(1823-1894) Born in New York (possibly New York City), he may have learned the daguerreian process c. 1840 from Jeremiah Gurney, and at the same time began his career, as a casemaker for Edward Anthony.
In 1843, Fredericks heard glowing reports of business opportunities in Venezuela from his brother, who lived there. He was determined to purchase an assorted stock of wares and set sail for Angostura. Prior to leaving, he received instruction from Gurney in daguerreotyping, and purchased a camera and plates.
One story indicates that upon his arrival, he had such difficulties trying to get his daguerreian equipment through customs that he left it on the dock to be returned to New York. Shortly thereafter, special arrangements were made to have the equipment cleared into the country. Not anticipating what turned out to be exceptional success, he reportedly made $4,000 in three weeks daguerreotyping, exhausted his stock of supplies and ordered additional from New York City.
Another report indicates he operated at this time with George Penabert. He remained in Buenos Aires and Montevideo about a year. However, another report has him in South America and the West Indies until 1851. The latter is more likely, since he then returned to New York with the intent of going to Paris. He did arrive in Paris in 1853.
The most current research indicates that Fredericks arrived in Para, Brazil in 1844, traveling by way of the Orinoco River, the Cassiquiaria Channel, the Rio Negro and the Amazon Rivers. He landed at Belam, and opened a studio there. He made a short return visit to the U.S., returned to Para, and then spent the next nine years traveling thoughout South America with his daguerreian equipment.
In the winter of 1852, he was listed in partnership with N.G. Burgess at 223 King Street, Charleston, S.C. The gallery there was at 233 King Street; it was opened in December, 1851, and lasted until sometime in 1852.
In Paris in 1853, he was the first to make life-size heads, and hired artists to finish them in pastels. After remaining in Paris for six months, he returned to New York, and entered partnership with Jeremiah Gurney. One source indicates he simply went to work for Gurney, not as a partner, about November, 1853.
In 1854, he pioneered work in paper photography, and began making enlarged photographs. In 1854-1855 he was listed in New York City, in partnership with Jeremiah Gurney at 349 Broadway. An alternate directory listed him in this same time period at 178 Elm Street, but this is probably a residence address. A "D.E. Frederick" was listed as a photographist at 349 Broadway.
The partnership with Gurney was reportedly dissolved in 1855, although the directory continues to list it through 1857. During the 1855 to 1857 period, Fredericks continues to be listed as a photographist at the Gurney gallery address, 349 Broadway. His residence then was noted at 250 W. 18th Street.
From 1856 to 1858, Fredericks was noted with a branch gallery in Havana, Cuba. In 1856 he exhibited at the American Institute, and won a silver medal for best photographic oil colors, and a bronze medal for the best photographic watercolors.
In 1857-1858, he advertised his "Photographic Temple of Art" at 588 Broadway, opposite the Metropolitan Hotel. His residence was listed at the Metropolitan Hotel. He advertised his firm as "formerly Gurney and Fredericks." His business continued to be listed at the same address in 1858-1859, and in 1859 it was noted that Mr. Weeks (A.B.?) was in charge of the gallery. From 1857 until 1866, Fredericks employed Robert Henry Furman as a daguerreian; Furman was the brother-in-law of Samuel Root.
In 1859-1860, Fredericks was listed as a photographer at 136 Bowery and 585 Broadway. His residence was noted at 587 Broadway. In 1860 he was noted to have eleven camera operators.
In the 1860's, Fredericks was known for his cartes de visite. In 1889 he retired from photography, and died May 26, 1894, in New York City.