Perhaps even more than in Europe or the United States, portraiture dominated the photograph profession in Mexico up to 1880 (Debroise, 32). Why were portraits more common than other types of photography in Mexico during this time? There are a variety of factors but the purposes of the clientele was the most important. The 19th century middle class relied on photographs to “eternalize the majesty of their physical features” (Debroise, 26). In Mexico, photography not only appealed to the middle class and aristocracy, but also to the rural communities that developed a devotion to photographs of personal heroes or relatives. This fascination certainly continued through the 19th century where photographs were found on altars with flowers and candles. Photographic portraits of government officials were especially popular in Mexico during the 19th century despite the tense economic situation in the country during this time.
Between 1864 and 1867 there was a large boom of photography studios in Mexico. Twenty five studios opened, each dedicated to the production of photographs. This sudden increase in portraiture could be related to the political situation in Mexico during this time. The strict imperial regulations established by Maximilian I “necessitated a reaffirmation of social attitudes through acts of representation” in which photography would have a determining function (Debroise, 30). Mexican studios such as Francisco Montes de Oca, Manuel Rizo, and Julio Valleto benefited from the demand for luxurious items and the lavish lifestyles during the French Intervention.
For most of the 19th century, photographers were considered part of the elite class in Mexico since they could afford the expensive equipment. It became common for these photographers to have more than one studio in the same city.Many photographer studios were elaborately decorated and had portraits of famous figures on display.
The 19th century elite class invested an enormous amount of energy in sentimental images of spouses, relatives, family members, and political figures which served to channel the hope of the century which was “to survive..to overcome the horrors of disintegration” (p 39). A photograph offered the concept of permanence which was especially sought after in a country ravaged by civil war and foreign interventions.