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Ever open to new ideas and discoveries, Nadar was the first in France to make photographs underground with artificial light and the first to photograph Paris from the basket of an ascendant balloon. Even though a proponent of heavier-than-air traveling devices, he financed the construction of Le Giant, a balloon... 顯示更多 Ever open to new ideas and discoveries, Nadar was the first in France to make photographs underground with artificial light and the first to photograph Paris from the basket of an ascendant balloon. Even though a proponent of heavier-than-air traveling devices, he financed the construction of Le Giant, a balloon that met with an unfortunate accident on its second trip. Nonetheless, he was instrumental in setting up the balloon postal service that made it possible for the French government to communicate with those in Paris during the German blockade in the Franco-Prussian War of 1870.

Ruined financially by this brief but devastating conflict, Nadar continued to write and photograph, running an establishment with his son Paul that turned out slick commercial work. Always a rebel, at one point he lent the photo studio to a group of painters who wished to bypass the Salon in order to exhibit their work, thus making possible the first exhibition of the Impressionists in April, 1874. Although he was to operate still another studio in Marseilles during the 1880s and \'90s Nadar\'s last photographic idea of significance was a series of exposures made by his son in 1886 as he interviewed chemist Eugene Chevreul on his 100th birthday, thus foreshadowing the direction that picture journalism was to take. During his last years he continued to think of himself as \"a daredevil, always on the lookout for currents to swim against.\" At his death, just before the age of ninety, he had outlived all those he had satirized in the famous Pantheon, which had started him in photography.
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