual disparities between the Marshall photo and the RLDS painting. By examining these aspects, our aim is to shed light on the validity of the claim that the Marshall photo is a photographic copy of the painting, ultimately debunking numerous unproven theories.

 

1. The Emergence of the RLDS Painting Theory:

The idea that the Marshall photo is a photographic copy of a renowned RLDS painting actually gained momentum prior to its discovery and release in 2009. This theory first emerged in the mid-1990s when a copy of The Library of Congress photo of Joseph Smith Jr. surfaced, coinciding with the publication of the book "Photograph Found." by researchers Reed Simonsen and Chad Fugate. The images appeared similar, leading some to speculate about the photo and whether it was a copy of the painting. However, conflicting opinions arose regarding which came first, yet the "copy of the painting" theory gained popularity. (I stand corrected regarding the duration of this controversy. In 1962, a thesis titled "The Visual Image of Joseph Smith" was presented to the Department of Art at Brigham Young University by the author William B. McCarl.)  Web link- https://scholarsarchive.byu.edu/cgi/viewcontent.cgi?article=5922&context=etd

 

2.  Visual Differences: Face and Key Features:

While the face and certain key features in the Marshall photo and the RLDS painting share similarities, there are distinct differences upon closer examination. The Marshall photo shows a crooked nose, lighter eyes that reflect light following the principles of light theory for semi-transparent eyes, and apparent scars or dark marks on the eyelid. In contrast, the RLDS painting depicts a straight nose and dark, flatly painted eyes.

 

3.  Clothing and Background Discrepancies:

When scrutinizing the attire depicted in both the Marshall photo and the RLDS painting, notable differences become apparent. The painting presents a simplified cravat, while the Marshall photo displays a lacy cravat adorned with an embroidered "S" in the center. The jacket in the photo features buttons and an embroidered mourning bow appliqué, whereas the painting lacks the woven fabric texture seen in the Marshall photo and The Library of Congress version. Additionally, the painting showcases a scenic background, while the photo features a simpler, textured backdrop.

 

4.  Misalignment in Cuffs:

Another visual difference emerges in the alignment of Joseph's cuff between the RLDS painting and the Marshall photograph. The cuff in the photograph appears naturally positioned in proportion to the body size, whereas the painting depicts a lowered and unnatural placement of the cuff.

 

5. Vertical Striations Similarities:

First of all, I believe that both the vertical lines in this "specific" copy of the RLDS painting and in the copy of the daguerreotype photo (Marshall Photo) occurred at the same photo shoot in 1879 and are a result of the reflection from the ambient light in the photographer's studio. When being photographed, the mirrored surface of a daguerreotype easily reflects light details. Although I have yet to fully decipher what that reflection is precisely, there are strange nonorganic reflections embedded in both the painting and the daguerreotype. I believe that the image on the left is a copy of a daguerreotype taken from the RLDS painting of Joseph, which means it has a mirrored surface. Initially, I mistakenly identified all the vertical lines as brush strokes from gloss, as is commonly assumed. However, upon further analysis, it seems that these vertical lines are actually embedded within the painting and or daguerreotype and are not present in other contemporary photographs. 

We have copies of the RLDS painting pre 1879, so we know that this occurred, as well as there are accounts of a Daguerreotypist named William A. Smith who advertised in 1852, stating, "Daguerrean Pictures Of JOSEPH AND HYRUM SMITH, AND THE NAUVOO TEMPLE, May be seen at the Smith's Gallery. Pictures of all kinds copied."

 

The only rational explanation is that these lines are the result of light reflecting from an external source, as the mirrored surface of the original daguerreotype was photographed. Essentially, there is a mirrored reflection trapped in both images. However, the reflection appears in different spots on the images. The only logical theory is that Joseph Smith III fulfilled his intention of sending multiple images, as mentioned in his letter to the Robinsons. It is likely that at least one of these images was a daguerreotype of the painting, while the other image would be the actual daguerreotype of his father.

To enhance visualization and gain a better perspective, I applied an overlay of colors to accentuate the embedded reflection within the dark tone of the coat in both the painting and the photo.

This reflection could very well be wood planks on the interior walls or a nearby object. The painting clearly has more vertical lines on the right shoulder (green circle) compared to the actual photo of Joseph, and it seems that more details of the photography studio can be seen in the actual photo. The green lines are meant to illustrate some key markers in the reflection. By utilizing the jacket button as a reference point, as well as the blue line, it can be observed that the green marker line is in a different position. Therefore, the conclusion is that despite similar lighting and reflection, the two objects are different. One represents a painting of Joseph, while the other is a copy of his daguerreotype. Both small daguerreotypes were most likely placed in a similar horizontal position and photographed in succession. This section alone provides additional evidence and provenance for the copy of the original daguerreotype. The embedded mirrored image serves as a timestamp in history, further validating its authenticity. (This section was updated on 7/4/23) Below is an inverted image as well for further examination.

 

6. Photographic Qualities:

Let's delve into the photographic qualities of the Marshall photo compared to the RLDS Painting. The painting, being a flat 2D object, retains its crisp lines, the painting is in focus in its entirety, while the Marshall photo exhibits variations in focus evident through the blurring of the cuff, hair, and shoulders of Joseph. This difference can be attributed to the inherent characteristics of daguerreotype photography. Daguerreotype photos were known for their shallow depth of field, a result of the limitations of the lenses used. It was crucial to prioritize focus on key features such as the eyes, even if it meant sacrificing other details.

Another notable photographic detail in the Marshall photo is what is commonly referred to as "blown whites." This feature manifests as a halo around lighter objects, caused by overexposure during the long exposure time required for daguerreotypes. It also leads to a reduction in information in the light or white areas of the image. It's important to note that the version of the photo you see on my blog has had the contrast adjusted to compensate for this.

 7. Exploring Theories:

Now, let's revisit the question of whether the Marshall photo is a copy of the RLDS painting and examine how these differences between them arose. There have been various theories put forward, and it's important to consider their plausibility. One theory suggests the use of Indian ink on a negative, but this would require much more than a few strokes to create the notable differences seen in the Marshall photo. Additionally, Indian ink appears as white in a photo because the negative is in reverse, making this theory less likely.

Another theory proposes that a photo of the painting was taken, printed, edited, and then re-photographed. However, each time something is re-photographed, information is lost, as can be observed in the Library of Congress photo. In contrast, the Marshall photo contains a remarkable amount of detail considering its small size. Furthermore, some of the hidden details in the overexposed whites of the Marshall photo have been brought to light with the help of modern technology. It seems unlikely that an artist in 1879 would intentionally give Joseph a crooked nose and try to imitate the imperfections of daguerreotype photography. Artists typically aimed to portray their subjects in a more idealized manner, and I haven't come across any other paintings or drawings of Joseph showing his crooked nose.

 

Moreover, the fact that the crooked nose in the Marshall photo matches Joseph Smith Jr.'s death mask raises questions. All these theories suggesting that the Marshall photo originated from the RLDS painting can be easily debunked with common sense. So, what is an alternative theory that offers a simple and logical explanation? It is, I would suggest, the most probable that the RLDS painting was created with the assistance of a daguerreotype photo, perhaps using a Camera Lucida. This explanation accounts for the differences between the two and allows for artistic liberties taken during the process.

 

Conclusion:

In conclusion, a thorough examination of the unproven factors surrounding the Marshall photo and its supposed connection to the RLDS painting strongly suggests that they are not direct copies of each other. The significant visual differences observed in facial features, clothing, background, cuff alignment, and striations discredit the theory of a simple replication. Moreover, the distinct photographic qualities exhibited by the Marshall photo, such as variations in focus and "blown whites," align with the known characteristics of daguerreotype photography.

In contrast, the theory proposing that the RLDS painting was created with the assistance of a daguerreotype photo, potentially utilizing tools like a Camera Lucida, offers a more plausible and logical explanation. This theory accounts for both the similarities and the artistic liberties taken in the creation of the painting, providing a coherent narrative that aligns with the evidence at hand.

 

Unveiling the Truth: Exploring Joseph Smith Jr.'s Face through Comparative Analysis

I was recently asked to compare Joseph Smith's death mask with a copy of his daguerreotype. However, there are some important things to consider regarding the daguerreotype photos. They were taken using special meniscus lenses with long focal lengths, which can affect how a person's face appears in the image. Longer focal lengths make facial features look flatter and closer together, while shorter focal lengths can slightly exaggerate them. The daguerreotype lenses also had a shallow depth of field, meaning only a small part of the image is in sharp focus, with the rest appearing blurred. These factors make a difference in how Joseph Smith's face is portrayed in the daguerreotype. It's important to keep these lens characteristics in mind when comparing the death mask and the daguerreotype, as they can influence the way he looks in each.

In order to accurately compare the death mask and the daguerreotype, it was crucial to obtain a well-captured copy of the death mask with the right angle and lighting conditions. Many people tend to photograph the death mask up close using modern lenses, which can introduce distortion. Fortunately, the LDS Church now offers 3D files of the mask for download, which is an incredible resource for researchers studying Joseph Smith's face. Additionally, the use of orthographic projection helps minimize distortion, providing a more accurate representation of the features. These advancements and tools greatly contribute to the study and analysis of Joseph Smith's facial characteristics.

I embarked on a comparison by overlaying the death mask and the daguerreotype, taking care to avoid relying solely on the morphing effect that can make two dissimilar things appear similar. Instead, I focused on using prominent facial landmarks, such as Joseph's brow ridge and nose ridge, as the primary reference points for the comparison. This approach ensured a more accurate assessment of the similarities and differences between the two representations.

I must admit that I initially had some reservations. As someone who constantly challenges their own theories, I was open to the possibility of disproving my own beliefs. Part of me was actually hoping to discover that I had been mistaken all along. It's important to approach our research with an open mind and be willing to accept new findings, even if they challenge our existing notions.

But to my surprise, the evidence did not disprove my theories. On the contrary, it only reaffirmed them, as is often the case in my research endeavors. I meticulously mapped key facial lines, aligning the death mask with the landmarks on Joseph's face. The resemblance was striking! Even the creases under his eyes matched. Joseph's face reveals the truth, whether in the death mask or the daguerreotype. The unmistakable features and characteristics of Joseph Smith Jr. are evident in both representations. The death mask captures his unique facial structure, while the daguerreotype preserves his likeness through the early photography technique. The consistency between these two sources further solidifies the authenticity of Joseph Smith Jr.'s appearance. The truth shines through, bridging the gap between history and visual evidence.

Below are two photographic diagrams, one with mapping lines and one without. By studying both images, it becomes evident how strikingly similar they are, particularly in the area around the eyes. The mapping lines help to highlight the alignment and correspondence of key facial features, emphasizing the unmistakable resemblance between the death mask and the daguerreotype. The convergence of these visual elements further reinforces the compelling evidence of Joseph Smith Jr.'s identity in both representations.

It is worth noting that during the process of taking the death mask, Joseph Smith Jr. was in a horizontal position. In such circumstances, the absence of circulation can lead to blood pooling within the body, resulting in a pulling effect on the soft tissues, including the nose and mouth. This can create a tightened appearance, akin to a facelift. Additionally, without the natural contraction of muscles, the face tends to relax. Consequently, relying heavily on the exact positioning of these features may not be entirely reliable. Furthermore, it is essential to consider that Joseph's nose had been filled with cotton during the process of creating the death mask. These factors contribute to the unique characteristics observed in the death mask, which should be taken into account when comparing it to other representations of Joseph Smith Jr.'s face. Indeed, the landmarks of the brow ridge and nose ridge are often less affected by the specific conditions during the creation of a death mask. These areas tend to retain their distinctive features better and can serve as reliable reference points for comparison. By focusing on these landmarks, one can make meaningful observations and draw conclusions.

*It is also important to note that the blue landmark lines are exact copies and were created off the death mask.

I also wanted to share a picture of Joseph alongside a drawing by Sutcliffe Maudsley for comparison. Even though Sutcliffe wasn't sure where to place the eyes, the overall alignment is quite similar. I'll discuss this more in a future blog post. Additionally, I'm currently working on a comparison between the Larsen photo and Hyrum's death mask. Stay tuned for more updates on that.

While we don't know the exact focal length of the original daguerreotype, it is interesting to observe how it significantly alters the shape of the face. This factor becomes relevant when measuring the death mask against the image. It is unlikely for a death mask taken at close range with a focal length of 35mm to perfectly align with a daguerreotype image shot at 200mm. You can explore this fascinating concept further on a website that provides a convenient visual preview of focal length comparisons.

https://www.danvojtech.cz/blog/2016/07/amazing-how-focal-length-affect-shape-of-the-face/

Unveiling the Enigma: Analyzing the new "Larsen Daguerreotype" and Exploring the Authenticity of Joseph Smith Jr.'s Photograph

 The discovery of a recently found daguerreotype purported to depict Joseph Smith Jr has ignited intrigue and hopeful anticipation among many individuals. As enthusiasts ardently endeavor to align the daguerreotype with the established image of Joseph, it becomes imperative to delve into crucial factors that shed light on this captivating subject.

Fact #1 Joseph Smith III only acknowledged one daguerreotype, and the newly found "Smith Photo" was not that image.

Shortly after Emma's death, Joseph Smith III penned a letter to John A. Robinson, husband of Mrs. Robinson, a reputable photographer, dated June 27, 1879.

Do you remember the question about father’s picture?  If so, are you and Sr J.A. still desirous of going into it?  I have intended all along to come down, but can’t see the way clear just yet.  If and so have determined to send the pictures to you for a trial, if desired….  My. step father Mr Bidamon wants to sell the pictures and with this exception and what we might sell here at the office.  You can have sole sale of them; and the exclusive manufacture of them, if we can agree as to terms, after we see whether they will copy well.  It is the only picture (real) of father in existence.  Not so many of mother’s would be wanted.  I think there is a good bit of money in it for someone; and Sr Robinson and you may as well get it as anyone.

Joseph's statement, "It is the only picture (real) of father in existence," provides compelling evidence. This remark rules out the possibility of referring to a painted portrayal since Joseph was well aware of his father sitting for multiple paintings and drawings. Instead, it strongly suggests the existence of a unique and singular image. Furthermore, Joseph's mention of the challenges involved in copying the picture aligns with the difficulties inherent in reproducing the mirrored surface of a daguerreotype.

Less than a month later, Joseph Smith III submitted an edited albumen photograph print of his father to the Library of Congress, clearly labeled as "Joseph Smith (Mormon)." This act demonstrates Joseph's unwavering determination to preserve his father's image and legacy. With a deep understanding of his father's appearance, Joseph patiently waited until after his mother's passing to reveal the image to the world, underscoring the significance he placed on sharing his father's true likeness.

One significant reason to doubt the authenticity of the newly found "Larsen Daguerreotype" as Joseph Smith Jr. is that his own son, Joseph Smith III, never acknowledged it or had it reproduced. In a letter to The Salt Lake Tribune in 1910, Joseph III mentioned a painted portrait from 1843 that closely resembled his father's daguerreotype taken around the same time by Lucian Foster.

In 1885, photographer CW Carter announced that he possessed the "only correct photograph" of Joseph Smith. This photograph was a copy of the original daguerreotype taken in 1843 and was loaned to him by Joseph Smith Jr. This supports the notion that there was only one daguerreotype of Joseph Smith and confirms their knowledge of its appearance.

Fact #2 The newly found photo looks nothing like any of Joseph's images.

 

Allow me to present some of my observations regarding the "Smith Daguerreotype." Firstly, it is evident that the depicted man in the daguerreotype has dark brown hair, which contrasts with the consensus from various accounts and a hair sample indicating that Joseph Smith likely had dark blond hair. As an artist, I often work with values, and it is interesting to note that the value of a color is often easier to discern in black and white.

Upon closer examination of the daguerreotype, it becomes apparent that the subject appears thin and lean, lacking noticeable facial fat. This is in contrast to common depictions of Joseph Smith, who was often portrayed with additional weight, particularly in the chin area. Sutcliffe Maudsley's profile drawings serve as a valuable reference in this context. Furthermore, the man in the daguerreotype displays characteristics such as a wide mouth, wide nose bridge, small deep-set eyes, tan weathered skin, and strong creases (nasolabial folds) Again this is not consistent with any depiction of Joseph. Based on these observations, it is conceivable to entertain the possibility that the individual in the daguerreotype could be Hyrum Smith, Joseph's brother, as reports suggest the existence of an undiscovered daguerreotype of Hyrum and do fit his description closer.

Let AI (Artificial Intelligence) help us measure faces using the death masks of Joseph & Hyrum.

Thanks to the remarkable advancements in AI technology, we now have the ability to replicate images with remarkable accuracy. Using an AI face tool, I embarked on a fascinating comparison. I started with a semi-generic image as the host and uploaded three images for analysis: a copy of the original daguerreotype of Joseph, Joseph's death mask, and the "Larsen Daguerreotype." I arranged them in a side-by-side comparison.

It is important to note that while the death mask can be a useful tool for facial measurements, it was created posthumously, while Joseph lay on a table or the ground. When a person passes away, blood no longer circulates, and the muscles responsible for facial structure relax. As many of you may have witnessed with a deceased loved one, this can significantly alter their appearance. Additionally, reports indicate that both Joseph and Hyrum had cotton placed in their noses to maintain shape. I conducted a similar experiment on my (live) husband and observed that it can dramatically change the width and profile of the nose. Therefore, our focus lies in comparing the bone structure, particularly the bridge and top of the nose, where thin skin allows us a glimpse of the underlying skull.

In this comparison, I present three images: the first image is derived from my Joseph Smith photo, the second image is sourced from the death mask, and the third image showcases the Larsen Daguerreotype. It is crucial to note that when replicating the death mask, the AI must make assumptions about the appearance of the eyes since it lacks information about their natural openness, the thickness of the lid, or the size of the iris. However, the AI accurately positions the eyes by triangulating landmarks on Joseph Smith's face, allowing for a comprehensive analysis of the facial features.

For a more detailed examination, I conducted a comparison between the Larsen Daguerreotype and the Death Mask, focusing on the width of the bridge of the nose and the proximity of the eyes to the bridge. By closely observing these features, it becomes evident that they do not belong to the same individual. The Larsen Daguerreotype has a bridge that is almost the width of his deep-set eyes. The Death Mask Shows a more narrow bridge, with space for large more prominent eyes.

For comparison purposes, I uploaded my photo of Joseph, and to my delight, it aligns perfectly with the subject in question. The spacing and proportions are spot-on, providing strong evidence of a match. Upon closer examination, it is evident that Joseph had larger irises and a noticeable inward turn of the right eye due to esotropia. Although the AI's attempt at replicating these details is commendable, there are slight differences. Nonetheless, the overall result is impressive considering the AI's estimation.

If the Larsen Daguerreotype isn't Joseph, could it be Hyrum Smith?

Although I remain cautious in drawing definitive conclusions, it is worth noting that the Larsen Daguerreotype bears a stronger resemblance to Hyrum Smith compared to Joseph Smith. To explore this further, I employed the death mask of Hyrum to generate an AI image, following the same process as before.

It is crucial to consider that Hyrum's face may have been affected by the gunshot wound next to his nose, potentially leading to adjustments made during the creation of the death mask.

Despite lingering uncertainties, the Larsen Daguerreotype demonstrates a remarkable resemblance to Hyrum Smith rather than Joseph. The shared characteristics of eye shape, size, placement deep under the brow, and overall spacing provide a stronger alignment with Hyrum. However, it is important to continue scrutinizing the bridge of the nose for any potential inconsistencies that may warrant further investigation and analysis.

My final thoughts.

After conducting a thorough analysis using AI comparison and examining various factors, I am personally convinced that the photograph I received from my grandmother many years ago is indeed a contact print from the original daguerreotype of Joseph Smith Jr. The alignment and precision in measurements when compared to his death mask provide compelling evidence. On the other hand, the Larsen Daguerreotype bears striking dissimilarities and lacks the resemblance necessary to identify it as Joseph Smith Jr. I honestly believe it wouldn't pass a police lineup. Given these findings, it is imperative to pursue further research and investigation to unveil the true identity of the person captured in the Larsen Daguerreotype. The quest for historical accuracy continues, and it is through rigorous examination and analysis that we can separate fact from speculation.

Check back soon, I'll be back with more. Also, check my previous posts to catch up!