How Samuel F.B. Morse Brought Photography to America

Hulton Archive/Getty Images
Hulton Archive/Getty Images

Morse code creator Samuel F.B. Morse made long-distance chats almost instantaneous with his co-invention of the telegraph, which he patented in 1847. While he’s best known for revolutionizing telecommunications, Morse spent most of his career working as an artist—and he had a major influence on the future of that field, too, by introducing photography to the United States. Selfies, Instagram, and the ability to show off your vacation photos while you're still at the beach can all be traced back to Morse's vision.

Born in Charlestown, Massachusetts, on April 27, 1791, Morse was the eldest son of Jedidiah Morse, America’s leading geographer at the time. Samuel attended Yale College, where he pursued courses in religion, mathematics, and the emerging field of electromagnetism.

After graduating in 1810, Morse forged a successful career painting portraits of statesmen and other notable figures, including former U.S. president John Adams, inventor Eli Whitney, and Revolutionary War hero the Marquis de Lafayette. He also co-founded New York's National Academy of Design, the first artist-run institution to teach and exhibit American fine arts, and became the school's first president in 1826. At the same time, he was tinkering with an idea for an electromagnetic communications apparatus.

Morse made regular trips to Europe to view art exhibitions. On an 1839 visit to Paris (where he also sought patents for his telegraph prototype), he heard about Louis-Jacques-Mandé Daguerre’s new process for fixing images produced by a camera obscura—also known as Daguerreotypes—that had been announced in France at a scientific meeting earlier that year.

Daguerre used a camera obscura, like this, to create Daguerreotypes.Alexander Klein/Staff/Getty Images

Many viewed early photography as an aid in painting and drawing, rather than its own artistic discipline. Morse, possibly on the lookout for a new tool that would make art students’ lives easier, told a friend that he didn’t want to leave Paris without seeing Daguerre’s process. The friend arranged a meeting where Morse would demonstrate his telegraph and Daguerre would take Morse on a tour of his Diorama, an immersive gallery displaying Daguerreotypes of street scenes, Parisian architecture, and interior settings.

At the Diorama, Morse was amazed by the photographic details and clarity of (non-moving) objects in the images. "The Boulevard, so constantly filled with a moving throng of pedestrians and carriages, was perfectly solitary, except for an individual having his boots brushed," Morse marveled. "His feet were compelled, of course, to be stationary for some time, one being on the box of the boot black, and the other on the ground. Consequently his boots and legs were well defined, but he is without body or head, because these were in motion."

The next day, Daguerre spent an hour with Morse as he demonstrated the telegraph. Unfortunately, at that exact moment, Daguerre’s Diorama was destroyed in a massive fire. "His secret [for developing the pictures], indeed, is still safe with him, but the steps of his progress in the discovery and his valuable researches in science are lost to the scientific world," Morse wrote in a letter published in the United States Democratic Review.

After Morse returned to the U.S. in 1839 with one of Daguerre’s cameras, he received the Frenchman’s instructions for creating pictures. By then, Morse had accepted a position as a professor of literature and design at New York University. He removed part of the roof from the school’s Old University Building, where his office was located, and replaced it with a skylight. In the room below, Morse and another professor, John William Draper, installed cameras and created the first studio in the United States to teach the art and science of photography.

It was also in that location that Morse shot the first photograph ever taken in America. Using Daguerre’s method, Morse photographed the Unitarian Congregational Church across the street from his studio. He recorded the event in his journal:

"Put the plate in the camera, 2 minutes before 3 o’clock, sun shining bright, but the objects were in the shadows mostly. The prevailing color was grey over all objects except the brick church, which was red with sunlight upon it, striking obliquely … Time required in the camera 16 minutes. Proof a good one for all the objects in shadow, light a little over-done."

Morse operated the studio for just two years. By the early 1840s, he was busy demonstrating his telegraph, hoping to earn federal funding for intercity telegraph systems. (He also ran for mayor of New York City twice—once in 1836 and again in 1841—but lost both times.) In 1843, Morse was awarded $30,000 by Congress, which he used to construct an experimental telegraph line between Washington, D.C. and Baltimore. On May 24, 1844, he tapped out the first long-distance message—"What hath God wrought"—and paved the way for ever-faster telecommunications. Meanwhile, the studio he co-founded produced some of the leading photographers of the 19th century, including Civil War photojournalist Mathew Brady.

The success of the telegraph overshadowed Morse’s other achievements, including his role in bringing photography to America. But by the time of his death in 1872, he was recognized as one of America’s most influential polymaths. "Few persons have ever lived to whom all departments of industry owe a greater debt," wrote The New York Times in his obituary. Almost a century and a half later, his influence still lurks behind your awkward family photos.

Save Up to 93 Percent on 8 Gaming Accessories and Enter to Win a Free Nintendo Switch Bundle

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Take Two: When Kim Jong-il Raised North Korea's World Cinema Profile By Kidnapping Two South Korean Stars

Kim Jong-Il, Choi Eun-hie, and Shin Sang-ok in a scene from Ross Adam and Robert Cannan's The Lovers & the Despot (2016).
Kim Jong-Il, Choi Eun-hie, and Shin Sang-ok in a scene from Ross Adam and Robert Cannan's The Lovers & the Despot (2016).
Photo courtesy of Magnolia Pictures

Choi Eun-hee knew there was trouble even before the needle sent her into unconsciousness.

It was 1978, and Choi, one of South Korea’s most prominent actresses, was struggling to regain the success she had achieved earlier in her career. A promise of a possible film partnership by a man claiming to be from Hong Kong had lured her to Repulse Bay, a waterfront locale in the southern part of Hong Kong Island, where she exited a vehicle and noticed a group of men standing near a boat. Choi sensed something wasn't quite right, but before she could consider it any further, she was grabbed, sedated, and thrown onboard.

When she awoke, Choi found herself in the captain’s quarters. Above her was a portrait of Kim Jong-il, then the chief of North Korea’s Propaganda and Agitation Department. Kim’s father, Kim Il-sung, was the leader of the country, a communist regime that had now seemingly absconded with Choi—for reasons the actress couldn't imagine.

Roughly eight days after being kidnapped, Choi found herself in Pyongyang, where Kim greeted her not as someone who had been forcibly subdued and delivered to him, but as an honored guest. In a way, she was. In Kim’s mind, Choi and her ex-husband, award-winning film director Shin Sang-ok (who would soon join them, also involuntarily) were the very people the country needed to spearhead a new era in North Korean filmmaking, one that would make the entire world sit up and take notice.

That both Choi and Shin would be captives of the state was of little concern to those in charge. Regardless of how their guests got there, they were there. And Kim had no intention of letting them leave.

 

Kim, who eventually succeeded his father as leader of North Korea and ruled from 1994 until his death in 2011, was a movie buff. He reportedly owned more than 30,000 films—including a great deal of pornography—and ordered traveling diplomats to bring back copies of international films for his enjoyment. Kim even authored a book, 1973’s On the Art of Cinema, that was intended as an instructional guide for filmmakers in the country. He preached a devotion to a singular, unified vision and bemoaned that North Korean films had too much ideology and crying in them. All but ignored by the rest of the film world, Kim wanted the North producing features that would be embraced by film festivals.

Kim Jong-il loved movies so much he decided to abduct some talent.Getty Images (Kim Jong-il) // JurgaR/iStock via Getty Images (Movie Theater). Photo composite by Mental Floss.

At the time, it was not uncommon for North Korea to fill a need for trained workers simply by kidnapping them. It had worked for the country when they wanted to learn more about South Korea; between 1977 and 1978, they abducted five South Korean high school students who became instructors for future undercover Northern operatives. They also once attempted to kidnap a concert pianist, who grew wise to the situation when he arrived for his private appointment and heard several people speaking with North Korean accents. (He fled.) Even so, Kim used a similar strategy when he decided that kidnapping an actor and director would be the most effective way to achieve his movie aspirations.

Choi was only one part of the plan. Once she was grabbed, Shin began a desperate search for her. The two, who had once been considered a “golden couple” in South Korea, had divorced in 1976 following Shin's affair with a younger actress, but they remained close.

Of course, Shin was a cinematic superstar in his own right. Though his career had also recently cooled off, he was a celebrated director who had once been referred to as "the Orson Welles of South Korea." Though there are different stories as to how Shin ended up in North Korea, the official version is that he wanted to help locate his missing ex. And when that trail eventually led him to Hong Kong, Shin, too, soon found himself with a bag over his head, being hustled to Pyongyang. While Choi had resigned herself to some acceptance of her fate—she was living in a luxurious villa surrounded by guards—Shin was more combative. After numerous escape attempts, he was sent to prison.

For four years, Shin subsisted on a diet of grass, salt, and rice, never once seeing Choi or getting any update about her safety. As far as Shin knew, she was dead. Finally, in 1983, Shin was released and “invited” to a reception. To their mutual shock, the former couple was reunited, neither one knowing the other had been there the entire time.

Kim apologized for the delayed meeting, saying he had been busy. On the subject of Shin being imprisoned for four years, he dismissed it as a misunderstanding. It was only then that Kim explained why the two were there: North Korean filmmakers had no new ideas, he explained, so he wanted Shin and Choi to make films that would establish North Korea in the movie business.

None of it was presented as a choice. That same year, the couple remarried—also reportedly at Kim's suggestion.

The filmmakers spent years trapped in North Korea.NatanaelGinting/iStock via Getty Images

There was discussion of escape, particularly when the couple was allowed to travel to Berlin to scout locations for productions, but Shin dismissed it.

"What's the matter with you?" Shin recalled telling Choi in his 1988 memoir, Kingdom of Kim. "I will not make an attempt unless it's 100 percent certain. If they caught us, we'd be dead."

Instead, Shin pondered the opportunity. Kim gave him the equivalent of $3 million as an annual salary, for both personal and professional use. His production offices grew to more than 700 employees. Aside from some firm edicts—Kim wanted to project an image of North Korea as a political titan, while somehow softening its image as a totalitarian terror—Shin had a large degree of creative freedom. He filmed North Korea’s first onscreen kiss. He made Runaway, a 1984 film about a wandering Korean family in 1920s Manchuria, that Shin believed was the best film of his career.

Most famously, he directed Pulgasari, a monster movie clearly inspired by Godzilla that featured an oversized monster aiding an army of farmers looking to overthrow a cruel king. Kim even convinced several filmmakers who worked on the Godzilla films to come to North Korea to assist with the production by guaranteeing their safety. Kenpachiro Satsuma, who was the second person to wear the Godzilla suit, performed as Pulgasari. Thousands of North Korean soldiers were used as extras.

 

Kim was very happy with the work Shin and Choi were producing, which grew to seven films. Some had even made it to festivals in the Eastern Bloc. Gradually, he gave them more and more freedom to travel, eventually allowing them to take an escorted trip to Vienna in 1986 to help stir up a possible European distributor that would make a North Korean film easier to circulate. As they were preparing to leave for Austria, the two decided to act.

"To be in Korea living a good life ourselves and enjoying movies while everyone else was not free was not happiness, but agony," Shin wrote.

Choi Eun-hee and Shin Sang-ok in The Lovers & the Despot (2016).Photo courtesy of Magnolia Pictures

The two got in touch with a Japanese film critic they knew and met him for lunch. With North Korean guards in pursuit, Shin and Choi took a taxi to the American embassy and explained their eight-year ordeal as creative captives of Kim. Within a week, they were telling their story to reporters in Baltimore, Maryland, as well as the CIA.

North Korea denied that the two had been there against their will, arguing that they simply wanted to escape the restrictive nature of South Korean filmmaking. But Choi had seen to it that they came back with evidence. She had snuck an audio cassette recorder into her handbag during one meeting with Kim, who advised that if they were ever asked what they were doing in North Korea, to say that they were there voluntarily. She had even managed to have the tape smuggled out of the country before escaping, a stunt that could have resulted in her death if the betrayal had been discovered. For those in the U.S. government gathering intelligence on North Korea, it was the first time Kim’s voice had ever been heard.

Shin and Choi remained in the United States, where they had been granted political asylum. Shin even directed the 1995 film Three Ninjas Knuckle Up and produced several more movies under the pseudonym Simon Sheen. They eventually returned to South Korea in 1999, though some South Koreans believed Shin had gone to the North and pledged allegiance to communism voluntarily and treated him with suspicion.

"I could not dare return [to South Korea] without evidence that I had been kidnapped to the North," Shin said in an interview. "If [the Seoul government] charged me with entering the North on my own and cooperating with the North Koreans, I would have had no evidence to deny it."

Shin and Choi's story was explored in depth in Ross Adam and Robert Cannan's documentary The Lovers & the Despot, which was nominated for a Grand Jury Prize at the 2016 Sundance Film Festival.

Shin died in 2006, Choi in 2018. In a 2015 interview with Korea JoongAng Daily, Choi said that she still had nightmares about being pursued by North Korean agents. "Even though [Kim Jong-il] did not use the right means to get what he wanted, I understood his desire to develop the North Korean movie industry," she said. "He mentioned that he wanted to bring about change to North Korean movies, all of which were similar in terms of directing and acting. But please don't misunderstand that my forgiveness of him means that I agree with the North Korean system, because I don't."

Though North Korea never did admit to abducting the pair, in 2002 Kim Jong-il did come clean about snatching several Japanese tourists in the late 1970s and 1980s, and issued a formal apology.

When it finally received a wider release, Pulgasari was dismissed as silly. Now under the leadership of Kim Jong-un, North Korea has yet to make any impact on the international film scene.