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Ernest Baudoux opened a photographic studio at 56 New Street, Saint Helier in 1869. His business developed quickly, by 1870 he was already placing adverts in the local press for staff to produce prints and retouch portraits.

1875 was a significant year for Baudoux's Studio. The business advertised its relocation from 59 New Street to a new premises just round the corner at 11 Craig Street. The new studio had been especially fitted by Baudoux himself. In the advert announcing to his 'many' clients, the new premisses on Craig Street, he stated that the new facilities would be impossible to compete with, suggesting he had made a significant financial investment. 59 New Street continues to be listed as the address of the business through the 1870s and 1880s as Baudoux expanded into an adjacent property with the entrance 'relocating' to Craig Street.

Later that year the business also acquired exclusive rights to use new processes for enlargement, retouching and carbon printing; invented and patented by Claude Léon Lambert. Baudoux states in an advertisement that patents have been registered in the Channel Islands under the names Lambertypie (which was process of enlarging images) and Chromotypie (a variant of the carbon print process highly regarded for its image permanence), for which he was the exclusive owner. He was likely referring to the purchase of exclusive licences to use Lambert's patented processes in the Channel Islands. Like Baudoux, Lambert was from Paris, and he registered at least three patents for retouching, carbon printing and photographic equipment in Britain in 1874/75. Securing the exclusive rights to these processes would have been a significant competitive advantage to gain for a studio operating in Jersey, and it understandably becomes the main focus of their marketing.

In 1878 Baudoux received a bronze medal for photography at the Exposition Universal in Paris, he was the only photographer from Jersey represented and was listed with the English photographers. The catalogue lists his contribution as: views and portraits, transparencies and stereoscopic views. This international recognition would have further enhanced the reputation of the business.

In 1879, Baudoux posted adverts in the press, not to advertise his patented services, but warning the public of individuals falsely using his name in order to gain clients. Additionally from 1879 and through the early 1880s several businesses begin to advertise their the location of their premises in reference to Baudoux's Studio. Demonstrating that Baudoux's Studio was now a well established and central part of Island life.

Marketing for Baudoux's general portrait services drop off as the 1880s begin. Instead we see opportunistic marketing strategies reacting to current events, such the sinking of the ship Caledonia or a captured walrus at Greve-de-Lecq; and the targeting of successful sectors such as farming specifically use photography to promote cattle for sale and breeding. Baudoux was clearly not content to rely on his reputation, but constantly seeking new and lucrative sales opportunities.

The first references for Baudoux working with his son appear in the press in 1883. How much influence his son had on operations is uncertain, but the following year brings notable developments for the business. It is advertised as being at 59 New Street, 7, 9, and 11 Craig Street in 1884, evidencing further expansion of the studio space. They offer an instant photography service for the first time, possibly referencing the use of the silver gelatin-bromide process invented by Richard Leach Maddox. Perhaps most notably they received a gold medal at the International and Universal Exhibition at Crystal Palace, for their Chromotypie photography.

Whilst the business continued to expand and international recognition grew through 1884, in 1885 Baudoux and Son are forced to refocus on arguably their core business portrait photography due to competition in the carbon printing market. An advert for J. B. Maguire of the Rembrandt Studio, caught Baudoux and Sons attention by claiming to be introducing a system of permanent carbon printing In Jersey for the first time. Baudoux objected to this in the following weeks edition of the same newspaper. Informing the editor and readers that he had introduced the Chromotypie 10 years earlier. Obviously Baudoux's exclusive licence for the Chromotype process didn't prevent photographers from using other carbon printing processes, but Maguires claim to have introduced carbon printing clearly causes Baudoux and Son to reassert their position in the market.

Admittedly Baudoux and Son had not actively marketed carbon printing services or their exclusive licences anywhere near as much in the 1880s as they had between 1875-1879. In response Baudoux and Sons immediately re-introduced carbon printing services into their marketing materials, stating that they introduced it to Jersey in 1875, and that they hold exclusive rights to us the Chromotype process in the Channel Islands.

Baudoux's objection to Maguire's claim is particularly important as in it he states that Baudoux and Son alsoi introduced the Chromotype to Guernsey that year. Evidencing further drive to expand the business, and the opening of operations in Guernsey at least in some form by 1885.

Guernsey does not feature in any of Baudoux and Sons known marketing materials before or after this statement so there is nothing to evidence the scale of this expansion into the Guernsey Market. However, the business was sold on two years later to the photographer John R. G. Stroud, who did regularly reference operating in both Jersey and Guernsey. Whilst thanking their clients in the press in 1887 after the sale of the business Baudoux notes John Stroud's credentials as being known to photographic scenes in London and Paris. Stroud seems to have been keen to lean into Baudoux and Sons legacy his products clearly state that he is the successor to Baudoux. Stroud would him self sell up after only four years, selling his business to Albert Smith.

Albert Edmund Smith, born on 12 August 1856 in Hornsey, England, was one of Jersey’s most celebrated commercial photographers, recognised for the quality of his work and his extensive contributions to documentary record of the Island. Though known for his photography, Albert’s career began far removed from the camera lens. He initially followed in the footsteps of his grandfather, father, and brothers as a stockbroker in London, becoming a member of the London Stock Exchange in 1876. Albert married Josephine Elizabeth Coutts in 1879, and the couple’s early life revolved around his stockbroking career, living in Weybridge, Surrey, before moving to Scotland and later Lancashire. However, by the late 1880s, Albert began to shift his focus to photography, and a commercial practice that would come to define his legacy in Jersey. In the 1891 census he is recorded as a "Photographic artist" living in Waterloo, Merseyside.

In 1892, Albert relocated to St Helier, Jersey, with his family, purchasing the studio of established photographer Ernest Baudoux. Albert and his wife Josephine had seven children. His son, David Edmund Smith, took over his business following Albert’s death from heart disease on 22 April 1914 . Albert was buried at Almorah Cemetery. Josephine, an artist in her own right, contributed to the island’s cultural life, exhibiting her paintings locally. She left Jersey in 1926 and passed away in Southampton in 1937.

David Smith was the son of the prominent commercial photographer Albert Smith. David operated the business Albert Smith Ltd after Albert's death in 1914 and donated the business archives to the Société in 1940.

Stuart was born in Jersey in 1954. He studied at Victoria College, Harlow Technical College and Bristol Technical College.

In May 1989, after five years as a PR Executive for Wordsmith and Co., managing media relations for Jersey Tourism (later Visit Jersey), Stuart Abraham transitioned into professional photography. During his tenure, he facilitated journalist and TV crew visits to Jersey, capitalising on the popularity of Bergerac, the BBC series starring John Nettles. His role in promoting Jersey’s attractions through strategic media engagements laid the groundwork for his next career chapter.

Stuart’s entry into photography came unexpectedly when an Automobile Association editor visited Jersey to commission images for an Ordnance Survey guide. Sharing his collection of colour slides led to his first professional assignment, marking the start of a 30-year career. Specialising in publishing, he quickly secured work from Channel Island tour operators, hoteliers, and guesthouse owners, investing in advanced equipment and building a robust client base. His projects included publishing postcards, calendars, and the book Jersey Memories.

By the mid-1990s, Stuart expanded internationally, collaborating with travel writer Kevin Pilley. Their assignments took him to destinations including the USA, Japan, India, Russia, South Africa, and across Europe. These experiences, supported by tourist boards and regional hosts, established him as a versatile travel photographer.

The transition from film to digital photography became a pivotal aspect of Stuart’s career. Embracing new technologies such as Apple Macs, Nikon film scanners, and Adobe software, he adapted to the evolving demands of the publishing industry. In 2000, he won an award for Jersey’s first dedicated online photo library.
In 2012, Google invited Stuart to participate in its Street View project, creating 3D virtual tours for Jersey businesses. This initiative, which utilised DSLR equipment and advanced software, marked his full integration into the digital era. Later, he applied these skills to producing virtual tours for luxury properties.
As the photography landscape shifted towards AI and text-to-image innovations, Stuart concluded his traditional photographic pursuits, leaving a legacy of adaptability and creative contributions to the field.

Henry Mullins was the first professional photographer to establish a portrait business in Jersey. He began his career in London in the 1840s before moving to Jersey in July 1848, where he opened the Royal Saloon studio at 7 Royal Square, partnering with Mr Millward. In 1849 Mullins began working independently and continued to for the next 26 years.

The negative archive of the business totalling around 20,000 glass plates was purchased by the photographers Jones et Cie in 1874. The photographer Clarence Ouless acquired the negatives a decade later after which there is no record of the negative archive.

In 1892 Albert Smith opened a photographic studio in Saint Helier. Jersey was an attractive and potentially lucrative market for commercial photographers in the late 19th century. Having started his career and practice in Merseyside, Albert purchased the studio of John Stroud who had himself purchased the studio of the well known and highly regarded studio E. Baudoux & Son Ltd only five years earlier.

From his premises at 59 New Street, Albert Smith founded a studio that would grow to dominate Jersey's commercial market for several decades. His operations expanded with outlets in Bath Street, Beresford Street, and Broad Street.

Albert Smith died in 1914, his son David Smith continued to operate the business under the name Albert Smith Ltd.

It is unclear if the business was operating and if so in what format between 1931 and 1940.

Jersey Photos was established by Stuart Abraham in 1995.

Charles Ernest Baudoux, born in France around late November of 1827. He moved to Jersey with his wife and son in 1869. He made his name primarily in portrait photography but also photographed property, the landscape, significant social occasions, and pretty much anything of note or interest throughout the late 19th century.

Baudoux set up his studio in 1869 at 56 New Street and soon embarked on a project to capture a detailed panorama of St Helier. Using the wet collodion process, which required a mobile darkroom to develop glass plate negatives on-site. Baudoux demonstrated both technical skill and an eye for Jersey’s architectural landscape. His panoramas of St Helier were among the first of their kind.

He was clearly an experienced and accomplished photographer prior to his arrival in Jersey, however there are no known records of his photographic practice prior to his arrival in Jersey.

In his studio, Baudoux produced portraits of Jersey’s wealthier residents. His use of a sliding plate mechanism allowed him to take two exposures on a single glass plate, giving him the option to select the best image. Retouching was a common practice at the time, and Baudoux applied it extensively to enhance his subjects, particularly improving their complexions and removing imperfections.

Baudoux's work, which consists of over 1,300 surviving photographs held in the Société Jersiaise collection, remains a key resource for understanding Jersey’s history. Examples of his work can also be found in the collections of the Bibliothèque National Français; the Harry Ransom Centre, Texas; and the Alexander Turnbull Library; Wellington.

Baudoux died on 24 May 1897, he was buried at Almorah Cemetery three days later.

Baudoux’s impact on Jersey’s photographic heritage is significant, and his work remains an important part of the island’s visual history.