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diff --git a/167-h/167-h.htm b/167-h/167-h.htm new file mode 100644 index 0000000..fc4afb5 --- /dev/null +++ b/167-h/167-h.htm @@ -0,0 +1,6195 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> +<head> +<meta http-equiv="content-type" content="text/html; charset=utf-8" /> +<meta http-equiv="Content-Style-Type" content="text/css" /> +<title>The Project Gutenberg E-text of American Handbook of the Daguerrotype, by Samuel D. Humphrey.</title> + +<style type="text/css"> + +body { margin-right: 10%; + margin-left: 10%; + text-align: justify } + +h1, h2, h3, h4, h5 {text-align: center; font-style: normal; font-weight: +normal; line-height: 1.5; margin-top: .5em; margin-bottom: .5em;} + +h1 {font-size: 300%; + margin-top: 0.6em; + margin-bottom: 0.6em; + letter-spacing: 0.12em; + word-spacing: 0.2em; + text-indent: 0em;} +h2 {font-size: 150%; margin-top: 2em; margin-bottom: 1em;} +h3 {font-size: 150%; margin-top: 2em;} +h4 {font-size: 120%;} +h5 {font-size: 110%;} + +p {text-indent: 1em; + margin-top: 0.25em; + margin-bottom: 0.25em; } + +p.letter {text-indent: 0%; + margin-left: 10%; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +p.noindent {text-indent: 0% } + +p.footnote {font-size: 90%; + text-indent: 0%; + margin-left: 10%; + margin-right: 10%; + margin-top: 1em; + margin-bottom: 1em; } + +sup { vertical-align: top; font-size: 0.6em; } + +p.transnote {font-size: small ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +div.fig { display:block; + margin:0 auto; + text-align:center; + margin-top: 1em; + margin-bottom: 1em;} + +a:link {color:blue; text-decoration:none} +a:visited {color:blue; text-decoration:none} +a:hover {color:red} + +</style> +</head> +<body> + +<pre> +The Project Gutenberg EBook of American Handbook of the Daguerrotype, by Samuel D. Humphrey + +This eBook is for the use of anyone anywhere in the United States and most +other parts of the world at no cost and with almost no restrictions +whatsoever. You may copy it, give it away or re-use it under the terms of +the Project Gutenberg License included with this eBook or online at +www.gutenberg.org. If you are not located in the United States, you'll have +to check the laws of the country where you are located before using this ebook. + +Title: American Handbook of the Daguerrotype + +Author: Samuel D. Humphrey + +Release Date: September, 1994 [EBook #167] +[Most recently updated: July 3, 2020] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN HANDBOOK OF THE DAGUERROTYPE *** + + + + +Produced by Gregory Walker, for the Digital Daguerreian Archive Project. + + + + + + +</pre> + +<div class="fig" style="width:100%;"> +<img src="images/titlepage.gif" width="462" height="700" alt="[Illustration]" /> +</div> + +<p class="transnote"> +This etext was created by Gregory Walker, Austin, Texas, for the Digital +Daguerreian Archive Project. <br /><br /> Page numbers explicitly referred to in +the text are marked at their beginning by “[page ##]” on a separate line. +I hope this etext inspires a wider interest in the origins of photography and +in the modern practice of the Daguerreian Art. +</p> + +<p class="transnote"> +[Updater’s note: In this version, the above page numbering convention has +been replaced by “{##}” sequences placed in line with the surrounding +text.] +</p> + +<h1> +AMERICAN HAND BOOK <br /> OF THE <br /> DAGUERREOTYPE +</h1> + +<h3> +GIVING <br /> THE MOST APPROVED AND CONVENIENT <br /> METHODS FOR PREPARING +THE CHEMICALS, AND <br /> THE COMBINATIONS USED IN THE ART. +</h3> + +<h3> +CONTAINING THE <br /> DAGUERREOTYPE, ELECTROTYPE, <br /> AND VARIOUS OTHER +PROCESSES EMPLOYED IN TAKING <br /> HELIOGRAPHIC IMPRESSIONS. +</h3> + +<p> +<br /><br /> +</p> + +<h2> +BY S. D. HUMPHREY +</h2> + +<p> +<br /><br /> +</p> + +<h4> +FIFTH EDITION +</h4> +<p> +<br /><br /> +</p> + +<h4> +NEW YORK: <br /> PUBLISHED BY S. D. HUMPHREY <br /> 37 LISPENARD STREET +<br /> 1858 +</h4> + +<h5> +Entered, according to Act of Congress, in the year 1858, <br /> by S. D. +HUMPHREY, In the Clerk’s Office of the District Court <br /> of the +Southern District of New York. +</h5> + +<h3> +To J. GURNEY, WHOSE PROFESSIONAL SKILL, SCIENTIFIC ACCURACY, <br /> AND +ENERGETIC PERSEVERANCE, HAVE WON FOR HIM UNIVERSAL ESTEEM, <br /> THIS WORK +IS MOST RESPECTFULLY INSCRIBED. +</h3> + +<p> +<br /><br /><br /> +</p> + +<h2>PREFACE.</h2> + +<p> +There is not an Amateur or practical Daguerreotypist, who has not felt the +want of a manual—Hand Book, giving concise and reliable information for +the processes, and preparations of the Agents employed in his practice. +</p> + +<p> +Since portraits by the Daguerreotype are at this time believed to be more +durable than any other style of “Sun-drawing,” the author has hit upon the +present as being an appropriate time for the introduction of the Fifth +Edition of this work. The earlier edition having a long since been wholly; +exhausted, the one now before you is presented. +</p> + +<p> +The endeavor has been to point out the readiest and most approved Methods +of Operation, and condense in its pages; as much practical information as +its limits will admit. An extended Preface is unnecessary, since the aim +and scope of this work are sufficiently indicated by the title. +</p> + +<p class="noindent"> +S. D. HUMPHREY NEW YORK, 1858. +</p> + +<p> +<br /><br /><br /> +</p> + +<h2> +CONTENTS +</h2> + +<p> +<a href="#chap01">CHAPTER I.</a> +</p> + +<p class="noindent"> +Polishing the Daguerreotype Plate—Buffing the Plate—Coating the +Plate—Exposure of the Plate in the Camera—Position Developing the +Daguerreotype—Exposure to Mercury—Removing the Coating—Gilding or +fixing the Image—Coloring Daguerreotype, . . . . . 18 +</p> + +<p> +<a href="#chap02">CHAPTER II.</a> +</p> + +<p class="noindent"> +Coloring Back Grounds—Transparent ditto—Gilding Dissolvent—Solution for +removing Specks—Solarized Impression—To Purify Water—Cleaning +Mercury—Adhesive Paper—Black Stain for Apparatus—Sealing Wax for +Bottles—Rouge—Rotten Stone—Potassa Solution—Hyposulphite +Solution—Substitute for do.—Gilding Solution—Solution for increasing +the Brilliancy of the Daguerreotype—Bleaching Solution;—Cold +Gilding—Neutralizing Agents—Buff Dryer—Keeping Buffs in order—Cleaning +Buckskins—Reflector for taking Views, . . . . 52 +</p> + +<p> +<a href="#chap03">CHAPTER III.</a> +</p> + +<p class="noindent"> +Bromine and its Compounds—Iodine and its Compounds—Chlorine and its +Compounds—Cyanide of Potassium—Hyposulphite of Soda—Hyphosulphite of +Gold—Nitric Acid—Nitro-Muriatic Acid—Hydrochloric Acid—Hydrofluoric +Acid—Sulphuric Acid—Accelerating Substances—Liquid Sensitives—Dry +Sensitives, etc., etc., . . . . . 72 +</p> + +<p> +<a href="#chap04">CHAPTER IV.</a> +</p> + +<p class="noindent"> +Light—Optics—Solar Spectrum—Decomposition of Light—Light, Heat, and +Actinism—Blue Paper and Color for the Walls of the Operating +Room—Proportions of Light, Heat and Actinism composing a +Sunbeam—Refraction—Reflection—Lenses—Copying Spherical +Aberration—Chromatic Aberration, . . . 131 +</p> + +<p> +<a href="#chap05">CHAPTER V.</a> +</p> + +<p class="noindent"> +To make Plates for the Daguerreotype—Determining the Time of Exposure in +the Camera—Instantaneous Process for Producing Daguerreotype—Galvanizing +the Daguerreotype Plate—Silvering Solution—Daguerreotype without +Mercury—Management of Chemicals—Hints and +Cautions—Electrotyping—Crayon Daguerreotypes—Illuminated +Daguerreotypes—Natural Colors in Heliography—Multiplying Daguerreotypes +on one Plate—Deposit in Gilding—Practical Hints on the Daguerreotype, . +. . 149 +</p> + +<p> +<a href="#chap06">CHAPTER VI.</a> +</p> + +<p class="noindent"> +An Account of Wolcott and Johnson’s Early experiments in the +Daguerreotype, . . . 188 +</p> + +<p> +<br /><br /><br /> +</p> + +<h1> +AMERICAN HAND-BOOK of THE DAGUERREOTYPE. +</h1> + +<h2><a name="chap01"></a>CHAPTER I.</h2> + +<p class="letter"> +Polishing the Daguerreotype Plate—Buffing the Plate—Coating the +Plate—Exposure of the Plate in the Camera—Position—Developing the +Daguerreotype—Exposure to Mercury—Removing the Coating—Gilding or +fixing the Image—Coloring Daguerreotype. +</p> + +<p> +Polishing the Daguerreotype Plate.—I shall endeavor to present to the +reader the process I have found productive of good and satisfactory +results, presenting the same in a clear and concise manner, so that any +one, by following the various manipulations given, will be enabled to +succeed. If there is any one part of the process in Daguerreotype in which +operators fail more than all others, it is in not properly preparing the +plate. It has truly been said that it would take a volume to describe all +the methods that have been suggested for polishing the plate. +</p> + +<p> +I shall confine myself to the following description, which has been +successfully practised, also most generally adopted by our operators, and +I believe equal, if not superior to any other method, yet at the same time +it is not of so much importance what particular method is employed, so +that it be thoroughly and skillfully carried out. +</p> + +<p> +There is a general tendency with beginners to slight this operation; hence +the necessity of adopting a system which precludes the possibility of +doing so. During many years’ study and practice in the art, I have tried +numerous methods and substances for the better accomplishment of the end +in view, and have finally settled upon the following, as being (so far as +experience allows me to Judge) the modus operandi, best suited to all +circumstances; under no condition would I approve of a method less +rigorous or precise. +</p> + +<p> +The operator being provided with a bottle of finely prepared rotten stone, +cover the mouth of the bottle with a piece of thick paper, this perforated with +a pin so that the rotten stone can be dusted on the plate. Fasten the plate on +the holder, take the rotten stone (Becker’s can always be depended upon), +and dust on lightly until the surface is freely covered; now drop on the +plate’s surface a few drops of an alcoholic solution.<a href="#fn-1" name="fnref-1" id="fnref-1"><sup>[1]</sup></a> +</p> + +<p class="footnote"> +<a name="fn-1" id="fn-1"></a> <a href="#fnref-1">[1]</a> +This solution is composed of equal parts of alcohol and water, for the summer, +and in winter three parts alcohol to one of water; a few drops of potassa +solution may be added, and is known to have a decided effect upon the plate. +</p> + +<p> +Take a patch of Canton flannel; in order to prevent the moisture from the +hand it should have a thick, firm texture: with this rub the plate in +circles across, then back covering one-half of the former row of circles +in each crossing until you have gone over the plate and back to the point +of beginning, occupying at least half a minute in the operation, for a +small plate, and so in proportion for the other sizes. +</p> + +<p> +Care should be observed to keep the patch wet with the alcoholic solution +forming a paste on the surface of the plate; the motion of the hand should +be brisk and free, not hurried, and the pressure about equal to that of a +pound weight. When the cotton is disposed to adhere to the plate, and slip +from under the finger, spread the fore and middle fingers a little apart, +then pressing down, bring them together in such a manner as to form a fold +in the cloth between them, by which means you will hold it perfectly +secure. +</p> + +<p> +Avoid wetting the fingers, and should they perspire, wipe them often, as +the moisture penetrating the cotton and coming in contact with the plate, +would cause streaks it would be difficult to remove. I will here remark +that many operators use much more cotton flannel than there is need of. I +have found in my experience that a single patch, about one and half inch +square, will be better for cleaning a number of plates than a new piece +for every plate. This is the case for the wet, and for the dryrubbing two +or three pieces will be found to answer. Thus with four or five cloths a +dozen plates may be prepared. +</p> + +<p> +Some operators use prepared cotton, and think it more convenient than the +flannel. This may be had prepared free from seeds and in a very perfect +state, if wished. +</p> + +<p> +In going over the plate, great care should be observed, in touching its +surface as equally as possible. The greatest care should be taken neither +to touch the plate with the fingers, nor that part of the cotton flannel +which is to come in contact with its surface; take a clean piece of +flannel by one corner, snap it smartly to free it from dust and loose +fibres, lay it face-side upward, dust on a little fine rotten stone; with +this, polish around, or across, or in circles, lightly and briskly, +passing gradually over the whole surface of the plate, as was done before +with the wet. The plate should now exhibit a bright, clear, uniform +surface, with a strong metallic lustre, perfectly free from any appearance +of film; if not, the last polished should be continued until the effect is +obtained, and when once obtained, the plate is ready for buffing. +</p> + +<p> +Buffing the Plate.—There are a variety of ways and means employed in this +part of the operation. Some choose wheels, and others prefer the ordinary +hand-buff. I have been unable to detect any peculiar advantage in the use +of the wheel except in the facility of the operation; no doubt, however, +but there is a saving of time, particularly in the preparation of the +larger plates. For general use, we have not seen a wheel better adapted +for this purpose than the one patented by Messrs. Lewis. +</p> + +<p> +It is generally well to use a hand-buff before placing the plate on the +wheel; this is in order to prevent, as far as possible, the dust or other +substance that may be on the surface of the plate from coming in contact +with the cover of the wheel. I will here follow out the use of the +hand-buffs (two are necessary) as they are mostly used. +</p> + +<p> +In the morning, before using the buffs, brush both as clean as possible, +in order to free them from dust; then with the blade of a pair of shears, +held perpendicular, rub the buffs from end to end; then knock them both +together in order to free them from all dust or other substances, +occasionally exposing them to the sun or to the fire. +</p> + +<p> +With one of the buffs (reserving the finest and softest for the last +operation), powder its face with fine rouge and brush off slightly, +leaving only the finest particles in it. Every operator should have two +plate-holders; one for cleaning and one for buffing the plate; for when +using only one, the rotten stone is liable to get on the buff and scratch +the plate. +</p> + +<p> +Rest the fingers of the left hand on the back of the buff, near the +farther end, with about the same pressure as in cleaning, while with the +right you bear on the handle to correspond, and give the buff a free, +easy, horizontal motion, passing it very nearly the whole length over the +plate each time. Continue this operation in such a manner that the plate +will on all parts of its surface have received an equal amount of polish. +This buff once well filled with polish, add but little after, say a small +quantity once in two or three plates. The polish as well as the buffs must +be kept perfectly dry. +</p> + +<p> +The second buff should always be in the best order, and if this is the +case, but little polish after the first need be used. Much depends upon +the last finish of the surface of the plate, and as a fine impression is +desired in the same ratio, the operator must exercise care and skill in +this operation. Some buff the smaller plates on the hands, by resting them +on the fingers in such a manner that the buff cannot touch them; some by +holding the edges with thumb and little finger, with the remaining fingers +under, or on the back; and others buff on the holder. When this last +method is adopted, it requires the greatest caution to prevent the dust +from getting on the buff. The holder should be wiped clean. +</p> + +<p> +The plate frequently slips off or around, and the buff comes in contact +with the bed of the holder. When, however, the operator is so unfortunate +as to meet with this mishap, the utmost care must be observed in +thoroughly cleaning the buff cover before further buffing. In this last +buffing it may be continued as before, except without the application of +polish powder to the last buff. Examine the surface occasionally, and buff +more lightly towards the close of the operation, using at last the mere +weight of the buff. This last buffing should occupy as long a time as the +first. +</p> + +<p> +The point to be aimed at is, the production of a surface of such exquisite +polish as to be itself invisible, like the surface of a mirror. The secret +of producing pictures discernible in any light, lies in this: the more +dark, deep and mirror-like the surface of the plate, the more nearly do we +approach to perfection. +</p> + +<p> +In all cases, very light and long continued buffing is productive of the +greater success, since by that means a more perfect polish can be +obtained. +</p> + +<p> +The question is often asked, why is it that the plates receive the coating +so unevenly? I will answer by saying that it may arise from two causes: +the first and most general cause is that those parts of the plate’s +surface which will receive the heaviest coating have been more thoroughly +polished, and the consequence is that it is more sensitive to the chemical +operation; second, and might perhaps be considered a part of the first, +the heat of the plate may not be equal in all its parts; this may arise +from the heat caused by the friction in buffing. It is a well known fact, +with which every observing practitioner is familiar, that a silver plate +at a temperature of 45 deg. or less, exposed to the vapors of iodine, is +less sensitive and takes a longer time to coat, than when it is at a +temperature of 60 deg. or more. +</p> + +<p> +Whenever a view is to be taken, or any impression which requires the plate +to be turned on the side, it should be buffed in the other direction, so +that the marks will always be horizontal, when the picture is in position. +With the finest possible polish, the plate is ready for the coating box. +</p> + +<p> +The question is often asked by operators, what is the state of the plate +when polished and allowed to stand for a time before using? To meet this +point we hare only to consider the silver and the power acting upon it. +Pure atmosphere does not act upon silver; but we do not have this about in +our operating rooms, as it is more or less charged with sulphurated +hydrogen, which soon tarnishes the surface of the plate with a film of +brown sulphurate. It is this that sometimes causes the specks which appear +on finishing the impression, and are a great annoyance. Hence we see that +the plate should be buffed just before receiving the vapor of iodine. Mr +Hunt gives his opinion of the use of diluted nitric acid as the best +solution for freeing, the surface of the plate; he says: +</p> + +<p> +“Numerous experiments on plated copper, pure silver plates, and on +silvered glass and paper, have convinced me that the first operation of +polishing with nitric acid, etc., is essential to the production of the +most sensitive surface. All who will take the trouble to examine the +subject, will soon be convinced that the acid softens the silver, bringing +it to a state in which it is extremely susceptible of being either +oxydized or iodized, according as the circumstances may occur of its +exposure to the atmosphere or the iodine.” +</p> + +<p> +I cannot see the objection to this solution; not, however, in general use. +Our operators do not find it of sufficient importance to the success of +their pictures to accept it, the alcoholic solution being in its nature +less objectionable. +</p> + +<p> +I will say here, that a plate submitted to only an ordinary polish is +found to contain numberless minute particles of the powder made use of. +Should the same plate be buffed for a long time, the polish will nearly +all disappear, leaving the cavities in the surface free for the action of +agents employed in subsequent operation. For this reason, I find that +great amount of polishing powder should not be applied to the last buff, +and it is obvious that three buffs can be employed to adventure; the two +last should not receive any polishing materials. I have examined a plate +that was considered to possess a fine finish, and similar had produced +good impressions; these same plates, when subjected to a long and light +buffing, would present a surface no finer in appearance to the naked eye; +but upon exposure to the solar radiation, would produce a well-defined +image in one fourth less time than the plate without the extra buffing. +</p> + +<p> +Coating the Plate.—For this purpose our mechanics and artists have +provided a simple apparatus called a coating-box, which is so arranged as +to be perfectly tight, retaining the vapor of the iodine or accelerators, +and at the same time allowing, by means of a slide, the exposure of the +plate to these vapors. They can readily be obtained by application to any +dealer, all of whom can furnish them. +</p> + +<p> +The principal difficulty in coating the plate, is that of preserving the +exact proportion between the quantity of iodine and bromine, or quick. It +is here necessary to say, that hardly any two persons see alike the same +degree of color, so as to be enabled to judge correctly the exact tint, i. +e. what one might describe as light rose red, might appear to another as +bright or cherry red; consequently, the only rule for the student in +Daguerreotype, is to study what appears to him to be the particular tint +or shade required to aid him to produce the desired result. Practise has +proved that but a slight variation in the chemical coating, of the +Daguerreotype plate will very materially affect the final result. +</p> + +<p> +The operator will proportion the coating of iodine and bromine or +accelerators according to the strength and composition of the latter. +</p> + +<p> +Experience proves that the common impressions, iodized to a rather light +yellow gold tint, and brought by the bromine to a very light, rose color, +have their whites very intense, and their deep shades very black. It is +also known that if you employ a thicker coating of iodine and apply upon +it a proportionate tint of bromine, so as to obtain a deep rose tint, +delineations will be less marked, and the image have a softer tone. This +effect has been obvious to everyone who has practised the art. Thus I may +observe that the light coatings produce strong contrast of light and +shade, and that this contrast grows gradually less, until in the very +heavy coating it almost wholly disappears. From this it will readily be +perceived that the middle shades are the ones to be desired for +representing the harmonious blending of the lights and shades. +</p> + +<p> +Then, if we examine, with respect to strength, or depth of tone, and +sharpness of impression, we see that the light coating, produces a very +sharp but shallow impression; while the other extreme gives a deep but +very dull one. Here, then, are still better reasons for avoiding either +extreme. The changes through which the plate passes in coating may be +considered a yellow straw color or dark orange yellow, a rose color more +or less dark in tint, or red violet, steel blue or indigo, and lastly +green. After attaining this latter color, the plate resumes a light yellow +tint, and continues to pass successively a second time, with very few +exceptions, through all the shades above mentioned. +</p> + +<p> +I will here present some excellent remarks upon this subject by Mr. +Finley. This gentleman says: +</p> + +<p> +“It is well known to all who have given much attention to the subject, +that an excess of iodine gives the light portions of objects with peculiar +strength and clearness, while the darker parts are retarded, as it were, +and not brought out by that length of exposure which suffices for the +former. Hence, statuary, monuments, and all objects of like character, +were remarkably well delineated by the original process of Daguerre; the +plate being coated with iodine alone. An excess of bromine, to a certain +degree, has the opposite effect; the white portions of the impression +appearing of a dull, leaden hue, while those which should be black, or +dark, appear quite light. This being the case, I conclude there must be a +point between the two extremes where light and dark objects will be in +photogenic equilibrium. The great object, therefore, is to maintain, as +nearly as possible, a perfect balance between the two elements entering +into union to form the sensitive coating of the plate, in order that the +lights and shades be truly and faithfully represented, and that all +objects, whether light or dark, be made to appear so far conformable to +nature, as is consistent with the difference in the photogenic energy of +the different colored rays of light. It is this nicely-balanced +combination which ensures, in the highest degree, a union of the essential +qualities of a fine Daguerreotype, viz., clearness and strength, with +softness and purity of tone. +</p> + +<p> +“So far as I know, it is the universal practice of operators to judge of +the proportion of iodine and bromine in coating the plate, by two +standards of color the one fixed upon for the iodine, the other for the +additional coating of bromine. Now I maintain that these alone form a very +fallacious standard; first, because the color appears to the eye either +lighter or darker, according as there is more or less light by which we +inspect the coating; and secondly, because if it occur that we are +deceived in obtaining the exact tint for the first coating, we are worse +misled in obtaining the second, for if the iodine coating be too light, +then an undue proportion of bromine is used in order to bring it to the +second standard, and vice versa.” +</p> + +<p> +The iodine box should be kept clean and dry. The plate immediately after +the last buffing, should be placed over the iodine, and the coating will +depend upon the character of the tone of the impression desired. Coating +over dry iodine to an orange color, then over the accelerator, to a light +rose, and back over iodine one sixth as long as first coating, will +produce a fine, soft tone, and is the coating generally used for most +accelerators. The plate iodized to a dark orange yellow, or tinged +slightly with incipient rose color, coated over the accelerator to a deep +rose red, then back over iodine one-tenth as long as at first coating, +gives a clear, strong, bold, deep impression. +</p> + +<p> +I will here state a singular fact, which is not generally known to the +operator. If a plate, coated over the iodine to a rose red, and then +exposed to strong dry quick or weak bromine water, so that a change of +color can be seen, then recoated over the iodine twice as long as at first +coating, it will be found far more sensitive when exposed to the light +than when it has been recoated over the iodine one-fourth of the time of +the first coating. +</p> + +<p> +Probably the best accelerating combination is the American compound +formerly known as “Gurney’s American compound,” or some of the +combinations of bromide of lime. The first is thought to possess perhaps +more uniformity in its action than any other combination I have ever used. +</p> + +<p> +The plate once coated should be kept excluded from the light by means of +the plate holder for the camera box. +</p> + +<p> +I will notice one of the principal causes having a tendency to prevent the +perfect uniformity of chemical action, between the iodine and silver; +hydrogen, or the moisture in the atmosphere, makes a very perceptible +barrier. This moisture may arise as the result of the cold, from a want of +friction in the buffing of the plate, which, coming in contact with the +warmer air, as a writer on this subject says: +</p> + +<p> +“It is well known that as often as bodies, when cold, are exposed to a +warmer air, the humidity contained in them is condensed. It is to this +effect that we must attribute the difficulty experienced in operating in +most cases.” This is corroborated by the results experienced by our +operators. So it is seen that the plate should be of a temperature above +that of the atmosphere. Mr. Gurney submits his plates to a gentle heat +from a spirit lamp just before exposing them to the vapor of iodine. +Experience has convinced me that a plate heated to about 80 deg. before +being exposed to iodine will present a far better defined image than a +plate at a temperature of 50 deg. I account for this by noticing that, at +a higher temperature, the plate throws off any larger crystals that might +otherwise be deposited, receiving only the finer, thus producing a more +perfect chemical combination of iodide of silver. I would call the +attention of the operator to this point, as presenting something of +interest, and which may direct in a way of accelerating the future +operations. +</p> + +<p> +That the presence of a film of moisture over the plate is a preventive of +uniform chemical action, may be readily understood from the fact that +iodine is almost insoluble in water, requiring seven thousand parts of +water to dissolve one of iodine, or one grain to a gallon of water. Yet +its affinities for silver and other substances are so powerful as to +prevent its existing in an insulated state, hence we can account for the +frequent occurrence of a plate presenting parts of an image over its +surface. It is quite evident that those parts of plate’s surface covered +with moisture are nothing like as sensitive to the iodine as those parts +perfectly free. +</p> + +<p> +Exposure of the plate in the Camera, and Position.—The time of exposure +necessary to produce an image upon the Daguerreotype plate, can only be +determined by experiment, and requires a liberality of judgment to be +exercised on the part of the operator. The constant variation of the light +renders it impossible to lay down any exact rule upon this point. Light is +not alone to be considered; the amount of coating exercises a deviating +influence, also the subjects to be represented are not equally photogenic, +some requiring much longer time of exposure than others. This may be +easily observed by exposing the plate at the same time to a plaster bust +and a piece of black velvet, the first being a much stronger reflector of +light than the latter: the time necessary to produce a well developed +image of the velvet being about six times longer than that required to +produce an equally defined image of plaster. The manner of judging +correctly of the time is by the appearance of impression after it has been +developed by the mercurial vapors. Should it present a deep blue or black +appearance it is solarized or over-timed. This sometimes is to an extent, +that a perfect negative is formed, the white being represented black, and +the dark light. +</p> + +<p> +An object requiring the particular care and attention of the operator is the +proper focus. It is not unfrequently the complaint of sitters that their hands +are represented as being magnified and greatly out of proportion with the +general figure. This is the case also with the nose and eyes, but in a less +degree. As this cannot be wholly remedied, it is desirous to come as near as +possible, and in order to do this, it is necessary to present the figure in +such a position as to bring it as nearly as possible upon the same plane by +making all parts nearly at equal distance from the lenses. This must be done by +the sitter inclining the head and bust formed to a natural, easy position, and +placing the hands closely to the body, thus preserving a propel proportion, and +giving a lively familiarity to the general impression. It is not an uncommon +fault among our less experienced operators to give a front view of the face of +nearly every individual, regardless of any particular form, and this is often +insisted upon by the sitter,<a href="#fn-2" name="fnref-2" id="fnref-2"><sup>[2]</sup></a> +who seems to think the truth of the picture exists principally in the eyes +staring the beholder full in the face. +</p> + +<p class="footnote"> +<a name="fn-2" id="fn-2"></a> <a href="#fnref-2">[2]</a> +I might here picture some curious scenes experienced by our operators Every one +is familiar with a certain class of our community whose ideas of the importance +of a free and easy position of the body are too closely confined with stays, +attention to toilet, tightly fitting dress coats and the like, to admit of +being represented as if nature had endowed them with least possible power of +flexibility. To such we would suggest the following, to be well learned and +retained in the mind while presenting themselves before the Daguerreotype +camera: +</p> + +<p> +“The experience of one who has often been Daguerreotyped, is, to let the +operator have his own way.” +</p> + +<p> +Nothing, in many instances, can be more out of place in a Daguerreotype +portrait than this, for let a man with a thin, long, +defeated-politician-face, be represented by a directly front view, we +have, to all appearances, increased the width of the face to such an +extent as to reveal it flat and broad, losing the characteristic point by +which it would be the most readily recognized. The method we should adopt +in taking the likeness of such an individual as above, would be to turn +the face from the camera, so as to present the end of the nose and the +prominence of the cheek bone equally distant from the lenses, and then +focusing on the corner of the eye towards the nose, we cannot in many +cases, fail to produce an image with the lips, chin, hair, eyes and +forehead in the minutest possible definition. +</p> + +<p> +It should be the study of every operator to notice the effect of the +lights and shades while arranging the sitter, and at the same time be very +particular to give ease in the position. +</p> + +<p> +No matter how successful the chemical effect may have been, should the +image appear stiff and monument-like, all is lost. “In the masterpiece, +grace and elegance must be combined.” +</p> + +<p> +I will here use the words of another, which are very true: +</p> + +<p> +“So great is the difference in many faces, when inspected in opposite +directions, that one of the two views, however accurately taken, would not +communicate the likeness—it not being, the usually observed +characteristic form. When the right view of the head is obtained, it is +first necessary to consider the size of the plate it is to be taken on, so +as to form an idea of the proportion the head should bear to it. The mind +must arrange these points before we commence, or we shall find everything, +too large or too small for the happy proportion of the picture, and the +conveying of a just notion of the stature. The work will have to be done +over, and time sacrificed, if this is not attended to. The adjustment of +the head to the size of the plate (as seen from the margin of the mat), is +not to be taught: everyone must bring himself, by scrutinizing practice, +to mathematical accuracy; for something will be discovered in every face +which can be surmounted only by experience. +</p> + +<p> +“The eye nearest the camera, in a three-quarter-face, is placed in the +middle of the breadth of the plate; the chin, in a person of middle +stature, in the middle of the length, and higher according to the +proportional height of the person.” +</p> + +<p> +In regard to the proper elevation of the camera, it may be here stated +that I have found it best in taking portraits where the hands are +introduced, to place the camera at about equal height with the eyes of the +sitter, in order to bring the face and hands equi-distant from the tube. +It will be found, if the above be followed, that by attaching a string to +the camera tube, and making a semi-circle, that the face and hands of the +sitter will occupy a corresponding distance, and the consequence is that +the impression will appear without the hands being magnified. It has been +found that a person with a freckly face can have as fine, fair, and clear +an impression as the most perfect complexion; this may be done by the +subject rubbing the face until it is very red. The effect is to lessen the +contrast, by giving the freckles and skin the same color and the +photogenic intensity of the red and yellow being nearly the same, an +impression can be produced perfectly clear. +</p> + +<p> +When a child is to be taken, and there are doubts of its keeping still, +the operation may be accelerated by placing it nearer the window bringing +the screen nearer, and placing a white muslin cloth over the head; this +will enable you to work in one third of the usual time. Should the person +move, or the plate become exposed to the light, it may be restored to its +original sensitiveness by placing it over the quick, one or two seconds. +</p> + +<p> +Developing the Daguerreotype.—After the plate has been submitted to the +operation of the light, the image is still invisible. It requires to be +exposed to the vapors of heated mercury. It is not absolutely necessary to +apply artificial heat to the mercury to develop the image, for fair proofs +have been produced by placing a plate over the bath at the ordinary +temperature of the atmosphere. This plan, however, requires a long time +and cannot be adopted in practice, even if it were advisable. The time +more usually required in developing the image over the mercurial vapors, +is about two minutes, and the temperature is raised to a point necessary +to produce the desired effect in that time. This point varies as indicated +by different scales, but for the ordinary scales it is not far from 90 +deg. cen. +</p> + +<p> +The mercury bath is accompanied with a centigrade thermometer, by which +the heat is regulated. Those furnished by the manufacturers are not always +correct, and it requires some experience to find the proper degree on the +scale. +</p> + +<p> +I would here remark that it is advisable, when placing the spirit lamp +under the bath, to so arrange it that the position of applied heat should +always be on the same point, viz., should the heat be directly under the +bulb containing the thermometer it would raise the mercury in the tube to +the point marked, and the temperature of that in the bath would be far +below what it should be; hence it is (where time is followed for +developing) that many failures occur. This is observed more readily in the +large baths made of thick iron, particularly upon first heating. In +practice I apply the heat as nearly as possible between the centre of the +bottom of the bath and the bulb containing the mercury tube. It is +advisable to keep the lamp lighted under the bath from the time of +commencing in the morning to the close of business at night. By this means +you have a uniformity of action, that cannot be otherwise obtained. +</p> + +<p> +It is well known to the experienced Daguerreotypist, that different +atmospheres have a decided effect upon the mercury in developing the +Daguerreotype. It will require a greater degree of heat for one atmosphere +than for another. Experience alone determines this little difference. +</p> + +<p> +In summer, on cloudy and stormy days, mercurial vapors rise more readily +and quickly than in the temperature of autumn or winter. From 60 degrees +upwards towards the boiling point (660 deg.), the vapors of mercury rise +in greater abundance and collect in larger globules on cold surfaces. +</p> + +<p> +For various reasons I prefer a high temperature and short exposure. It +accelerates the process. It renders the lights of the picture more strong +and clear, while the deep shades are more intense. It gives a finer lustre +to the drapery. The solarized portions also are very seldom blue, +especially after gilding. If heated too high, however, the light parts +become of a dead, chalky white, and the shadows are injured by numerous +little globules of mercury deposited over them. Just the right quantity of +mercury leaves the impression of a transparent, pearly white tone, which +improves in the highest degree in gilding. To mercurialize with exactness +is a nice point. If there is reason to suspect having timed rather short +in the camera, reduce the time over mercury in a corresponding proportion. +A dark impression will be ruined by the quantity of mercury which would +only improve a light one. +</p> + +<p> +If practicable, it is most expedient that the plate be submitted to the +action of mercury immediately on coming from the camera. I have +frequently, however, carried plates for miles in the plate-holders and +after exposing in the camera, brought them back to expose to mercury, and +obtained fair proofs; but for the reason before given, it is advisable to +carry along the bath, and bring out the impression on the spot. +</p> + +<p> +It is sometimes the practice of inexperienced operators to take the plate +off the bath and examine the impression by solar light. This plan should +be abandoned, as it is almost sure to produce a dense blue film over the +shadows. +</p> + +<p> +This I am led to believe is occasioned by the action of light on the yet +sensitive portions of the plate, and made to appear only by subsequent +exposure to mercury, being equivalent to solarization. +</p> + +<p> +There has been little said by our professors upon the subject of the +position of the plates while exposed to the mercurial vapour. Mr. Hunt, in +referring to this subject, says: “Daguerre himself laid much stress upon +the necessity of exposing the plate to the mercury at an angle of about 45 +deg.. This, perhaps, is the most convenient position as it enables the +operator to view the plate distinctly, and watch the development of the +design; but beyond this, I am satisfied there exists no real necessity for +angular position. Both horizontally and vertically, I have often produced +equally effective Daguerreotypes.” I presume from the last sentence of Mr. +Hunt, that he has confined his experiments to the smaller sized plates. +Hence he may not have thought of the effect of the vertical exposure of a +large plate. +</p> + +<p> +In America this is a subject of no little importance. When an impression +is to be developed upon a plate fifteen by seventeen inches, were we to +use an angle of about 45 deg., it would be found to make a perceptible +difference in the appearance of the image. By examining the wood tops of +our baths as formerly made, it will be found that there is a great +variation in the distance from the mercury to the different portions of +the plate. By measuring one of these tops for the size plate above +mentioned, I find the distance to the nearest point between the mercury +and the plate, to be thirteen, and the middle point sixteen, and the +furthest point twenty-one and a half inches: by this we see that one point +of the plate is eight and a half inches further from the mercury than the +nearest point; even this is not the variation there would necessarily be, +were we to adopt the angle of 45 deg. as urged by Daguerre. +</p> + +<p> +Among our principal professors, the bevel top will not be found in use +where the large plates are used. Should any one feel desirous to test more +minutely the effect produced by a bevel top bath, I would suggest to them +to place a frame, so constructed as to hold three sixth size plates, and +fit it to the top of the bath, and so arrange it with openings that the +plates may be placed, one at the nearest point of the mercury, the second +midway, and the third to the greatest distance, and by placing the plates +over at one and the same time, the experimenter will be enabled to judge +if there exists a difference in the developing. In speaking of the above, +reference is had to baths to the ordinary heights used by operators. +</p> + +<p> +We will now proceed to examine the effect produced by mercurial vapor upon +the plate at different lengths of exposure. In some investigations which I +have made upon the appearance of the Daguerreotype impressions when +developed over mercury at 90 deg. C. (194 deg. F.), the following was the +result. Plates, coated and exposed to light in our usual manner of +operating, produced on exposure of +</p> + +<p> +1/2 minute, whole impression, deep blue. +</p> + +<p> +1 minute, ashy and flat; no shadows; linen, deep blue. +</p> + +<p> +1 1/2 minute, coarse and spongy; shadows, muddy; drapery, dirty reddish +brown. +</p> + +<p> +2 minutes, shallow or watery; shadows, yellowish; drapery, brown. +</p> + +<p> +2 1/4 minutes, soft; face, scarcely white; shadows, neutral; drapery, fine +dark brown linen somewhat blue. +</p> + +<p> +2 1/2 minutes, clear and pearly; shadows, clear and positive, of a purple +tint; drapery, jet black, with the dark shades slightly frosted with +mercury. +</p> + +<p> +2 3/4 to 3 minutes, hard and chalky; shadows, harsh; drapery, roughened, +and misty with excess of mercury. +</p> + +<p> +The foregoing results will be found general. +</p> + +<p> +There are numerous opinions among our operators in regard to the quantity +of mercury necessary for a bath. As regards this, I need only say, similar +results occur when two pounds or two ounces are used, but the quantity +generally employed is about a quarter of a pound. I am of the opinion that +one ounce will answer as well as a larger quantity. I know of no better +proof in favor of a small quantity than that presented in the following +incident. Several years since, an operator (Mr. Senter, of Auburn, N.Y.) +of my acquaintance, was requested to go several miles to take a +Daguerreotype portrait of a deceased person. He packed up his apparatus +and proceeded over a rough road for some distance to the house where he +was to take the portrait, and arranging his apparatus, with all the +expedition which the occasion required, after having everything in usual +order (as was supposed), he proceeded and took some ten or twelve very +superior impressions. They were fine, clear, and well developed. After +taking the number ordered, he proceeded to repack his apparatus, and to +his surprise, when he took up the bottle he carried the mercury in, he +found it still filled, and none in the bath, except only such particles as +had adhered to the sides, after dusting and being jolted for several miles +over the rough road. From this it will be seen that a very little mercury +will suffice to develop fine proofs. I saw some of the impressions +referred to above, and they were certainly well developed, and very +superior specimens of our art. +</p> + +<p> +Removing the Coating.—After the impression has been developed over the +mercurial vapor, the next step is to remove the sensitive coating. For +this purpose the following solution is used: +</p> + +<p> +Put about two ounces of hyposulphite of soda in a pint of water, which +should always be filtered before using. A convenient way of doing this is +to have two bottles, and a large funnel with a sponge pressed into the +neck of it; or, what is better, some filtering paper folded in it. The +solution in one bottle, the funnel is placed in the other, and the picture +held over it; when the solution is poured on the plate, it runs from it +into the filter, and is always ready for use. +</p> + +<p> +It is best that the washing be done immediately on the plate coming from +the mercury bath. If allowed to stand long with the coating on, it assumes +a very dark tint—as the operation of the light continues, though less +active than while exposed in the camera, and destroys that brightness +which would otherwise have been obtained. It is preferable to wash and +gild a picture without it first being dried; yet when there are doubts of +its giving satisfaction, there would sometimes be a saving by drying and +getting the decision of the subject before gilding, as this last injures +the plate for another impression. First, light your spirit-lamp, then with +your plyers take the plate by the lower right-hand corner, holding it in +such a manner that the plyers will form in a line with the upper left-hand +corner; pour on, slowly, the hyposulphite solution, slightly agitating the +plate, until all the coating is dissolved off; then rinse off with clean +water, and if it is not to be gilded, dry by holding the plate +perpendicular with the bottom left-hand corner lowest, and applying the +blaze of the spirit-lamp to the back, at the same time blowing gently +downward on the face of the plate. +</p> + +<p> +The hyposulphite solution should be often filtered through a sponge, and +it will answer for a great number of washings. Yet it is observed that the +mercury collects in this solution in small globules; these often come in +contact with the plate, causing white spots, which spoil the impression. +They should be guarded against, and the solution renewed. Again, in order +to prevent streaks or scum on the surface of the plate, it is necessary +that the coating should be removed with a good degree of uniformity. I +find in practice that the hyposulphite of soda in our market varies much +as regards strength, and consequently the rule to be adopted is to make a +solution of sufficient strength to remove the coating in about ten +seconds. I am aware that it may be said that this strong solution would +have a tendency to injure the impression by destroying in a measure the +sharpness of outline. To meet this, it need only to be said that the +preventive is, to not let the solution rest on the surface of the plate +for a longer time than is absolutely necessary, and then it should be +drenched copiously with water; hence a chemical action upon the image is +prevented and the general operation facilitated. This plan is adopted by +our first operators with the greatest success. +</p> + +<p> +If the operator should allow the hyposulphite solution to run over the +plate unevenly, it is quite likely that white or blue streaks would +result. These it is impossible to remove without injury to the impression. +Some, in order to prevent this, breathe over the surface, thus moistening +it and putting it in a condition to receive the solution with greater +uniformity. The plate should be well washed with water before gilding. +</p> + +<p> +Gilding, or Fixing the Image.—The next process to be given is that for +fixing the image on the plate. This is done by precipitating a thin film +of gold over the surface and is productive of the most brilliant effect +when prepared immediately after the plate has been washed with water after +the application of the hyposulphite solution, and before the plate has +been allowed to dry. When, however, the plate has been dried and allowed +to stand for any time, before gilding, the hyposulphite wash should be +applied as at first, in order to destroy any chemical coating that may +have been formed on exposure of the plate to the air. For gilding the +larger plates, we have a gilding stand so constructed that the plate can +be put on a perfect level. In practice, I prefer holding the plate with +nippers, fastened at one corner. Hold the plate in the same manner as in +removing the coating; pour on the gilding, newly filtered, until the +surface is wholly covered, and with the blaze of the spirit lamp, at least +three inches high, apply it to the back of the plate, moving it about, +that the surface may be heated with as much uniformity as possible. +Continuing this operation, the surface will generally become covered with +small yellow bubbles which soon disappear, leaving the image clear and +distinct. +</p> + +<p> +It is advisable to make use of a lamp having a sufficiently strong flame to +produce the effect in a few minutes. If after a first heating, it is found that +the impression can admit of a greater degree of intensity, it might be heated +anew; but that is seldom necessary, and often by trying to do too, well, the +operator, if he persists in heating certain parts of the plate, may find the +liquid dry up just above the flame, and inevitably cause a stain; +<a href="#fn-3" name="fnref-3" id="fnref-3"><sup>[3]</sup></a> or else the +blacks are covered with a film, or even the coating of gold may suddenly +exfoliate, when small particles are detached from the plate. The impression is +then entirely spoiled, but the plate may be re-polished. +</p> + +<p class="footnote"> +<a name="fn-3" id="fn-3"></a> <a href="#fnref-3">[3]</a> +This can be remedied, however, if it is immediately washed over with the same +solution that is on the plate, so that the surface shall not become cool; +continue for a short time to apply the lamp under, and agitate the plate +slightly, and it will soon be free from all imperfections and give a fine clear +tone. +</p> + +<p> +It is not unfrequent that the surface assumes a dark, cloudy appearance. +This is generally the best sign that the gilding will bring out the +impression with the greatest degree of distinctness. Soon, the clouds +gradually begin to disappear, and, “like a thing of life” stands forth the +image, clothed with all the brilliancy and clearness that the combined +efforts of nature and art can produce. When in the operator’s judgment the +operation has arrived at the highest state of perfection, rinse suddenly, +with an abundance of clean water, and dry as before described. +</p> + +<p> +When an impression is dark, the gilding process may be longer continued; +but when light, it should be gilded quickly, as lengthening the time tends +to bleach the impression and make it too white. The cause of this appears +to be, that with a moderate heat the chlorine is merely set free from the +gold, and remaining in the solution, instead of being driven off, with its +powerful bleaching, properties, it immediately acts upon the shades of the +picture. A dark impression can thus, by a low heat, long-continued, be +made quite light. To procure the best effect, then, heat suddenly with a +large blaze, and judging it to be at the maximum, cool as suddenly as +possible. +</p> + +<p> +When the hyposulphite of gold is used instead of the chloride, a less heat +should be employed. +</p> + +<p> +Coloring Daguerreotypes.—Of all the so-called improvements in the +Daguerreotype, the coloring is the least worthy of notice. Yet the +operator is often, in fact most generally, called upon to hide an +excellent specimen under paint. I can conceive of nothing more perfect in +a Daguerreotype than a finely-developed image, with clearness of lights +and shadows, possessing the lively tone resulting from good gilding. Such +pictures, however, are not always had, and then color may perform the part +of hiding the imperfections. We present the following method as given in +Willat’s Manual: +</p> + +<p> +“Daguerreotype portraits are now commonly met with beautifully colored; +but the coloring is a process requiring great care and judgment, and many +good pictures are spoiled in fruitless experiments. Several different +methods of coloring have been proposed. The simplest mode appears to be +that of using dry colors prepared in the following manner: A little of the +color required, very finely ground, is thrown into a glass containing +water, in which a few grains of gum arabic have been dissolved. After +standing a few moments, the mixture may be passed through bibulous paper, +and the residue perfectly dried for use. The principal colors used are +Carmine, Chrome Yellow, Burnt Sienna, Ultramarine and White; boxes fitted +with sets of colors properly prepared, may be obtained of the dealers, and +include Carmine, White, Lilac, Sky Blue, Pink, Yellow, Flesh color, +Orange, Brown, Purple, Light Green, Dark Green and Blue. With a few +colors, however, all the rest may be made thus: Orange, by Yellow and Red; +Purple, with Blue and Red; Green, Blue and Yellow; Brown, with Umber, +Carmine and Lamp Black; Scarlet, Carmine and Light Red. While it is true +that a little color may relieve the dark metallic look of some +Daguerreotypes, it must not be concealed that the covering of the fine +delicate outline and exquisite gradations of tone of a good picture with +such a coating, is barbarous and unartistic. +</p> + +<p> +“The prevaling taste is, however, decidedly for colored proofs, and the +following directions will assist the amateur in ministering to this +perverted taste, should he be so inclined. The coloring should commence +with the face, and the flesh tint must be stippled on (not rubbed) with a +small camel’s-hair brush, beginning from the centre of the cheek, taking +great care not to go over the outline of the face, and also not to have +too much color in the brush; the eyes and eyebrows must not be touched +with color. After the flesh color is applied, take a piece of very soft +cotton and pass it very gently backwards and forwards over the face, so as +to soften down the color, and then apply the carmine to give the required +tint. For men, the darker tints should predominate, and for women the +warmer. Very light hair may be improved by a slight tint of brown, or +yellow and brown, according to the color. In coloring the drapery, the +same care must be used. No rules can be laid down for all the different +colors required, and the amateur had better obtain the assistance or +advice of some one accustomed to the use of colors. A little white with a +dash of blue or a little silver, will improve white linen, lace, etc. The +jewelry may be touched with gold or silver from the shells, moistened with +distilled water, and laid on with a fine-pointed sable-hair brush. +</p> + +<p> +“Brilliants may be represented by picking the plate with the point of a +pin or knife.” +</p> + +<h2><a name="chap02"></a>CHAPTER II.</h2> + +<h3> +MISCELLANEOUS. +</h3> + +<p class="letter"> +Coloring Back Grounds—Transparent ditto—Gilding Dissolvent Solution for +removing Specks—Solarized Impression—To Purify Water—Cleaning +Mercury—Adhesive Paper—Black Stain for Apparatus—Sealing Wax for +Bottles—Rouge—Rotten Stone—Potassa Solution—Hyposulphite +Solution—Substitute for do.—Gilding Solution—Solution for increasing +the Brilliancy of the Daguerreotype—Bleaching Solution;—Cold +Gilding—Neutralizing Agents—Buff Dryer—Keeping Buffs in order—Cleaning +Buckskins—Reflector for taking Views. +</p> + +<p> +To Color Back-grounds—To obtain a properly colored back ground is a +matter of no little importance to the Daguerreotype operator. I had nearly +exhausted all patience, and tried the skill of painters to obtain a +back-ground that would be suitable to my purpose; but all to no avail. At +last I adopted the following method, and at a cost of coloring of +twenty-five cents, can now produce a back-ground far more valuable than +those which had cost five dollars before. +</p> + +<p> +Take common earth paint, such as is used in painting roofs; mix this with +water to about the consistency of cream; then to four quarts of this +mixture add about one pint of glue water (common glue dissolved in water, +also about as thick as cream). This last will cause the paint to adhere to +the cloth, to which it is applied with a common white-wash brush. By +applying the brush on the coating while it is wet, it may be so blended +that not a line can be seen, and a perfectly smooth color of any shade can +be obtained. The shade of color I use is a light reddish-brown. Tripoli, +rotten-stone, or any earthy matter, may be applied in the same manner. +</p> + +<p> +Transparent or Invisible Back-ground.—I give this as originally published +in my System of Photography, 1849: +</p> + +<p> +“Take a large woollen blanket with long nap, the longer and rougher it is +the finer will be the effect produced; stretch it on a frame of sufficient +size, and suspend the frame at the centre of the upper end by a string +fastened to a nail in the ceiling, from three to five feet back of the +sitter. Having arranged this, fasten another string to the side of the +frame, and while the operation is going on in the camera, swing the +back-ground from right to left, continuing this during the whole time of +sitting, and you have a clear “transparent” back-ground, which throws the +image out in bold relief, and renders the surface of the plate invisible. +If equalled at all it is only by atmospheric back-ground. I consider it to +be the best ever known, and think it needs but to be tried to afford +satisfactory proof that it is so. Although used by few before, since the +first edition of this work at least two thirds of the operators have +adopted its use; for any one can at once understand the principle and the +effect which it produces.” +</p> + +<p> +It may be added that a motion imparted to to any back-ground where +softness is desired, produces an excellent effect. +</p> + +<p> +Gilding Dissolvent.—To one quart of muriatic acid add as much oxide of +iron (common iron rust) as it will dissolve in two days. This may be done +by putting in the oxide in excess. It should be frequently shook, and when +wanted for bottling it should be allowed to stand in order to settle. When +this is done the solution may be poured off, and reduced by adding to it +an equal quantity of water; then it is ready for use. This constitutes a +gilding dissolvent now in our market. +</p> + +<p> +Solution for Removing Specks.—There is probably no one cause of complaint +so general as “what makes those black specks?” There are several causes +which produce them, and probably the most general are dust, rouge, or a +spray of moisture on the plate. It this be the case, there is no solution +which can remove them, as they have prevented a chemical action with the +silver, and their removal would only expose the surface of the plate which +in itself would afford a contrast with the impression. Another and less +dangerous source of these specks is organic matter contained in the +solution employed in dissolving the chemicals, or the water in washing. +Much of the hyposulphite of soda in market contains a sulphuret, which, +coming in contact with the silver surface, immediately causes oxidation. +Such spots, as well also as most all others found on the plate after it +has been exposed in the camera, can be removed by the following, solution: +To one ounce of water add a piece of cyanide of potassium the size of a +pea; filter the solution and apply by pouring it on the surface of the +plate. In all cases the plate should first be wet with water. Apply a +gentle heat, and soon the spots disappear, leaving the impression clear +and free from all organic matter. +</p> + +<p> +In the absence of cyanide of potassium, a solution of pure hyposulphite of +soda will answer as a fair substitute. +</p> + +<p> +To Redeem, a Solarized Impression.—The Daguerreotype plate, prepared in +the ordinary manner, should be exposed in the camera a sufficient time to +solarize the impression. Then, before it be exposed to the vapor of +mercury, expose it for a very brief period to the vapor of either +chlorine, bromine or iodine. Then expose over mercury, as usual. I have +produced singularly interesting results by this process. +</p> + +<p> +To Purify Water.—Filter the water well, and then add about three drops of +nitric acid to the pint. This can be used as absolutely pure water, but I +would recommend the use of distilled water as preferable. +</p> + +<p> +Cleaning Mercury.—Make a small bag of chamois skin, pour in the mercury, +and squeeze it through the leather. Repeat this several times, and filter +by means of a funnel made of paper, with a very small aperture, through +which it will escape and leave the particles of dust, or other substances, +in the paper. A paper with a pinhole through it will answer as well, and +it is less difficult to make. +</p> + +<p> +Adhesive Paper.—Take gum arabic, four ounces, put it in a wide-mouthed +bottle and pour on water about one-third above the gum. Add half ounce of +isinglass, or fish glue, and a small piece of loaf sugar. Let all +dissolve, and spread over French letter paper, with a brush or piece of +sponge. If once spreading is not enough, perform the same operation a +second time. +</p> + +<p> +Black Stain for Apparatus.—Dissolve gum shellac in alcohol, or procure +shellac varnish at the druggists’, stir in lampblack, and apply with a +sponge or bit of rag. This will adhere to metal, as well as wood, and is +used for the inside of camera, tubes, etc. +</p> + +<p> +Sealing Wax for Bottles.—Melt together six parts rosin and one beeswax, +and add a small quantity of lampblack; or, if red is preferable, add red +lead. Common white wax is best, as most chemicals act less upon it. +</p> + +<p> +When bottles containing bromine are to be sealed, it is well to grease the +stopper. This, however, only when the bottle is in frequent use, for if it +were to be sent by any conveyance it would be likely to fly out. +</p> + +<p> +Rouge.—The method employed by Lord Ross is probably unsurpassed in the +production of rouge. He has given his process as follows: +</p> + +<p> +“I prepare the peroxide of iron by precipitation with water of ammonia, +from a pure dilute solution of sulphate of iron; the precipitate is +washed, pressed in a screw press till nearly dry, and exposed to a heat +which in the dark appears a dull, low red. The only points of importance +are, that the sulphate of iron should be pure, that the water of ammonia +should be decidedly in excess, and that the heat should not exceed that I +have described. The color will be a bright crimson inclining to yellow. I +have tried both potash and soda, pure, instead of water of ammonia, but +after washing with some degree of care, a trace of the alkali still +remained, and the peroxide was of an ochrey color, till overheated, and +did not polish properly.” +</p> + +<p> +Care should be observed to apply rouge in a dry state to the surface of +the plate. +</p> + +<p> +I would remark, that so far as my experience has gone, I consider good +rouge fully equal to any other polishing, material for the last or +finishing polishing; consequently I shall not take up my space in +enumerating any of the great variety that find few advocates. +</p> + +<p> +Why Rouge is to be preferred.—“Because it burnishes better, and because +it assists in fixing the layer of gold, rendering it less susceptible of +being removed in scales when heated too much.” +</p> + +<p> +Rotten Stone.—“Purchase the best ground rotten stone of the druggist, put +a few ounces at a time in a wedgewood or porcelain mortar, with plenty of +clean rain water. This should have about forty drops of nitric acid to the +quart. Grind well, and after letting the mortar stand two minutes, pour +into a third. After remaining undisturbed eight minutes, finally pour off +into a fourth to settle. Rinse back the sediment in the second and third, +and grind over with a new batch. Repeat the operation till you have all in +the fourth vessel. Let this stand several hours, and pour off the water +very carefully. Set the deposit in the sun, or by a stove to dry. When +perfectly dry, pulverize, and it is ready for use. With a little trouble +you will obtain in this way a much better article than can generally be +bought of dealers. For the last washing, alcohol, or a mixture of alcohol +and water, is preferable.” +</p> + +<p> +Potassa Solution.—The use of a solution of potassa in the preparation of +the plate was suggested in the early history of the Daguerreotype. It was +thought to possess some peculiar property for improving the tone of the +impression. It is used for moistening the rotten stone in polishing the +plate, and may be prepared by putting about an ounce and a half of alcohol +in a close bottle, and add half a stick of caustic potash. This will soon +become of a deep red color. For use, fill your small bottle, having a +quill in the cork, with alcohol, and add a few drops of the above, or +enough to change it to a bright orange or saffron color. +</p> + +<p> +A Substitute for the Hyposulphite Solution.—M. DAGUERRE recommends the +use of a solution of salt water for removing the coating off the plate. I +found this of some service at one time during my travels. My hyposulphite +bottle got broke and its contents lost, so as only to leave enough for +preparing gilding. I resorted to the use of salt solution, and found it to +answer well. Make a saturated solution of salt in water. First wash the +plate with clear water; then immerse it in the saline solution, when it +should be agitated, and the coating will soon disappear. Another process +with a salt solution of half the strength of the above is very interesting +and effectual. The plate having been dipped into cold water, is placed in +a solution of common salt, of moderate strength; it lies without being +acted upon at all; but if it be now touched on one corner with a piece of +zinc, which has been scraped bright, the yellow coat of iodine moves off +like a wave and disappears. It is a very pretty process. The zinc and +silver forming together a voltaic pair, with the salt water intervening, +oxidation of the zinc takes place, and the silver surface commences to +evolve hydrogen gas; while this is in a nascent condition it decomposes +the film of iodide of silver, giving rise to the production of hydriodic +acid, which is very soluble in water, and hence instantly removed. +</p> + +<p> +This process, therefore, differs from that with hyposulphite. The latter +acts by dissolving the iodide of silver, the former by decomposing it. It +is necessary not to leave the zinc in contact too long, or it deposits +stains, and in large plates the contact should be made at the four corners +successively, to avoid this accident. +</p> + +<p> +Gilding Solution.—To one pint of pure rain or distilled water add fifteen +grains of pure chloride of gold, and to another pint add sixty grains of +hyposulphite of soda. When dissolved, pour the gold solution into the +hyposulphite by small quantities, shaking well after each addition. The +soda solution must not be poured into the gold, as the gold would be +immediately decomposed, and the solution turn black, and be unfit for use. +</p> + +<p> +Some operators add muriate of potash and other substances, but these do +not possess any advantage except in cases where it is necessary to bleach +the solarized portions of the impression, and when such is the case, +chloride of sodium (common salt) is probably as effective and is the most +convenient. Add about a teaspoonful to two ounces of the gilding. +</p> + +<p> +Solution, for Increasing the Brilliancy of the Daguerreotype.—This +solution will have the effect to thoroughly cleanse the surface of the +gilded plate and excite a powerful influence on the general character of +the impression. To a solution of three ounces of water, in which is +dissolved a quarter of an ounce of cyanide of potassium, add one +teaspoonful of a solution containing six ounces of water and half an ounce +of each pure carbonate of potash, alum, common salt, gallic acid, sulphate +of copper, and purified borax. While the plate is wet, pour on a little, +and heat it with a powerful blaze. The effect will be quickly produced, in +from three to fifteen seconds. Rinse and dry, as in the gilding. +</p> + +<p> +Bleaching Solution.—Make a saturated solution of muriate of ammonia (sal +ammoniac) in pure water, and filter through paper. Reduce with an equal +quantity of water when used. When the linen or any other portion of the +impression is badly solarized, after removing the coating, rinse with +water; then pour this upon the surface in the same manner as the gilding +solution. If the solarization be very deep, apply the lamp beneath, and +warm the plate a trifle. Now pour off, and, without rinsing, apply the +gilding. The whole operation must be quickly performed, or the chlorine +soon attacks the shades of the picture. When properly done, however, the +solarized parts are restored to a clear, transparent white. +</p> + +<p> +Electro, or Cold Gilding.—This process I have adopted, and it produces +exceedingly beautiful impressions for the stereoscope, adding a great +charm to the pleasing effect of that instrument. It also possesses a +pretty and curious effect on views. It is easy of trial, and may be used +by dissolving one gramme of chloride of gold in half a litre of ordinary +water, and thirty grammes of hyposulphite of soda in another half litre of +similar water; then pour the solution of chloride of gold into that of +soda, by little and little, agitating it exactly as in M. Fizeau’s +preparation, of which there is but a variation. +</p> + +<p> +When you wish to use it, pour some into a plate, or any other vessel of +the same kind, sufficient to cover the proof; then, after having added to +it a drop of ammonia, immerse the plate in it as soon as you take it out +of the mercury-box, after having wiped its back and edges, and agitate the +mixture quickly from right to left, so as to dissolve rapidly the coating +of iodide of silver as usual. As soon as the plate appears white, cease +all rapid motion, but continue to give it a slight undulating one; for if +it were allowed to remain still for only a few minutes, the proof would be +clouded. By little and little, the surface of the plate takes a yellow +tint, which darkens more and more, approaching to bistre. You stop +therefore, at the color you wish; and when the proof has been washed and +dried, in the manner previously explained, it will be found to be fixed, +without any stain, with a limpid surface, and an extraordinary warm tone. +If you were to augment the proportions of the ammonia or chloride of gold, +the operation would progress much quicker, but then the middle of the +proof would be always much clearer than towards the border. The mixture +may be used several times without being renewed. It does not, however, +give such a beautiful color to the impression as when it is newly +prepared. By communicating to the vessel containing the solution a +continual motion, the impression, when once immersed, will be fixed. +During that time, and while attending to anything else, watch its color; +and at the end of ten minutes or a quarter of an hour, take it out of the +bath and dry it. +</p> + +<p> +Agent for Neutralizing Bromine, Chlorine, and Iodine Vapors.—Aqua +ammonia, sprinkled about the chemical or coating room, will soon +neutralize all the vapor in the atmosphere of either chlorine, bromine, or +iodine. No operator should be without, at least, a six-ounce bottle filled +with ammonia. A little of its vapor about the camera-box has a decided and +happy effect. Burnt coffee, pulverized, has also the property of +destroying the vapors of the above chemicals, as also almost any other +agent employed about the Daguerreotype room. Its deodorizing properties +are such that if brought in contact with air filled with the odor of +decomposing meat, it will instantly destroy all disagreeable smell. It can +easily be used in the Daguerreotype room by placing a little of the raw +bean, finely pulverized, on an old plate, and roasting it over the +spirit-lamp. +</p> + +<p> +Buff Dryer.—There are various methods for keeping buffs dry and free from +dust. Some place a sheet of iron against the wall at an angle sufficient +to put a lamp between it and the wall, and then let the buff rest against +the top of the sheet. By this method the buff is for its full length close +to the heated iron, and at the same time exposed to the heated atmosphere +and any dust that may be free. I would recommend some arrangement by which +the buff would be inclosed. I have found the following to answer the +purpose well, which is a box of sheet iron twenty inches long, eight wide +and five high, with one end left open and the other closed; the cover is +made of the same material, with the edges bent over to go on and off. +There are several wires running through the centre of the sides, which it +is necessary to cover with cloth or paper to absorb all the moisture that +may be made by applying the heat, and the buffs are put in and taken out +at the open end. In order that the heat may be as nearly uniform as +possible, an iron bar one inch wide, eighteen inches long and one half +inch thick, is so bent that the centre is one quarter inch from the bottom +of the box, and that at least two inches of each end come in contact with +the bottom; this being riveted on the bottom, and a lamp with a small +blaze applied to the centre of the bar of iron. This will constitute one +of the best and cheapest buff dryers in use. It may be suspended from the +wall by placing wires around it, or it may stand upon legs. Perhaps a more +convenient plan is to place it under the workbench in a similar position +to a drawer. One precaution is necessary: when first heating the dryer, +apply but a very gentle heat. This will prevent an accumulation of +moisture, which would otherwise pass off in steam, coming in contact with +the buff, thus causing a dampness. Another caution: never have the +temperature of the air in the heater more than ten degrees above that +which surrounds it. +</p> + +<p> +When wheels are used, they should be encased in a sheet iron or wood case. +All those made for our market are provided in this respect. +</p> + +<p> +Keeping Buffs in Order.—This is one of the most important objects to +arrest the attention of the operator. Every buff is more or less liable to +get out of order by dust falling upon or coming in contact with the +polishing powder employed in cleaning the plate. The edge of every plate +should be thoroughly wiped and freed from any material that may adhere +while cleaning. I have adopted the following method, which proves highly +successful: +</p> + +<p> +Rub the buff leather, holding the face down, with the sharp edge of a pair +of shears or a piece of glass. This brings out any portion of the skin +which may have become matted from any moisture, and also takes out any +substance imbedded in it, and prevents it from scratching. Then, with a +stiff brush, rub the buff well, and it will be found to work well. This +same process employ on wheels and hand buffs every morning, or oftener, as +occasion requires. +</p> + +<p> +Preparing Buffs.—Two of these are necessary. That part of the stick to be +covered should be about eighteen or twenty inches long, and three wide, +and made crowning on the face from one end to the other, about one half +inch. Before covering, these are to be padded with two or three +thicknesses of Canton flannel. The buff should not be too hard, but padded +with flannel, so that by drawing it over the plate, it may touch across +the surface. The only proper material for buffs is prepared buckskin; and +if prepared in a proper manner, this needs nothing but to be tacked upon +the stick. There are several varieties of wheels employed; the one most +generally adopted is Lewis’ patent, which consists of several varieties of +wheels. Any operator can make a suitable wheel on the same plan of a +turning lathe. +</p> + +<p> +To Clean Buckskins.—When the operator is compelled to purchase an +unprepared buckskin, the following is a good process for cleaning it: +There is always in the buckskin leather that is purchased, more or less of +an oily matter, which is acquired in its preparation, sometimes even +amounting, to a third of its weight. The following is the mode of ridding +it of this noxious ingredient: Dissolve, in about six or seven quarts of +filtered water, about five ounces of potash; when dissolved, wash with the +solution an ordinary buckskin; when it has been well stirred in the +liquid, the water becomes very soapy, owing to the combination of the +potash with the oily matters contained in the skin. Throw away this +solution and use some fresh water without potash and rather tepid; change +it several times until it remains quite limpid. Then gently stretch the +skin to dry in an airy shaded place. When thoroughly dried, rub it well +between the hands. It thus becomes very pliant and velvet-like. +</p> + +<p> +Reflectors for Taking Views.—There have been excellent cameras introduced +for taking views, but the time of exposure, which is increased in +proportion to the focal length, is considered an objection; consequently +many adhere to the old plan of using the speculum, or rather, substitute a +mirror. I now have one which I have used for several years and find it +equal to any article of the kind have ever tried. One is easily made by a +tin man, at a trifling expense. Procure a piece of best plate +looking-glass, two and a half by five inches for a quarter, or four by +eight for a half-sized camera; put a piece of pasteboard of the same size +on the back, to protect the silvering, and stick around the edge in the +same manner as in putting up a picture. Take a sheet of tin for the large +size, or a half sheet for the other; place the glass crosswise in the +centre; bend the ends of the tin over the edge of the glass and turn them +back so as to form a groove to hold the glass, and still allow it to slide +out and in. These ends of the tin must be turned out flaring, that they +may not reflect in the glass. +</p> + +<p> +Have a tin band about an inch wide made to fit close on the end of the +camera tube; place it on, and taking the tin containing the glass, bring +it to an angle of forty-five degrees with the tube, extending nearly the +whole length of the glass in front of the lenses; lap the loose ends of +the tin on each side of the tin rim, and having your camera turned on the +side to throw the view lengthwise, arrange the exact angle by examining +the image on the ground-glass. When you have it exactly right, hold it +while it is soldered fast to the band. Take out your glass and stain the +tin black, to prevent reflection. +</p> + +<h2><a name="chap03"></a>CHAPTER III.</h2> + +<h3> +CHEMICALS. +</h3> + +<p class="letter"> +Bromine and its Compounds—Iodine and its Compounds—Chlorine and its +compounds—Cyanide of Potassium—Hyposulphite of Soda—Hyposulphite of +Gold—Nitric Acid—Nitro-Muriatic Acid—Hydrochloric Acid—Hydrofluoric +Acid—Sulphuric Acid—Accelerating Substances—Liquid Sensitives—Dry +Sensitives, etc., etc. +</p> + +<h3> +BROMINE. +</h3> + +<p> +An article so extensively used in the practice of the Daguerreotypic art +as Bromine, is deserving of especial attention, and accordingly every +person should endeavor to make himself familiar with its properties and +applications. +</p> + +<p> +History.—This element was discovered in 1826 by M. Balard, in the +mother-liquor, or residue of the evaporation of sea-water. It is named +from its offensive odor (bromos, bad odor). In nature it is found in +sea-water combined with alkaline bases, and in the waters of many saline +springs and inland seas. The salt springs of Ohio abound in the compounds +of bromine, and it is found in the waters of the Dead Sea. The only use +which has been made of bromine in the arts is in the practice of +photography. It is also used in medicine In a chemical point of view it is +very interesting, from its similarity in properties, and the parallelism +of its compounds to chlorine and iodine. +</p> + +<p> +Dr. D. Alter, of Freeport, Pa., is the only American manufacturer, and +furnishes all of the “American Bromine.” Yet we understand much purporting +to be of German manufacture is prepared from that made in Freeport. This +is done by individuals in this city, who get well paid for the deception. +</p> + +<p> +For the successful application of bromine as an accelerating agent, we are +indebted to Mr. John Goddard of London, who at the time was associated +with Mr. John Johnson, now a resident of this city. +</p> + +<p> +Preparation.—The mother-liquor containing bromides is treated with a +current of chlorine gas, which decomposes these salts, setting the bromine +free, which at once colors the liquid to a reddish brown color. Ether is +added and shaken with the liquid, until all the bromine is taken up by the +ether, which acquires a fine red color and separates from the saline +liquid. +</p> + +<p class="noindent"> +{74} +</p> + +<p> +Solution of caustic potash is then added to the ethereal solution, forming +bromide of potassium and bromate of potash. This solution is evaporated to +dryness, and the salts being collected are heated in a glass retort with +sulphuric acid and a little oxide of manganese. The bromine is distilled, +and is condensed in a cooled receiver, into a red liquid. +</p> + +<p> +Properties.—Bromine somewhat resembles chlorine in its odor, but is more +offensive. At common temperatures it is a very volatile liquid, of a deep +red color, and with a specific gravity of 3, being one of the heaviest +fluids known. Sulphuric acid floats on its surface, and is used to prevent +its escape. At zero it freezes into a brittle solid. A few drops in a +large flask will fill the whole vessel when slightly warmed, with blood +red vapors, which have a density of nearly 6.00, air being one. It is a +non-conductor of electricity, and suffers no change of properties from +heat, or any other of the imponderable agents. It dissolves slightly in +water, forming a bleaching solution. +</p> + +<p> +Chloride of Bromine.—This as an accelerating agent is by many considered +superior {75} to the other Bromide combinations. It can be readily +prepared by passing a current of chlorine through a vessel containing +bromine. A mixture of two parts muriatic acid and one of black oxide of +manganese, should be put into a flask having a bent tube to conduct the +chlorine vapor into the bromine in another vessel. This last vessel should +also be supplied with a bent tube for conducting the combined vapors with +a third vessel or receiver. On the application of the heat from a spirit +lamp to the bottom of the flask, a current of chlorine gas will be +disengaged, and pass into the bromine, when it readily combines, and gives +off a vapor, which, when condensed in the third vessel, forms a volatile +yellowish-red liquid. It is best, even at ordinary temperature, to place +the receiver in an ice bath. For manner of using, see farther on, under +head of Accelerators. +</p> + +<p> +Bromides.—A bromide treated with oil of vitriol, disengages chlorohyadic +acid; but vapors of bromine are constantly disengaged, at the same time +imparting a brown color to the gas. If the bromide be treated with a +mixture of sulphuric acid, and peroxide of manganese, bromide is only +disengaged. A solution of a bromide gives, with of nitrate {76} silver, a +light yellowish white precipitate of bromide of silver, which is insoluble +in an excess of acid, and readily dissolves in ammonia. The precipitated +bromide is colored by light like the chloride, but is immediately tinged +brown, while the chloride assumes at first a violet hue. The bromides, in +solution, are readily decomposed and chloride being set free, colors the +liquid brown. +</p> + +<p> +In the whole range of heliographic chemicals there is probably not another +collection less understood and being so productive of interesting +investigation as the bromides. +</p> + +<p> +Bromide of Iodine.—M. de Valicours furnishes us with the best method for +preparing this mixture: +</p> + +<p> +“Into a bottle of the capacity of about two ounces, pour thirty or forty +drops of bromine, the precise quantity not being of importance. Then add, +grain by grain, as much iodine as the bromine will dissolve till quite +saturated. This point is ascertained when some grains of the iodine remain +undissolved. They may remain in the bottle, as they will not interfere +with the success of the preparation. +</p> + +<p> +“The bromide of iodine thus prepared, from its occupying so small a space, +can very easily be carried, but in this state it is much too concentrated +to be used. When it is to be employed, pour a small quantity, say fifteen +drops, by means of a dropping-tube, into a bottle containing about half an +ounce of filtered river water. It will easily be understood that the +bromide of iodine can be used with a greater or less quantity of water +without altering the proportion which exists between the bromine and +iodine.” +</p> + +<p> +This article forms a very good dry accelerator, and is by some persons +thought superior to all others, as it works with great uniformity, and is +less liable to scum the plate in coating at high temperatures, or when the +thermometer indicates a heat above 60 deg. +</p> + +<p> +Bromide of Potassium—Is prepared by mixing bromine and a solution of pure +potass together, and evaporating to dryness; it crystallizes in small +cubes, and dissolves readily in water. This agent is extensively employed +in the paper and glass processes. +</p> + +<p> +Bromide of Lime. This the principal accelerator used in the American +practice, and is the best of all dry combinations at present employed. +There are many reasons why the dry is advantageous; these are too familiar +to repeat. +</p> + +<p> +“The bromide of lime may be produced by allowing bromine vapor to act upon +hydrate of lime for some hours. The most convenient method of doing this +is to place some of the hydrate at the bottom of the flask, and then put +some bromine into a glass capsule supported a little above the lime. As +heat is developed during the combination, it is better to place the lower +part of the flask in water at the temperature of about 50 deg. Fah.; the +lime gradually assumes a beautiful scarlet color, and acquires an +appearance very similar to that of the red iodide of mercury. The +chloro-iodide of lime may be formed in the same manner; it has a deep +brown color. Both these compounds, when the vapor arising from them is not +too intense, have an odor analogous to that of bleaching powder, and quite +distinguishable from chlorine, bromine, or iodine alone.” +</p> + +<p> +Farther on, I have given, in connection with accelerators, a process I +adopt, which is far less tedious and equally reliable. +</p> + +<p> +Bromide of Silver—May be formed by pouring an alkaline bromide into a +solution of nitrate of silver, in the shape of a white, slightly yellowish +precipitate, which is insoluble in water and nitric acid, but readily +dissolves in ammonia and the alkaline hyposulphites. Chlorine easily +decomposes bromide of silver, and transforms it into chloride. +</p> + +<p> +M. Biot has expressed his opinion, that it is not possible to find any +substance more sensitive to light than the bromide of silver. This is true +to a certain extent, but in combination with deoxidizing agents, other +preparations have a decided superiority over the pure bromide of silver. +</p> + +<p> +Bromide of Gold—Is readily prepared by adding a little bromide to the +brown gold of the assayers, and allowing it to remain some time under +water, or assisting its action by a gentle heat. It forms a salt of a +bright crimson color, but in its general properties is precisely similar +to the chloride used in gilding. +</p> + +<p> +Bromide of Magnesia—Is prepared in the same manner as bromide of lime. +</p> + +<p> +This mixture is particularly adapted for hot climates, and is used in this +country by some few who regard its use as a valuable secret. +</p> + +<p> +Bromide of Starch.—This preparation is much used, but not alone. It is +combined with lime by putting about one part in measure of starch to four +of lime. It is prepared by adding bromine to finely pulverized starch, in +the same manner as bromide of lime. (See Accelerators.) +</p> + +<p> +Experiments with Bromine.—Place in a very flaring wine glass a few drops +(say ten) of bromine, then place a small piece of phosphorus about +one-twentieth of an inch in diameter. Place the latter on the end of a +stick from five to ten feet in length. So place it that the phosphorus can +be dropped into the glass, and in an instant combustion giving a loud +report will be the result. +</p> + +<p> +b. Expose a daguerreotype plate to the vapor of bromine, it assumes a +leaden-grey color, which, blackens by light very readily. Exposing this to +mercury will not produce any decided action upon the lights. Immerse it in +the solution of the muriate of soda, and the parts unacted upon by light +becomes a jet black, while the parts on which the light has acted will be +dissolved off, leaving a clean coating of silver. This will be a most +decided black picture on a white ground. +</p> + +<p> +c. Expose an impressioned plate, that has been sufficient time in the +camera to become solarized, to the vapors of bromine, and the impression +will be fully developed and exhibit no signs of solarization. The exposure +over the bromine most be very brief. Chlorine or iodine will produce the +same result. The latter is preferable. +</p> + +<p> +Again, should the impressioned plate be exposed too long over the vapor of +bromine, the impression would be rendered wholly insensitive to the +mercurial vapor. Hence this method is resorted to for restoring the +sensibility of the plate when there is reason to believe that the +impression would not be a desirable one; as, for example, if a likeness of +a child be wanted, and it had moved before the plate had been sufficiently +long exposed in the camera, the plate may be restored to its original +sensitiveness by re-coating over bromine, as above, thus saving the time +and labor of re-preparing the plate for the chemicals. +</p> + +<p> +d. If by accident (we would not advise a trial to any extent of this), you +should inhale a quantity of the vapor of bromine, immediately inhale the +vapor of aqua ammonia, as this neutralizes the dangerous effect of the +bromine vapor. Every operator should be provided with a bottle of ammonia, +as a little sprinkled about the chemical room soon disinfects it of all +iodine or bromine vapor, and also tends to facilitate the operation in the +camera. +</p> + +<h3> +IODINE. +</h3> + +<p> +History of Iodine.—This is one of the simple chemical bodies which was +discovered in 1812 by M. Courtois, of Paris, a manufacturer of saltpetre, +who found it in the mother-water of that salt. Its properties were first +studied into by M. Gay Lussac. It partakes much of the nature of chlorine +and bromine. Its affinity for other substances is so powerful as to +prevent it from existing in an isolated state. It occurs combined with +potassium and sodium in many mineral waters, such as the brine spring of +Ashby-de-la-Zouche, and other strongly saline springs. This combination +exists sparingly in sea-water, abundantly in many species of fucus or +sea-weed, and in the kelp made from them. It is an ingredient in the Salt +Licks, saline, and brine springs of this country, especially of those in +the valley of the Mississippi. It is sparingly found in fresh-water +plants, as well also in coal, and in combination with numerous other +bodies. +</p> + +<p> +Fermented liquors contain iodine; wine, cider, and perry are more +iodureted than the average of fresh waters. Milk is richer in iodine than +wine; independently of the soil, with which it varies, the proportion of +iodine in milk is in the inverse ratio of the abundance of that secretion. +Eggs (not the shell) contain much iodine. A fowl’s egg weighing 50 gr. +contains more iodine than a quart of cow’s milk. Iodine exists in arable +land. It is abundant in sulphur, iron, and manganese ores, and sulphuret +of mercury: but rare in gypsum, chalk, calcareous and silicious earths. +Any attempt to extract iodine economically should be made with the plants +of the ferro-iodureted fresh waters. Most of the bodies regarded by the +therapeutists as pectoral and anti-scrofulous are rich in iodine. +</p> + +<p> +It is probably to the application of this body that we owe the discovery +of the daguerreotype. There is no record of the precise date when Daguerre +commenced experimenting with iodine, but by the published correspondence +between him and M. Neipce, his partner, it was previous to 1833. There is +no doubt, however, that the first successful application was made in 1838, +as the discovery was reported to the world early in January, 1839. +</p> + +<p> +Preparation.—Iodine is mostly prepared from kelp, or the half vitrified +ashes of seaweed, prepared by the inhabitants of the western islands, and +the northern shores of Scotland and Ireland. It is treated with water, +which washes out all the soluble salts, and the filtered solution is +evaporated until nearly all the carbonate of soda and other saline matters +have crystallized out. The remaining liquor, which contains the iodine, is +mixed with successive portions of sulphuric acid in a leaden retort, and +after standing some days to allow the sulphureted hydrogen, etc., to +escape, peroxide of manganese is added, and the whole gently heated. +Iodine distills over in a purple vapor, and is condensed in a receiver, or +in a series of two-necked globes. +</p> + +<p> +Properties.—Iodine is solid at the ordinary temperature, presenting the +appearance of dark-grey or purple spangles, possessing a high degree of +metallic lustre. It somewhat resembles plumbago, with which it is +sometimes diluted, particularly when it is fine. Operators should endeavor +to secure the larger crystals. It melts at 224.6 deg., forming a brown or +nearly black liquid. It boils at about 356 deg., and emits a very deep +violet colored vapor. It gives off a very appreciable vapor, sufficient +for all purposes of forming the iodide of silver on the daguerreotype +plate, at a temperature of 45 deg. or even lower. Iodine crystallizes +readily. Every operator has found upon the side of the jar in his +coating-box, perfectly regular crystals, deposited there by sublimation. +</p> + +<p> +Water dissolves but a small proportion of iodine, requiring 7000 parts of +water to dissolve one of iodine, {85} or one grain to the gallon of water. +Alcohol and ether dissolve it freely, as does a solution of nitrate or +hydrochlorate of ammonia and of iodides. +</p> + +<p> +The density of solid iodine is 4.95; that of its vapor 8.716. It greatly +resembles chlorine and bromine in its combinations, but its affinities are +weaker. It does not destroy the majority of organic substances, and +vegetable colors generally resist its action. It combines with several +organic substances, imparting to them peculiar colors. It colors the skin +brown, but the stain soon disappears. +</p> + +<p> +Chloride of Iodine—Is formed by passing chlorine into a bottle containing +some iodine. This can be readily done by pouring one ounce and a half of +muriatic acid upon a quarter of an ounce of powdered black oxide of +manganese, and heat it gradually in a flask, to which is adapted a bent +glass tube. This tube must connect with the bottle containing the iodine, +and the yellowish-green gas disengaged will readily combine with the +iodine, forming a deep red liquid, and the operation is complete. The use +of chloride of iodine will be referred to in connection with the +Accelerators. +</p> + +<p class="noindent"> +{86} +</p> + +<p> +Iodides.—The iodide treated with the oil of vitriol, instantly produces a +considerable deposit of iodine; and if the mixture be heated, intense +violent vapors are disengaged. The reaction is due to the decomposition of +oil of vitriol by iodohydric acid, water and sulphurous acid being formed, +and iodine set free. The iodides in solution are decomposed by chlorine, +iodine being precipitated, the smallest quantity of which in solution is +instantly detected by its imparting to starch an intensely blue color. +</p> + +<p> +Iodide of Potassium.<a href="#fn-4" name="fnref-4" id="fnref-4"><sup>[4]</sup></a>—This +compound is easily made in the following manner: Subject to a moderate heat a +mixture of 100 parts of iodine, 75 of carbonate of potash, 30 of iron filings, +and 120 parts of water. This mass must be thoroughly dried and then heated to +redness; the resulting reddish powder is to be washed with water, and the +solution obtained filtered, and evaporated to dryness. It is found that 100 +parts of iodine yield 135 parts of very white, but slightly alkaline, iodide of +potassium. +</p> + +<p class="footnote"> +<a name="fn-4" id="fn-4"></a> <a href="#fnref-4">[4]</a> +I shall present the preparation of only a few iodides, and such as are more +intimately connected with the Daguerreotype. +</p> + +<p> +Experiment.—On projecting dry pulverized iodide of potassium into fused +anhydrous phosphoric acid, a violent disengagement of iodine takes place, +attended by a transient ignition; fused hydrate of phosphoric acid +liberates iodine abundantly from iodide of potassium; this reaction is +accompanied by the phenomenon of flame and formation of a considerable +quantity of hydriodic acid. +</p> + +<p> +Iodide of Mercury.—For the preparation of iodide of mercury, Dublanc +recommends to cover 100 grms. of mercury with 1 kilogrm. of alcohol, to +add 124 grms. of iodine gradually in portions of ten grms., and agitating +between each fresh addition, until the alcohol becomes colorless again. +After the addition of the last 4 grms. the alcohol remains colored, the +whole of the mercury having become converted into iodide. The resulting +preparation is washed with alcohol; it is crystalline and of a hyacinth +color. +</p> + +<p> +Iodide of Silver.—This compound is formed upon every plate upon which a +Daguerreotype is produced. The vapor of iodine coming in contact with the +silver surface, forms an iodide which is peculiarly sensitive to light. +</p> + +<p> +The various colors produced are owing to the thickness of the coating, and +the maximum sensibility of the coating, as generally adopted, is when it +assumes a deep yellow, or slightly tinged with rose color. +</p> + +<p> +This compound is largely employed in most photographic processes on paper, +and may be easily prepared by the following formula: By adding iodide of +potassium to a solution of nitrate of silver, a yellowish-white +precipitate of iodide of silver is obtained, which is insoluble in water, +slightly soluble in nitric acid, and soluble in a small degree in ammonia, +which properties seem easily to distinguish it from the chloride and +bromide of silver. Chlorine decomposes it and sets the iodine free, and +chlorohydric acid converts it into a chloride. It fuses below a red heat. +Although the effect of light on the iodide is less rapid than on the +chloride, the former sooner turning black, assuming a brown tinge; but +when in connection with gallic acid and the ferrocyanate of potash, it +forms two of the most sensitive processes on paper. +</p> + +<p> +Iodide of silver dissolves easily in a solution of iodide of potassium, +and the liquid deposits in evaporation crystals of a double iodide. +</p> + +<p> +Iodide of Gold.—If a solution of potassium be added to a solution of +chloride of gold, a precipitate of iodide of gold takes place, soluble in +an excess of the precipitate. A little free potash should be added to +combine with any iodide that may chance to be set free by the chloride of +gold. +</p> + +<p> +Iodide of Lime is prepared by adding iodine to hydrate of lime (which will +be referred to farther on) until the mixture assumes a light yellow shade, +when wanted for combinations with accelerators, or to a dark brown when +employed for the first coating. This latter mixture has been sold in our +market under the name of “Iodide of Brome.” +</p> + +<p> +Iodide of Bromine.—(See page 76.) +</p> + +<p> +Experiments with Iodine.—Place a plate which has been exposed in the +camera over the vapor of iodine for a very brief period, and it will +present the appearance of the impression having been solarized. +</p> + +<p> +b. Upon a Daguerreotype plate, from which an impression has been effaced +by rubbing or otherwise, the picture may be made to reappear by merely +coating it over with iodine. +</p> + +<p> +c. Place in a vessel a little water, into which put the smallest possible +quantity of free iodine and add a little starch, and the liquid will +instantly assume a blue color. Advantage is taken of this fact in the +laboratory to detect the presence of iodine in liquids. The starch should +be dissolved in boiling water and allowed to cool. There are numerous +other interesting experiments that can be performed by the aid of iodine, +but it is unnecessary here to consume more space. +</p> + +<h3> +CHLORINE. +</h3> + +<p> +History.—The Swedish chemist, Scheele, in 1774, while examining the +action of hydrochloric acid on peroxide of manganese, first noticed this +element. He called it dephlogisticated muriatic acid. It was afterwards, +by the French nomenclaturists, termed oxygenated muriatic acid, conceiving +it to be a compound of oxygen and muriatic acid. This view of its notice +was corrected by Sir H. Davy (in 1809), who gave it the present name. In +1840-41, this gas vas employed for accelerating the operation of light +upon the iodized Daguerreotype plate. John Goddard, Wolcott & Johnson, +Claudet, Draper, Morse and others, were among the first made acquainted +with its use. Count Rumford, Ritter, Scheele, Seebert and others, +experimented with chlorine in regard to its effect when exposed to the +action of light in combination with silver. In 1845, M. Edward Becquerel +announced that he had “been successful in obtaining, by the agency of +solar radiations, distinct impressions, of the colors of nature.” +</p> + +<p> +On the 4th of March, 1851, Neipce, St. Victor, a former partner of +DAGUERRE, announced that he had produced “all the colors by using a bath +of bichloride of copper, and that a similar phenomenon occurs with all +salts of copper, mixed with chlorine.” +</p> + +<p> +Preparation.—This is easily accomplished by putting about two parts of +hydrochloric (muriatic) acid on one of powdered black oxide of manganese, +and heating it gradually in a flask or retort, to which may be adapted a +bent glass tube. A yellowish-green gas is disengaged, which being +conducted through the glass tube to the bottom of a bottle, can readily be +collected, being much heavier than the air, displaces it completely and +the bottle is filled (which can be seen by the green color); a greased +stopper is tightly fitted to it, and another bottle may be substituted. +</p> + +<p> +In all experiments with chlorine, care should be taken not to inhale the +gas! +</p> + +<p> +Properties.—Chlorine is a greenish-yellow gas (whence its name, from +chloros, green), with a powerful and suffocating odor, and is wholly +irrespirable. Even when much diluted with air, it produces the most +annoying irritation of the throat, with stricture of the chest and a +severe cough, which continues for hours, with the discharge of much thick +mucus. The attempt to breathe the undiluted gas would be fatal; yet, in a +very small quantity, and dissolved in water, it is used with benefit by +patients suffering under pulmonary consumption. +</p> + +<p> +Under a pressure of about four atmospheres, it becomes a limpid fluid of a +fine yellow color, which does not freeze at zero, and is not a conductor +of electricity. It immediately returns to the gaseous state with +effervescence on removing the pressure. +</p> + +<p> +Water recently boiled will absorb, if cold, about twice its bulk of +chlorine gas, acquiring its color and characteristic properties. The moist +gas, exposed to a cold of 32 deg., yields beautiful yellow crystals, which +are a definite compound of one equivalent of chlorine and ten of water. If +these crystals are hermetically sealed up in a glass tube, they will, on +melting, exert such a pressure as to liquefy a portion of the gas, which +is distinctly seen as a yellow fluid, not miscible with the water which is +present. Chlorine is one of the heaviest of the gases, its density being +2.47, and 100 cubic inches weighing 76.5 grains. +</p> + +<p> +Chlorine Water.—This combination, which is used in conducting M. Neipce’s +process, can be readily prepared by conducting the gas into a bottle +containing distilled water. One part water dissolves two parts of +chlorine. +</p> + +<p> +Chlorides.—The metallic chlorides are nearly all soluble in water; that +of silver and protochloride of mercury being the only exceptions. A +metallic chloride, treated with oil of vitriol, disengages chlorohydric +acid. Heated with a mixture of peroxide of manganese and sulphuric acid, +chlorine is given off, which is easily recognized by its odor and other +physical properties. +</p> + +<p> +The chlorides dissolve in water; give with nitrate of silver, a white +precipitate, even in highly diluted solutions, becoming violet colored and +finally black when exposed to the light. The rapidity of the change of +color is proportioned to the intensity of the light. It is insoluble in +nitric acid, but readily soluble in ammonia; it fuses without +decomposition, forming, when cold, a tough, horny mass, and is reduced by +hydrogen and by fusion with carbonate of soda, or with resin. +</p> + +<p> +Chloride of Bromine. (See page 74.) +</p> + +<p> +Chloride of Iodine. (See page 85.) +</p> + +<p> +Chloride of potassium.—or (Muriate of Potassa).—Dissolve half an ounce +of carbonate of potassa in water, and neutralize with muriatic acid. Upon +concentrating the solutions, cubic crystals will be obtained, having a +taste similar to common salt. They consist of potassium and chloride, and +when dissolved in water they may be regarded as muriate of potassa. +</p> + +<p> +Chloride of Lime.—Mix half an ounce of slacked lime (hydrate of lime) +with six ounces of water, and conduct into this milk of lime, with +frequent agitation, as much chlorine gas as will evolve from two ounces of +muriatic acid and half an ounce of black oxide of manganese. The liquid +clarifies by standing; may be regarded as a solution of chloride of lime, +and must be protected from the air and light. It may also be made without +putting in the water with the hydrate of lime, by merely passing the +chlorine into the hydrate of lime. This last is by some used in +preparations for accelerating the operation of taking Daguerreotypes, but +when used for this purpose it is in small quantities. +</p> + +<p> +Chloride of Calcium.—To one part of water add two parts of muriatic acid, +and add pieces of common chalk until effervescence ceases; then filter +through cotton cloth and evaporate it by placing it in all earthen or +porcelain dish, over a slow fire, to the consistency of a syrup. When +cooling, large prismatic crystals of chloride of calcium are formed. These +must be quickly dried by pressing between folds of blotting paper and kept +carefully excluded from the air, as it readily attracts hydrogen. For most +daguerreotype purposes, the syrup may be at once evaporated to dryness. +This is frequently placed in the iodine coating box for the purpose of +keeping the atmosphere dry. It is so easily made that every operator can +provide himself with it in a short time, and at little expense. +</p> + +<p> +Chloride of Gold.—Is prepared by dissolving gold in aqua regia, a +composition of one part of nitric to two parts of muriatic acid. Gold foil +is the best for our purposes; coin, however, answers, in most cases, for +the daguerreotype operator, as the alloy, being so slight is not noticed +in the gilding process. When the latter is used, it will facilitate the +operation to beat it out, forming a thin sheet, and then cutting in small +strips. Where purity is required, foil is better. The gold is placed in +three or four times its own weight of the above acids. For this purpose, +an evaporating dish is best (a common saucer will do); a moderate heat may +be applied to favor the action. The mixture should be stirred often with a +glass rod; care should be observed not to apply too much heat, for at a +temperature of about 300 deg. the chlorine would be expelled and leave a +metallic precipitate, which would require re-dissolving. Acid may at any +time be added if necessary to dissolve the gold, but it is advisable to +add as little excess as possible, as it would require more time to +evaporate. After all the gold has dissolved, and the liquid assumes a deep +red color, the solution should be allowed to cool, being stirred nearly +all the time. This salt is of a reddish-brown color. It is rarely we find +in our market good chloride of gold, as common, salt is used for the bulk; +and when the bottles are labelled “15 grains,” “20 grains,” nine-tenths do +not in reality contain exceeding five grains of chloride of gold. The salt +is mixed with the above solution when it is cooling, and gives bright +yellow crystals, which some of our uninformed operators conceive to be the +best quality. +</p> + +<p> +Chloride of Silver.—(Oxide of Silver.)—Take any quantity of silver coin +or other silver, roll or hammer it thin; cut in small pieces. This in +order to save time. Put the silver in a glass or earthen vessel (Florence +flask is best); pour in nitric acid and water, about three parts of the +former to one of the latter. The operation of cutting up the silver may be +facilitated by applying a gentle heat. This blue solution consists of +oxide of silver and oxide of copper, both combined with nitric acid. +Should the operator wish a pure solution of silver, which, however, is not +always used, he may obtain it in the following manner: +</p> + +<p> +To separate the two metals contained in the above solution from each +other, put some bright copper coins into the solution and set it aside in +a warm place for three or four days, occasionally giving it a circular +motion. The separated laminae are pure silver, which is to be digested +with ammonia until it ceases to be colored blue. The silver, after being +washed and dried, is again dissolved in nitric acid, and the liquid, +diluted with water, is kept as solution, of silver. +</p> + +<p> +Either of the above solutions (the one of oxide of silver and copper, and +the pure silver solution) may be prepared for use by putting them in a +bottle, with a quantity of water, and adding common fine salt, you obtain +a white curdy precipitate of chloride of silver. No matter how much salt +is used, provided enough be added to throw down all the chloride of +silver. This solution should be well agitated and then allowed to stand +for a few minutes; thus the white precipitate is in the bottom of the +bottle. When the water has become clear, pour it off with care, leaving +the sediment behind, then add a fresh quantity of clean water, shake, let +settle, and pour off as before. Repeat the same for several times, and the +excess of salt will disappear, leaving the white precipitate, which may be +drained of the water and dried in the dark, and kept free from light and +air. +</p> + +<h3> +CYANIDE OF POTASSIUM. +</h3> + +<p> +Cyanide of Potassium.—This important article is worthy the undivided +attention of every Daguerreotypist. I here give Mr. Smee’s process for its +preparation. This is from that author’s work entitled, “Electro +Metallurgy,” American edition: +</p> + +<p> +“The cyanide of potassium, so often alluded to while treating of the +metallo-cyanides, may be formed in several ways. It may be obtained by +heating to a dull redness the yellow ferrocyanate of potash, in a covered +vessel, filtering and rapidly evaporating it. The objection to this +method, however, is that without great care the whole of the ferrocyanate +is not decomposed, a circumstance which much reduces its value for +electro-metallurgy. By boiling, however, the ignited residue with spirits +of wine this difficulty is said to be overcome, as the ferrocyanate is +absolutely insoluble in that menstruum, while the cyanuret, at that heat, +freely dissolves, and is as easily re-deposited on cooling. +</p> + +<p> +“There is, however, a much better process by which this salt may be +formed, viz. by simply transmitting hydrocyanic acid through potassium. +Although the modes of making this acid are very numerous, there is but one +which is likely to be employed on a very large scale, and that is its +formation from the yellow ferrocyanate by means of sulphuric acid. This +process is performed as follows: any given weight of the yellow salt is +taken and dissolved in about five times its weight of water; this is +placed in a retort, or some such analogous vessel, to which is then added +a quantity of strong sulphuric acid, twice the weight of the salt, and +diluted with three or four times its quantity of water. A pipe is carried +from the neck of the retort to the receiving bottle, which should be kept +as cool as possible. +</p> + +<p> +“For small operations, those invaluable vessels, Florence flasks, answer +well: a bent tube being connected at one end to its month, the other +passing into the second vessel; heat should be cautiously applied by means +of an Argand lamp, a little vessel of sand being placed under the flask, +which helps the acid to decompose the salt. Prussic acid is then generated +and passes through the tube to the recipient vessel, which is to be +charged with liquor potassae. +</p> + +<p> +“When the potash is saturated, the operation is completed. The Germans +recommend a strong, alcoholic solution of potassa to be used in the second +vessel, for in this case, the hydrocyanic or prussic acid combines with +the potassa, forming a hydrocyanate of potassa, or, the water being +abstracted, the cyanuret of potassium, which spontaneously precipitates, +on the saturation of the fluid, the cyanuret, being insoluble in strong +alcohol. The ferrocyanate of potash may be considered as containing three +equivalents of hydrocyanic acid, two of potash and one of iron; but, +unfortunately, we can only obtain half the acid from the salt, owing to +the formation of a compound during its decomposition which resists the +action of the acid. The decomposition of this salt taking 2 equivalents or +426 grains (to avoid fractions) would afford 3 equivalents or 81 grains of +hydrocyanic, or prussic acid, capable of forming 198 grains of cyanuret of +potassium, while in the retort there would remain 384 grains or 3 +equivalents of bisulphate of potash, and 1 equivalent or 174 grains of a +peculiar compound, said to contain 3 equivalents of cyanogen, 1 of +potassium, and one of iron (Pereira). It is manifest that, but for this +later compound, we might double the quantity of hydrocyanic acid from the +yellow salt.” +</p> + +<p> +The decomposition just described is the one usually received; but too much +reliance must not be placed on its accuracy, for the analysis of the +several compounds is too difficult for the results to be fully admitted. +The residue left in the retort speedily turns to one of the blues, +identical with, or allied to, Prussian blue. This is at best a +disagreeable process to conduct, for the hydrocyanic acid formed adheres +so strongly to the glass, that, instead of being freely given off, bubbles +are evolved suddenly with such explosive violence as occasionally to crack +the vessel. This may be remedied as far as possible by the insertion of +plenty of waste pieces of platinum—if platinized, so much the better, as +that facilitates the escape of the gas. The heat should be applied to +every part of the vessel, and the flame should not be allowed to play upon +one single part alone. Large commercial operations are performed in green +glass or stone-ware retorts. +</p> + +<p> +“Now for one word of advice to the tyro: Remember that you are working +with prussic acid; therefore, never conduct the process in a room, the +fumes being quite as poisonous as the solution of the acid itself; +moreover, have always a bottle of ammonia or chlorine by your side, that +should you have chanced to inhale more than is pleasant, it will be +instantly at hand to counteract any bad effects. It is stated by Pereira, +that a little sulphuric acid or hydroferrocyanic acid passes to the outer +vessel, but probably the amount would be of no consequence for +electro-metallurgy, otherwise, it might be as well to use a Woulfe’s +apparatus, and discard the salt formed in the first vessel. To the large +manufacturer it may be worth considering whether some other +metallo-cyanuret, formed in a similar manner to the ferrocyanuret, might +not be more advantageously employed, because the residue of the process +last described contains a large quantity of cyanogen which the acid is +unable to set free. +</p> + +<p> +“There are other modes of procuring prussic acid, besides the one which +has been so tediously described; but these are found to be more expensive. +The only one which I shall now notice is the process by which it is +obtained from bicyanide of mercury. The bicyanide of mercury itself is +formed when peroxide of mercury is digested with Prussian blue, the +peroxide of mercury abstracting the whole of the cyanogen from the blue, +and leaving the oxides of iron at the bottom of the vessel. The solution +may be evaporated to dryness, and one part of the salt dissolved in six of +water; one part of muriatic acid, sp. gr. 1.15, is then added, and the +solution distilled, when the whole of the hydrocyanic acid passes over, +and by being conducted into a solution of potassa, as in the former +process, forms cyanuret of potassium. This process, though easier than the +first described, is rather given as a resource under peculiar +circumstances than as one to be adopted by the large manufacturer. The +expense is the only objection, but in a small quantity this cannot be a +consideration. +</p> + +<p> +“In giving this very rough outline of the general mode of forming salts, +the minutiae necessary for chemical work have altogether been avoided, and +those parts alone are entered upon which are more immediately necessary +for the electro metallurgist to know and practice for himself. This will +account for the long description of the cyanuret of potassium, while the +preparation of the equally important and even more used acids, the +sulphuric, muriatic, etc., commonly found in commerce, are altogether +neglected. +</p> + +<p> +“In using solutions of cyanide of potassium, the workman should not +immerse his arms into them, otherwise it occasionally happens that the +solution produces very troublesome eruptions over the skin.” +</p> + +<h3> +HYPOSULPHITE OF SODA. +</h3> + +<p> +Hyposulphite of Soda.—This salt forms one of the important chemicals for +the Daguerreotype operator. Its application to this art is of an +interesting nature. It is used to dissolve the sensitive salt of silver +which remains unchanged during the exposure in the camera. It has the +property of readily dissolving the chloride, bromide and iodide of silver. +It should be pure and free from sulphuret of sodium; should this last be +present, it will cause brown spots of sulphurated silver upon the +Daguerreotype impression. This annoyance is a great source of complaint +from many operators, and ever will be, so long as it is prepared by men +who have no reputation to lose, and whose eyes are blinded by the +“Almighty Dollar.” +</p> + +<p> +A good article may be prepared as follows: +</p> + +<p> +“Mix one pound of finely pulverized carbonate of soda with ten ounces of +flowers of sulphur, and heat the mixture slowly in a porcelain dish till +the sulphur melts. Stir the fused mass, so as to expose all its parts +freely to the atmosphere, whereby it passes from the state of a sulphuret, +by the absorption of atmospheric oxygen, into that of a sulphite, with the +phenomenon of very slight incandescence. Dissolve in water, filter the +solution, and boil it immediately along with flowers of sulphur. The +filtered concentrated saline liquid will afford, on cooling, a large +quantity of pure and beautiful crystals of hyposulphite of soda.” +</p> + +<p> +Hyposulphite of Gold.—This compound salt is by a few considered +preferable to the chloride of gold, but our experience has induced us to +use the latter, believing we are enabled to produce a more brilliant and +warm-toned impression with it. When the hyposulphite of gold is used in +gilding, it requires less heat and a longer application, as there is some +danger of producing a glossy scum over some parts of the surface of the +plate. I prepare this salt as follows: +</p> + +<p> +Dissolve one part chloride of gold and four parts hyposulphite of soda in +equal quantities of distilled water: pour the gold into the hyposulphite +solution, in the same manner as in mixing the gilding solution; let it +stand until it becomes limpid; filter and evaporate to dryness. +Re-dissolve and add a few grains of burnt alum. +</p> + +<p> +After standing a few hours, filter and evaporate again. If not +sufficiently pure, repeat the crystallization until it is so. For gilding, +dissolve in water and use in the same manner as the common gilding +solution. +</p> + +<p> +N.B.—The four following mixtures were employed in Neipce’s process in his +earliest experiments: +</p> + +<p> +Aqueous Solution of Bichloride of Mercury.—Eight grains of bichloride of +mercury in 10,000 grains of distilled water. +</p> + +<p> +Solution of Cyanide of Mercury.—A flask of distilled water is saturated +with cyanide of mercury, and a certain quantity is decanted, which is +diluted with an equal quantity of distilled water. +</p> + +<p> +Acidulated White Oil of Petroleum.—This oil is acidulated by mixing with +it one tenth of pure nitric acid, leaving it for at least 48 hours, +occasionally agitating the flask. The oil, which is acidulated, and which +then powerfully reddens litmus paper, is decanted. It is also a little +colored, but remains very limpid. +</p> + +<p> +Solution of Chloride of Gold and Platinum.—In order not to multiply the +solutions, take the ordinary chloride of gold, used for fixing the +impressions, and which is composed of 1 gramme of chloride of gold and 50 +grains of hyposulphate of soda, to a quart of distilled water. +</p> + +<p> +With respect to chloride of platinum, 4 grains must be dissolved in 3 +quarts of distilled water; these two solutions are mixed in equal +quantities. +</p> + +<p> +Acids.—I shall not go into the preparations of the various acids employed +in the Daguerreotype. This would be useless to the operator, as there are +few, if any, that it would be advisable to prepare. It is only necessary +for the experimenter to be made acquainted with their properties, and this +in order to prevent any haphazard experiments, which are too common among +operators. Any person who may be desirous to try an experiment, should +first study the agents he wishes to employ. By so doing much time and +money will be saved; while the searcher after new discoveries would rarely +become vexed on account of his own ignorance, or be obliged to avail +himself of the experience of others in any department of science. +</p> + +<p> +Nitric Acid—Exists in combination with the bases, potash, soda, lime, +magnesia, in both the mineral and vegetable kingdoms, and is never found +insoluble. It has the same constituents as common air, but in different +proportions. The strongest nitric acid contains in every pound, two and a +quarter ounces of water. Pure nitric acid is colorless, with a specific +gravity of 1.5, and boiling at 248 deg.. It is a most powerful oxidizing +agent, and is decomposed with more or less rapidity, by almost all the +metals, to which it yields a portion of its oxygen. +</p> + +<p> +The nitric acid of commerce, is generally the article used by the +Daguerreotypist. This usually contains some chlorine and sulphuric acid. +It is obtained by the distillation of saltpetre with sulphuric acid. It is +employed in the Daguerreotype process for dissolving silver, preparing +chloride or oxide, nitrate of silver, [the former used in galvanizing,] +and in combination with muriatic acid for preparing chloride of gold, used +in gilding. It is also used by some for preparing the plate. +</p> + +<p> +Acidulated Solution.—This solution is used for cleaning the surface of +the Daguerreotype plate. It has the property of softening the silver, and +bringing it to a state in which it is very susceptible of being either +oxidized or iodized, hence it contributes to increase the sensibility of +the plate. The proportions are to one drop of acid add from 15 to 20 drops +of water, or make the solution about like sharp vinegar to the taste. +</p> + +<p> +Nitro-Muriatic Acid.—Aqua Regia is a compound menstruum invented by the +alchemists for dissolving gold. It is composed of colorless nitric acid +(aqua-fortis) and ordinary muriatic acid; the mixture is yellow, and +acquires the power of dissolving gold and platinum. These materials are +not properly oxidized; it nearly causes their combination with chlorine, +which is in the Muriatic acid. +</p> + +<p> +Hydrochloric Acid (Muriatic Acid).—This acid forms a valuable addition to +the chemicals employed by the practical Daguerreotypist. This acid is +formed by acting upon common salt (which is chloride of sodium) by +concentrated sulphuric acid. The water of the acid is decomposed, and its +hydrogen combines with the chloride of the salt to form muriatic acid, and +this unites with the sulphuric acid to form sulphate of soda; 60 parts of +common salt and 49 parts of concentrated sulphuric acid, afford, by this +mutual action, 37 parts of muriatic acid and 72 parts of sulphate of soda. +The muriatic acid of commerce has usually a yellowish tinge, but when +chemically pure it is colorless. The former is commonly contaminated with +sulphurous acid, sulphuric acid, chlorine, iron, and sometimes with +arsenic. +</p> + +<p> +Muriatic acid, from the fact of the presence of the chlorine, is used in +the Daguerreotype process for dissolving gold, and in combination with +various accelerators. Its presence can be detected by ammonia. A strip of +paper dipped in this and waved to and fro will emit a thick white smoke if +the acid vapor be in the atmosphere. The ammonia neutralizes the acid +fumes. By reversing the experiment we can determine whether vapor of +ammonia be in the air, and also deprive these suffocating and dangerous +gases of their injurious properties, and remove them from the air. Every +Daguerreotype operator should be furnished with, at least, a six ounce +bottle of aqua ammonia. Its operation is very nearly the same on bromine +and iodine vapor. +</p> + +<p> +Hydrofluoric Acid (Fluorohydric Acid).—This acid is used to form some of +the most volatile and sensitive compounds employed in the Daguerreotype. +It is one of the most dangerous bodies to experiment with: it is volatile +and corrosive, giving off dense white fumes in the air. It combines with +water with great heat. At 32 deg. it condenses into a colorless fluid, +with a density 1.069. It is obtained from decomposition of fluorspar by +strong sulphuric acid. It readily dissolves the silica in glass, and +consequently cannot be kept in a vessel of that material. It is prepared +and kept in lead. It is employed in accelerators on account of its +fluorine. +</p> + +<p> +One small drop on the tongue of a dog causes death. The operator who +wishes to use it should pour some of the liquid for which he intends it +into a graduate, or other vessel, and then add the desired quantity of +acid. If by accident any of the spray should fall upon the skin, it should +at once be copiously drenched with water. +</p> + +<p> +Sulphuric Acid.—There are two sorts of this acid: one is an oily, fuming +liquid; this is made in Nordhausen, in Saxony, and is commonly called +“Nordhausen sulphuric acid,” or oil of vitriol. The other which is the +kind used in connection with the Daguerreotype, is common sulphuric acid. +It is somewhat thinner, and when undiluted is not fuming. This acid may be +obtained in a solid and dry state, called anhydrous sulphuric acid. +</p> + +<p> +The common sulphuric acid is made by burning sulphur, which forms +sulphurous acid. To convert this into sulphuric acid and gain more oxygen, +nitric acid, which is rich in that body, is added. It forms a limpid, +colorless fluid, of a specific gravity of 1.8. It boils at 620 deg.; it +freezes at 15 deg. It is acrid and caustic, and intensely acid in all its +characters, even when largely diluted. +</p> + +<p> +Its attraction for basis is such that it separates or expels all other +acids, more or less perfectly, from their combinations. Its affinity for +water is such that it rapidly absorbs it from the atmosphere, and when +mixed with water much heat is evolved. It acts energetically upon animal +and vegetable substances, and is a poisonous, dangerous substance to get +on the skin. It is a powerful oxidizing agent; hence its use in the +galvanic battery, for which purpose it is mostly used by the +Daguerreotypist. The fumes of this being so much more offensive than +nitric acid, the latter is sometimes used. It is also employed in some of +the more sensitive accelerators. +</p> + +<h3> +ACCELERATING SUBSTANCES. +</h3> + +<p> +Remarks on the Accelerating substances Used in the Daguerreotype.—I have +now arrived at a point in this work, where the eye of the Daguerreotype +public will intently search for something new. This search will prove in +vain, at least so far as regards those who have enjoyed and embraced the +opportunities for studying the principles of our art. Every experienced +operator has in a degree become familiar with the mechanical uses of all +the agents employed, while I fear but few understand the properties, and +laws governing those properties, which are so indispensable to produce an +image impressed upon the silver surface. +</p> + +<p> +There are three substances which form the bases for producing a +Daguerreotype; silver, iodine and bromine. Each forms a separate body +which is indispensable to the operators success as the art is now +practiced in America. With these three, compounds of great variety are +formed. +</p> + +<p> +The silver surface is first thoroughly cleaned and freed from all organic +matter, then exposed to vapor of iodine, producing an iodide of silver. +The plate upon which is this salt, is again exposed to the vapor of +bromine, forming a bromo-iodide of silver, a salt also. +</p> + +<p> +As most of the various accelerators are compounds of bromine, with either +chlorine or fluorine combination, they partake somewhat of the nature of +these latter, giving results which can be detected by the experienced +operator. Thus muriatic acid is added for its chlorine, which can +generally be detected by the impression produced, being of a light, soft, +mellow tone, and in most cases presenting a brilliant black to that +colored drapery. Those who wish to experiment with agents for accelerating +substances, should first study to well understand their peculiar nature +and properties; as well, also, to endeavor to find out what will be the +probable changes they undergo in combination as an accelerator. This +should be done before making the experiments. From the foregoing it will +be seen that numerous compounds are formed from the same basis, and, +consequently, it would be a waste of time and a useless appropriation to +devote more of our space than is necessary to give the principal and most +reliable combination. +</p> + +<p> +In America, the words “Quick” and “Quick Stuff,” are more generally used +for and instead of the more proper names, “Sensitives,” or “Accelerators,” +etc. As it has by use become common, I frequently use it in this work. +</p> + +<p> +Liquid Accelerator, No. 1.—This mixture was used by me in 1849, and is +given as it appeared in my “System of Photography,” published at the above +date: +</p> + +<p> +Take pure rain or distilled water, one quart, filter through paper into a +ground stopper bottle, and add, for warm weather, one and a half ounce +chloride of iodine; or for cold, one ounce; then add one ounce bromine, +and shake well. Now with care not to allow the vapor to escape, add drop +by drop, thirty drops of aqua ammonia, shaking well at each drop. Care +must be taken not to add more at a time, as it evokes too much heat. This +mixed, in equal proportions with John Roach’s quick, forms an excellent +chemical combination. For this purpose, take one and a half ounce of each, +to which add ten ounces water, for warm weather, or from six to seven for +cold. Pour the whole into a large box, and it will work from two to four +months. I am now using (1849) one charged as above which has been in +constant use for three months, and works uniformly well. The above is +right for half or full size boxes, but half of it would be sufficient for +a quarter size box. +</p> + +<p> +Coat to the first shade of rose over iodine, change to a deep rosy red +over quick, and black about one tenth the first. +</p> + +<p> +I would not now recommend the addition of “John Roach’s quick,” as I +believe equally good results can be produced without it. This liquid is +now used by many, and is very good for taking views. +</p> + +<p> +Lime Water Quick.—This mixture is more used at present than all the other +liquids ever introduced. It produced the most uniform results, giving the +fine soft tone so characteristic in pictures produces from accelerators +containing chlorine. To one quart of lime water (this can be had of any +druggist) add one and a half ounce of pulverized alum. This should be +shook at intervals for twenty—four hours; then add one ounce of chloride +of iodine and three fourths ounce of bromine. +</p> + +<p> +Lime Water.—This is easily prepared by putting lime into water, say a +piece of quick-lime about the size of an egg into one quart of water. This +should be shook occasionally for two or three days and allowed to settle, +when the water can be poured off and used. +</p> + +<p> +Use.—To one part of quick add six parts of water; coat to a light yellow +over the iodine, to a rose color over the quick, and recoat about one +tenth. The above coating may be increased or diminished, it matters not, +so that there is not too much, and the proper proportions are preserved. +Some add to the above a small quantity of magnesia, say about a +teaspoonful to the quart of liquid. +</p> + +<p> +Liquid Accelerator, No. 2.—The following was for a long time used by one +of the first houses in the United States, and probably was one of the +first liquids ever used. It produces a fine-toned picture, but is not +considered as sure as the lime water quick: +</p> + +<p> +Take rain water one quart, add pulverized alum until it is a little sour +to the taste, and a small piece, say one half inch square, of magnesia. +Filter through paper, and add chloride of iodine one half ounce, bromine +sufficient to take it up, which is a little less than half an ounce. +</p> + +<p> +Charge with one of quick to six of water; coat over iodine to a soft +yellow, nearly, but not quite, bordering on a rose; over quick to a dark +purple, or steel, and back one sixth to one tenth. +</p> + +<p> +Wolcott’s American Mixture.—Van Loan Quick.—This mixture was first +formed and used by T. Wolcott & Johnson and gained great celebrity for +its productions. I have now a bottle hermetically sealed that contains +about a half ounce of this mixture prepared in 1841 by John Johnson, now a +resident of this city, and the former partner of Mr. Wolcott. The +preparation of this mixture, as furnished by Mr. Johnson himself, is given +as follows: +</p> + +<p> +“One part of bromine, eight parts of nitric acid, sixteen parts of +muriatic acid, water one hundred parts. This mixture should be allowed to +stand for several days; it improves by age. +</p> + +<p> +“Use.—A few drops say, 6 to 12, of this mixture, should be put into about +6 or 8 ounces of water; it will require frequent replenishing by the +addition of a few more drops. The plate should be coated over the dry +iodine to a red just bordering on a slate, and then exposed to the mixture +only sufficiently long to change the color. If this is not done in less +than six seconds it is not strong enough. Re-coat over the iodine full one +fourth as long as first coating.” +</p> + +<p> +This exceedingly volatile compound is difficult to control from its +instability; it is but little used. The impressions successfully produced +by this mixture are very brilliant, and possess a pleasing peculiarity. +</p> + +<h3> +DRY SENSITIVES. +</h3> + +<p> +Hydrate of Lime.—The operation by which water is combined with lime is +called slaking. Take a piece of quick lime, common lime used in mortar, +and immerse it in warm water for about fifteen seconds; then place it in +an iron or tin vessel. It will soon begin to swell, evolving a great deal +of heat and emitting steam, and soon falls into a fine powder, hydrate of +lime. This should be well stirred and allowed to cool, and then bottled in +order to prevent it from giving off the hydrate and recovering the +carbonic acid from the atmosphere. The last is detrimental to its use with +bromine, and is one cause of the complaint that “it will not take +bromine.” The hydrate of lime should, not be dried over a heat, as has +been supposed by many, for in that case the hydrogen is expelled and it +returns to a carbonate. It is advisable to cool it in a damp place like a +ground cellar. Much of the lime in our market will not, except it be quite +damp, combine with the bromine. This is owing to impurities. Nothing is +equal to oyster-shell lime, which I use altogether. +</p> + +<p> +Bromide of Lime.—In preparing large quantities of this, we adopt the +following method: Fill a four-quart bottle about two-thirds full of +hydrate of lime; pour into this about one or two ounces of bromine; then +shake well, add more of the bromine, shake well and let it stand for a few +hours, adding sufficient bromine to give it a fine red color. It is better +when kept in the large bottles, as it forms a more perfect combination: in +other words it improves by age. +</p> + +<p> +Use.—Coat over the iodine to a rose red and then over this mixture to a +purple or slate; recoat over the first about one fourth as long as first +coating. +</p> + +<p> +Gurneys American Compound.—Of this compound there are two combinations, +one for use, when the temperature of the atmosphere is above 65 or 70 +deg., and the other at a lower temperature. The first is called No. 1, the +second No. 2. +</p> + +<p> +No. 1 is prepared by placing hydrate of lime in a bottle, say to three +quarts of the hydrate of lime, add one ounce of pulverized burnt alum, and +as much chloride of lime as can be put on a quarter of a dollar, and from +15 to 30 grains of dry pulverized iodine, or enough to change the color of +the hydrate of lime, to the slightest possible tinge of yellow. There had +better be less than carry the color to a deeper shade. The object of using +the iodine is to form a compound with bromine that is not so volatile as +the bromine itself. No matter how little iodine is combined with the +bromine, the vapors possess their relative proportion; hence, only enough +iodine to prevent “flaring,” or as it is often termed a “scum-coating,” is +used. The iodine should be thoroughly combined with the lime, which will +take about one or two days. Should add bromine the same as in bromide of +lime, until the compound assumes a light red color. +</p> + +<p> +No. 2 is prepared in the same manner as No. 1, except the addition of the +iodine, which is omitted. +</p> + +<p> +Use.—No. 1. Coat over the iodine to a bright yellow color, then over the +compound, No. 1, to red color, recoat over iodine, about one sixth as +long, as the time occupied in first coating. +</p> + +<p> +No. 2. Coat over iodine same as above, except recoat over the iodine about +one fourth to one half as long as first coating. +</p> + +<p> +Dry Quick, No. 1.—Bromide of Lime and Starch.—The following compound +forms an excellent accelerator, and is used by many. It is claimed for +this preparation, that it will hold the bromine longer than others where +starch is not employed. As regards this claim we do not think it can be +substantiated. Our experience in practice has led us to the conclusion +that there is no great difference as respects durability, but there is +some little difference as regards the tone of the impressions produced by +its use. +</p> + +<p> +To one quart of hydrate of lime add one quart of finely pulverized starch. +To this mixture add bromine, until it assumes a deep yellow or pink color. +</p> + +<p> +Starch may be added to any of the dry mixtures. +</p> + +<p> +Use.—Coat over the iodine to a deep yellow, then over this quick to a red +color, recoat about one sixth of the time of first coating. +</p> + +<p> +I will here again remark, that the exact color of the coating is not +essentially provided a proper proportion is preserved. +</p> + +<p> +I have never seen it stated, though it be a fact worthy of note, that a +proportionate time for coating over the iodine and accelerator, will not +answer. For example: if a plate exposed to the vapor of iodine be +perfectly coated in sixteen seconds, and then exposed to an accelerator, +(not having iodine in its combination) receives its coating in four +seconds, it will be found that a proper proportionate coating cannot be +preserved by adopting, a proportion of time, but on the contrary, the time +will diminish; for exposure over the accelerator, as in the above example, +if it be desired to coat the plate with twice as much iodine as in the +above example, the time would be, over iodine thirty-two seconds, and over +the accelerator (to possess a proper proportion) from six to seven +seconds. Hence it is that many inexperienced operators, when wishing to +vary their usual manner of coating, fail in producing a favorable result. +They coat calculating a proportion of time when they should not. +</p> + +<p> +Dry Quick, No. 2.—Bromide of Lime and Magnesia.—To one quart of hydrate +of lime add one quart of magnesia, and mix them well together; add bromine +same as in preparing bromide of lime; coat the same as over dry quick No. +1. This combination produces very uniform results, and is worked with much +success by beginners. +</p> + +<p> +Chloro-Bromide of Lime.—To the bromide of lime add chloride of bromine +until the mixture becomes a pale yellow color, resembling sulphur. It +should be shook well, and enough of the chloride of bromine added to bring +the compound to a deep blood red color. +</p> + +<p> +Use.—Coat over the iodine to a pink color, and then over the above to a +red, or just changing the color. It should be remembered that accelerators +containing chlorine do not admit of a great change of color of coating on +the plate. +</p> + +<p> +Iodide of Starch.—This mixture can be employed for coating over in warm +weather, and prevent the flashing resulting at high temperatures. It may +be used the same as the iodide alone. +</p> + +<p> +To six ounces of finely pulverized starch, add one fourth ounce of dry +iodine. +</p> + +<p> +Use.—Same as the dry iodine alone. +</p> + +<p> +The same combination may be made with lime, magnesia and other substances. +</p> + +<p> +Concentrated Solution of Iodine for First Coating.—It may appear strange +to some of our old operators that an aqueous solution of iodine can be +used for coating the plate and forming the iodide of silver. It has long +been a cry among most operators that it is impossible to succeed when the +iodine box contains dampness. Now this is a great mistake, and we will +here state that in all cases where dampness appears upon a properly +prepared Daguerreotype plate, it is the result of a different temperature +of the metal from the air which surrounds it. Mr. Senter, of Auburn, was +the first of our operators who used a solution of iodine for coating the +plate, and we several years since saw his results, which would rival the +production of any other operator. A concentrated solution of iodine is +prepared by putting into a common bottle two thimblesful of hyposulphite +of soda and a rather larger quantity of iodine, so that there may be more +than sufficient. Add to it about 40 ounces of common water (heated to 60 +or 70 degrees), by little and little, moving, the bottle to warm it, for +fear of breaking. After shaking it a short time, the water is rapidly and +strongly colored. The solution should be poured into a bottle with a +ground stopper, and when cool used for iodizing. +</p> + +<p> +A solution of sufficient strength can be made by moistening or just +covering the iodine with water. +</p> + +<p> +Chloride of Iodine as an Accelerator.—This is probably one of the best +accelerators that can be used for coating the plate for taking views; it +works too slow, however, to meet the wants of the operating room, yet its +use was formerly, for a long time, adhered to by some of our best +professors. In producing views with this, we are successful in obtaining +well-developed impressions, with a depth of tone and richness of +appearance not to be met with in the productions of any other substances. +I give its use as furnished me by an old and experienced operator, and +published in Humphrey’s Journal, vol. i. p. 180: +</p> + +<p> +“As the process of using chloride of iodine may be of interest to some of +our subscribers, I take pleasure in giving the following manipulation. To +one ounce of chloride of iodine add two ounces of water; place this +mixture in a coating-box, the same as quick stuff; coat the plate with dry +iodine to a light yellow, or lemon color; then bring the coating to a deep +pink over the chloride. The plate must be recoated over the dry iodine.” +</p> + +<p> +This combination has been very successfully used in one of our most +extensive establishments in this city, and the superiority of the pictures +produced by it was considered as an equivalent for the additional time +required to bring out the impressions. +</p> + +<p> +Chlorine as an Accelerator.—I shall here refer to but a single experiment +in which I employed chlorine gas for coating the plate. I was provided +with a retort, the neck of which was fitted to the jar of my coating-box, +through a hole drilled for its reception. This was fitted perfectly tight +in my coating-box. I placed some pure undiluted bromine water and the +agents necessary for producing chlorine gas (in small quantity) in the +retort. The result was that my first experiment produced an impression +completely solarized in all its parts by an exposure of four seconds of +time, which would have required an exposure of twenty seconds to produce a +perfectly developed impression by the usual process. +</p> + +<p> +Another trial immediately produced one of the finest toned impressions I +ever saw, perfectly developed in one second of time. +</p> + +<p> +My next two or three experiments proved total failures. I was unable to +produce even a sign of an impression. By accident my retort was broken, +and not being in a locality convenient to obtain another, my experiments +were necessarily suspended. +</p> + +<p> +My attention was not called to this subject again for several years, when +I noticed an account of some similar experiments by F. A. P. Barnard and +Dr. W. H. Harrington, the latter of whom is now of the firm of Dobyns +& Harrington, of New Orleans. +</p> + +<p> +From reading this article, I found my own difficulties explained. Too much +of the chlorine gas was present in my coating jar. I would like to see +some of our enterprising operators investigate this combination. +</p> + +<p> +It is a singular fact, that the vapors of bromine and chlorine combining +upon the iodide of silver, produce a more sensitive coating than when the +two are combined in solution, as in chloride of bromine solution. Those +having Humphrey’s Journal at hand, can refer to vol. i. p. 142. +</p> + +<p> +To use Bromine Water or other Accelerators in Hot Weather.—An excellent +plan for using bromine water is as follows: +</p> + +<p> +Fill a two-ounce bottle quarter full of it, and then fill the bottle with +fine sand, which serves to preserve a low temperature; then place the +bottle in a porous cup, same as used in the battery; fill this also with +sand, and close the end with plaster of Paris. Place this in a +coating-box, and it will be found to act with great uniformity and be +quite permanent. +</p> + +<p> +Bromide of Lime, another accelerator, can be used in the same manner, +except it is, only necessary, when a solid sensitive is used, to mix it +with the sand without placing it in a bottle. This method is employed with +great success by a few, who have regarded it as a secret worth keeping. +</p> + +<p> +A Combination, requiring the Use of only One Coating-box.—It is often +wondered by beginners, why some solution requiring only one coating cannot +be employed. This can be done, but the results are not so satisfactory as +when two or more are employed. Such an accelerator may be produced by +adding alcoholic solution of iodine to a solution of chlorate of potash, +until the latter will take up no more of the former, and to each ounce, by +measure of this solution, ten drops of a saturated solution of bromide in +water are added. The solution of chlorate of potash is made by diluting, +one part of a saturated solution of the salt with ten parts of water. The +use of the chlorate is simply as a solvent of iodine. +</p> + +<p> +Fats as Accelerators.—The use of fats, oils, or greasy substances, has +been one of the most emphatic prohibitions about the Daguerreotype plate. +Yet it has been proved that its presence in a small quantity upon the +silver surface has the effect of reducing the time of exposure in the +camera from two-thirds to three-fourths. An application may be made as +follows: Pour sweet oil, or rub beef or mutton fat, on a common buff, +which is free from all polishing powders. With this, buff a well-cleaned +plate, and it will leave a scum, which should be mostly removed by using +another buff, which should be clean. Coat the plate in the usual manner, +and the result will be a great reduction in the time of exposure in the +camera. The impression produced upon a plate so prepared presents, when +coming from the vapor of mercury, a grey, scummy appearance, which, on the +application of heat in gilding, does not improve; hence its use is not +generally adopted. +</p> + +<p> +We have instituted some investigations upon this subject, and in the +present volume, we shall not refer to it further. Those wishing to learn +more fully the effect of light upon organic substances will find Robert +Hunt’s “Researches on Light” an invaluable work. +</p> + +<h2><a name="chap04"></a>CHAPTER IV.</h2> + +<h3> +LIGHT AND OPTICS. +</h3> + +<p class="letter"> +Light—Optics—Solar Spectrum—Decomposition of Light—Light, Heat, and +Actinism—Blue Paper and Color for the Walls of the Operating +Room—Proportions of Light, Heat, and Actinism composing a +Sunbeam—Refraction—Reflection—Lenses—Copying Spherical +Aberration—Chromatic Aberration. +</p> + +<p> +It is advisable that persons engaging in the Daguerreotype art should have +at least a little knowledge of the general principles of light and optics. +It is not the author’s design here to give a full treatise on these +subjects, but he only briefly refers to the matter, giving a few facts. +</p> + +<p> +It has been well observed by an able writer, that it is impossible to +trace the path of a sunbeam through our atmosphere without feeling a +desire to know its nature, by what power it traverses the immensity of +space, and the various modifications it undergoes at the surfaces and +interior of terrestrial substances. +</p> + +<p> +Light is white and colorless, as long as it does not come in contact with +matter. When in apposition with any body, it suffers variable degrees of +decomposition, resulting in color, as by reflection, dispersion, +refraction, and unequal absorption. +</p> + +<p> +To Sir I. Newton the world is indebted for proving the compound nature of +a ray of white light emitted from the sun. The object of this work is not +to engage in an extended theory upon the subject of light, but to recur +only to some points of more particular interest to the photographic +operator. +</p> + +<p> +The decomposition of a beam of light can be noticed by exposing it to a +prism. If, in a dark room, a beam of light be admitted through a small +hole in a shutter, it will form a white round spot upon the place where it +falls. If a triangular prism of glass be placed on the inside of the dark +room, so that the beam of light falls upon it, it no longer has the same +direction, nor does it form a round spot, but an oblong painted image of +seven colors—red, orange, yellow, green, blue, indigo, and violet. This +is called the solar spectrum, and will be readily understood by reference +to the accompanying diagram, Fig. 1. +</p> + +<p class="noindent"> +{133} +</p> + +<p> +To those who are unacquainted with the theory of light (and for their +benefit this chapter is given), it may be a matter of wonder how a beam of +light can be divided. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig1.gif" width="545" height="304" alt="[Illustration: Fig. 1]" /> +</div> + +<p> +This can be understood when I say, that white light is a bundle of colored +rays united together, and when so incorporated, they are colorless; but in +passing through the prism the bond of union is severed, and the colored +rays come out singly and separately, because each ray has a certain amount +of refracting (bending) power, peculiar to itself. These rays always hold +the same relation to each other, as may be seen by comparing every +spectrum or rainbow; there is never any confusion or misplacement. +</p> + +<p> +There are various other means of decomposing {134} white light besides the +prism, of which one of the principal and most interesting to the +Daguerreotypist is by reflection from colored bodies. If a beam of white +light falls upon a white surface, it is reflected without change; but if +it falls upon a red surface, only the red ray is reflected: so also with +yellow and other colors. The ray which is reflected corresponds with the +color of the object. It is this reflected decomposed light which prevents +the beautifully-colored image we see upon the ground glass in our cameras. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig2.gif" width="502" height="479" alt="[Illustration: Fig. 2]" /> +</div> + +<p> +A sunbeam may be capable of three divisions—LIGHT, HEAT, and ACTINISM; +the last causes all the chemical changes, and is the acting power upon +surfaces prepared to receive the photographic image. The accompanying +illustration, Fig. 2, will readily bring to the mind of the reader the +relation of these one to another, and their intensities in the different +parts of a decomposed sunbeam. +</p> + +<p> +The various points of the solar spectrum are represented in the order in +which they occur between A, and B, this exhibits the limits of the +Newtonian spectrum, corresponding with Fig. 1. Sir John Herschel and +Seebeck have shown that there exists, beyond the violet, a faint violet +light, or rather a lavender to b, to which gradually becomes colorless; +similarly, red light exists beyond the assigned limits of the red ray to +a. The greatest amount of actinic power is shown at E opposite the violet; +hence this color “exerts” the greatest amount of influence in the +formation of the photographic image. +</p> + +<p> +(Blue paper and blue color have been somewhat extensively used by our +Daguerreotype operators in their operating rooms and skylights, in order +to facilitate the operation in the camera. I fancy, however, that this +plan cannot be productive of as much good as thought by some, from the +fact, that the light falling upon the subject, and then reflected into the +camera, is, coming through colorless glass, not affected by such rays as +may be reflected from the walls of the operating room; and even if it were +so, I conceive that it would be injurious, by destroying the harmony of +shadows which might otherwise occur.) The greatest amount of white light +is at C; the yellow contains less of the chemical power than any other +portion of the solar spectrum. It has been found that the most intense +heat is at the extreme red, b. +</p> + +<p> +Artificial lights differ in their color; the white light of burning +charcoal, which is the principal light from candles, oil and gas, contains +three rays—red, yellow, and blue. The dazzling light emitted from lime +intensely heated, known as the Drummond light, gives the colors of the +prism almost as bright as the solar spectrum. +</p> + +<p> +If we expose a prepared Daguerreotype plate or sensitive paper to the +solar spectrum, it will be observed that the luminous power (the yellow) +occupies but a small space compared with the influence of heat and +chemical power. R. Hunt, in his Researches on Light, has presented the +following remarks upon the accompanying illustration: +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig3.gif" width="548" height="558" alt="[Illustration: Fig. 3]" /> +</div> + +<p> +“If the linear measure, or the diameter of a circle which shall include +the luminous rays, is 25, that of the calorific spectrum will be 42.10, +and of the chemical spectrum 55.10. Such a series of circles may well be +used to represent a beam from the sun, which may be regarded as an atom of +Light, surrounded with an invisible atmosphere of Heat, and another still +more extended, which possesses the remarkable property of producing +chemical and molecular change. +</p> + +<p> +A ray of light, in passing obliquely through any medium of uniform +density, does not change its course; but if it should pass into a denser +body, it would turn from a straight line, pursue a less oblique direction, +and in a line nearer to a perpendicular to the surface of that body. Water +exerts a stronger refracting power than air; and if a ray of light fall +upon a body of this fluid its course is changed, as may be seen by +reference to Fig. 4. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig4.gif" width="342" height="236" alt="[Illustration: Fig. 4]" /> +</div> + +<p> +It is observed that it proceeds in a less oblique direction (towards the +dotted line), and, on passing on through, leaves the liquid, proceeding in +a line parallel to that at which it entered. It should be observed that at +the surface of bodies the refractive power is exerted, and that the light +proceeds in a straight line until leaving the body. The refraction is more +or less, and in all cases in proportion as the rays fall more or less +obliquely on the refracting surface. It is this law of optics which has +given rise to the lenses in our camera tubes, by which means we are +enabled to secure a well-delineated representation of any object we choose +to picture. +</p> + +<p> +When a ray of light passes from one medium to another, and through that +into the first again, if the two refractions be equal, and in opposite +directions, no sensible effect will be produced. +</p> + +<p> +The reader may readily comprehend the phenomena of refraction, by means of +light passing through lenses of different curves, by reference to the +following diagrams:— +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig5.gif" width="493" height="270" alt="[Illustration: Fig. 5, 6, 7]" /> +</div> + +<p> +Fig 5 represents a double-convex lens, Fig. 6 a double-concave, and Fig. 7 +a concavo-convex or meniscus. By these it is seen that a double-convex +lens tends to condense the rays of light to a focus, a double-concave to +scatter them, and a concavo-convex combines both powers. +</p> + +<p> +If parallel rays of light fall upon a double-convex lens, D D, Fig. 8, +they will be refracted (excepting such as pass directly through the +centre) to a point termed the principal focus. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig8a.gif" width="362" height="198" alt="[Illustration: Fig. 8]" /> +</div> + +<p> +The lines A B C represent parallel rays which pass through the lens, D D, +and meet at F; this point being the principal focus, its distance from the +lens is called the focal length. Those rays of light which are traversing +a parallel course, when they enter the lens are brought to a focus nearer +the lens than others. Hence the difficulty the operator sometimes +experiences by not being able to “obtain a focus,” when he wishes to +secure a picture of some very distant objects; he does not get his ground +glass near enough to the lenses. Again, the rays from an object near by +may be termed diverging rays. This will be better comprehended by +reference to Fig. 9, where it will be seen that the dotted lines, +representing parallel rays, meet nearer the lenses than those from the +point A. The closer the object is to the lenses, the greater will be the +divergence. This rule is applicable to copying. Did we wish to copy a 1/6 +size Daguerreotype on a 1/16 size plate, we should place it in such a +position to the lenses at A that the focus would be at F, where the image +would be represented at about the proper size. Now, if we should wish to +copy the 1/6 size picture, and produce another of exactly the same +dimensions, we have only to bring it nearer to the lenses, so that the +lens D E shall be equi-distant from the picture and the focus, i. e. from +A to B. The reason of this is, that the distance of the picture from the +lens, in the last copy, is less than the other, and the divergence has +increased, throwing, the focus further from the lens.” +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig9.gif" width="538" height="200" alt="[Illustration: Fig. 9]" /> +</div> + +<p> +These remarks have been introduced here as being important for those who +may not understand the principles of enlarging or reducing pictures in +copying. +</p> + +<p> +I would remark that the points F and A, in Fig. 9, are termed “conjugate +foci.” +</p> + +<p> +If we hold a double-convex lens opposite any object, we find that an +inverted image of that object will be formed on a paper held behind it. To +illustrate this more clearly, I will refer to the following woodcut: +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig10.gif" width="495" height="280" alt="[Illustration: Fig. 10]" /> +</div> + +<p> +“If A B C is an object placed before a convex lens, L L, every point of it +will send forth rays in all directions; but, for the sake of simplicity, +suppose only three points to give out rays, one at the top, one at the +middle, and one at the bottom; the whole of the rays then that proceed +from the point A, and fall on the lens L L, will be refracted and form an +image somewhere on the line A G E, which is drawn direct through the +centre of the lens; consequently the focus E, produced by the convergence +of the rays proceding from A, must form an image of A, only in a different +relative position; the middle point of C being in a direct line with the +axis of the lens, will have its image formed on the axis F, and the rays +proceeding from the point B will form an image at D; so that by imagining +luminous objects to be made up of all infinite number of radiating points +and the rays from each individual point, although falling on the whole +surface of the lens, to converge again and form a focus or representation +of that point from which the rays first emerged, it will be very easy to +comprehend how images are formed, and the cause of those images being +reversed. +</p> + +<p> +“It must also be evident, that in the two triangles A G B and D G E, that +E D, the length of the image, must be to A B, the length of the object, as +G D, the distance of the image, is to G B, the distance of the object from +the lens. +</p> + +<p> +It will be observed that in the last cut the image produced by the lens is +curved. Now, it would be impossible to produce a well-defined image from +the centre to the edge upon a plain surface; the outer edges would be +misty, indistinct, or crayon-like. The centre of the image might be +represented clear and sharp on the ground glass, yet this would be far +from the case in regard to the outer portions. This is called spherical +aberration, and to it is due the want of distinctness which is frequently +noticed around the edges of pictures taken in the camera. To secure a +camera with a flat, sharp, field, should be the object of every operator; +and, in a measure, this constitutes the great difference in cameras +manufactured in this country. +</p> + +<p> +Spherical aberration is overcome by proper care in the formation of the +lens: “It can be shown upon mathematical data that a lens similar to that +given in the following diagram—one surface of which is a section of an +ellipse, and the other of a circle struck from the furthest of the two +foci of that ellipse—produces no aberration. +</p> + +<p> +“At the earliest period of the employment of the camera obscura, a +double-convex lens was used to produce the image; but this form was soon +abandoned, on account of the spherical aberration so caused. Lenses for +the photographic camera are now always ground of a concavo-convex form, or +meniscus, which corresponds more nearly to the accompanying diagram.” +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig11.gif" width="320" height="266" alt="[Illustration: Fig. 11]" /> +</div> + +<p> +Chromatic Aberration is another difficulty that opticians have to contend +with in the manufacturing of lenses. It will be remembered, that in a +former page (133) a beam of light is decomposed by passing through a glass +prism giving seven distinct colors—red, orange, yellow, green, blue, +indigo and violet. +</p> + +<p> +Now, as has been said before, the dissimilar rays having an unequal degree +of refrangibility, it will be impossible to obtain a focus by the light +passing through a double-convex lens without its being fringed with color. +Its effect will be readily understood by reference to the accompanying +cut. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig8b.gif" width="410" height="180" alt="[Illustration: Fig. 8]" /> +</div> + +<p> +If L L be a double convex-lens, and R R R parallel rays of white light, +composed of the seven colored rays, each having a different index of +refraction, they cannot be refracted to one and the same point; the red +rays, being the least refrangible, will be bent to r, and the violet rays, +being the most refrangible, to v: the distance v r constitutes the +chromatic aberration, and the circle, of which the diameter is a l, the +place or point of mean refraction, and is called the circle of least +aberration. If the rays of the sun are refracted by means of a lens, and +the image received on a screen placed between C and o, so as to cut the +cone L a l L, a luminous circle will be formed on the paper, only +surrounded by a red border, because it is produced by a section of the +cone L a l L, of which the external rays L a L l, are red; if the screen +be moved to the other side of o, the luminous circle will be bordered with +violet, because it will be a section of the cone M a M l, of which the +exterior rays are violet. To avoid the influence of spherical aberration, +and to render the phenomena of coloration more evident, let an opaque disc +be placed over the central portion of the lens, so as to allow the rays +only to pass which are at the edge of the glass; a violet image of the sun +will then be seen at v, red at r, and, finally, images of all the colors +of the spectrum in the intermediate space; consequently, the general image +will not only be confused, but clothed with prismatic colors.” +</p> + +<p> +To overcome the difficulty arising from the chromatic aberration, the +optician has only to employ a combination of lenses of opposite focal +length, and cut from glass possessing different refrangible powers, so +that the rays of light passing through the one are strongly refracted, and +in the other are bent asunder again, reproducing white light. +</p> + +<p> +To the photographer one of the most important features, requiring his +particular attention, is, that he be provided with a good lens. By the +remarks given in the preceding pages, he will be enabled, in a measure, to +judge of some of the difficulties to which he is occasionally subjected. +We have in this country but two or three individuals who are giving their +attention to the manufacture of lenses, and their construction is such, +that they are quite free from the spherical or chromatic aberration. +</p> + +<h2><a name="chap05"></a>CHAPTER V.</h2> + +<p class="letter"> +To make Plates for the Daguerreotype—Determining the Time of Exposure in +the Camera—Instantaneous Process for Producing Daguerreotype—Galvanizing +the Daguerreotype Plate—Silvering Solution—Daguerreotype without +Mercury—Management of Chemicals—Hints and +Cautions—Electrotyping—Crayon Daguerreotypes—Illuminated +Daguerreotypes—Natural Colors in Heliography—Multiplying Daguerreotypes +on one Plate—Deposit in Gilding—Practical Hints on the Daguerreotype. +</p> + +<h3> +TO MAKE PLATES FOR THE DAGUERREOTYPE. +</h3> + +<p> +I do not give the method employed by our regular plate manufacturers; this +is not important, as the operator could not possibly profit by it from the +fact of the great expense of manufacturing. The following will be found +practical: +</p> + +<p> +Procure a well planished copper plate of the required size, and well +polish it, first with pumice stone and water, then with snake stone, +jewelers’ rouge. Plates can be purchased in a high state of preparation +from the engravers. Having prepared the copper-plate, well rub it with +salt and water, and then with the silvering powder. No kind answers better +than that used by clock-makers to silver their dial-plates. It is composed +of one part of well washed chloride of silver, five parts of cream of +tartar, and four parts of table salt. This powder must be kept in a dark +vessel, and in a dry place. For a plate six inches by five, as much of +this composition as can be taken up on a shilling is sufficient. It is to +be laid in the centre of the copper, and the figures being wetted, to be +quickly rubbed over every part of the plate, adding occasionally a little +damp salt. The copper being covered with the silvering is to be speedily +well washed in water, in which a little soda is dissolved, and as soon as +the surface is of a fine silvery whiteness, it is to be dried with a very +clean warm cloth. In this state the plates may be kept for use. The first +process is to expose the plate to the heat of a spirit flame, until the +silvered surface becomes of a well-defined golden-yellow color; then, when +the plate is cold, take a piece of cotton, dipped in very dilute nitric +acid, and rub lightly over it until the white hue is restored, and dry it +with very soft clean cloths. A weak solution of the hydriodate of potash, +in which a small portion of iodine is dissolved, is now passed over the +plate with a wide camel’s hair brush. The silver is thus converted, over +its surface, into an ioduret of silver; and in this state it is exposed to +light, which blackens it. When dry, it is to be again polished, either +with dilute acid or a solution of carbonate of soda, and afterwards with +dry cotton, and the smallest possible portion of prepared chalk: by this +means a surface of the highest polish is produced. The rationale of this +process is, in the first place, the heat applied dries off any adhering +acid, and effects more perfect union between the copper and silver, so as +to enable it to bear the subsequent processes. The first yellow surface +appears to be an oxide of silver with, possibly, a minute quantity of +copper in combination, which being removed leaves a surface chemically +pure. +</p> + +<p> +Another Method.—The best and simplest mode with which we are acquainted +is to divide an earthenware vessel with a diaphragm: one side should be +filled with a very dilute solution of sulphuric acid, and the other with +either a solution of ferroprussiate of potash, or muriate of soda, +saturated with chloride of silver. The copper plate, varnished on one +side, is united, by means of a copper wire, with a plate of zinc. The zinc +plate being immersed in the acid, and the copper in the salt, a weak +electric current is generated, which precipitates the silver in a very +uniform manner over the entire surface. +</p> + +<p> +Another Method.—A piece of brass or of polished copper, brass is +preferred, is perfectly planished and its surface made perfectly clean. A +solution of nitrate of silver, so weak that the silver is precipitated +slowly, and a brownish color, on the brass, is laid uniformly over it, “at +least three times,” with a camel’s hair pencil. After each application of +the nitrate, the plate should be rubbed gently in one direction, with +moistened bitartrate of potassa, applied with buff. This coat of silver +receives a fine polish from peroxide of iron and buff. Proofs are said to +have been taken on it, comparable with those obtained on French plates. +</p> + +<h3> +M. SOLIEL’S PROCESS FOR DETERMINING THE TIME OF EXPOSURE IN THE CAMERA. +</h3> + +<p> +M. Soliel has proposed the use of the chloride of silver to determine the +time required to produce a good impression on the iodated plate in the +camera. His method is to fix at the bottom of a tube, blackened within, a +piece of card, on which chloride of silver, mixed with gum or dextrine, is +spread. The tube thus disposed is turned from the side of the object of +which we wish to take the image, and the time that the chloride of silver +takes to become of a greyish slate color will be the time required for the +light of the camera to produce a good effect on the iodated silver. +</p> + +<h3> +INSTANTANEOUS PROCESS FOR PROCURING DAGUERREOTYPES. +</h3> + +<p> +The following method of producing Daguerreotypes has by some been named as +above. Most experienced operators have been long acquainted with the +effect of the vapor of ammonia upon the chemically coated plate. I will +here insert Mr. W. H. Hewett’s plan of proceeding. This gentleman, in +referring to it (published in 1845), says: +</p> + +<p> +“This improvement consists in using the vapor of ammonia, as an object to +accelerate the action of light upon the plate. The effect is produced upon +a simple iodized plate, but still more upon a plate prepared in the +ordinary way, with both iodine and bromine. By this means, the author +obtained impressions instantaneously in the sunshine, and in five to ten +seconds in a moderate light; and he hopes to be able to take moving +objects. It can be applied by exposing the prepared plate over a surface +of water, to which a few drops of ammonia have been added (sufficient to +make it smell of ammonia); or the vapor can be introduced into the camera +during the action. In fact, the presence of ammonia, in the +operating-room, appears to have a good effect, as it also neutralizes the +vapors of iodine and bromine that may be floating about, and which are so +detrimental to the influences of light upon the plate.” +</p> + +<h3> +GALVANIZING THE DAGUERREOTYPE PLATE. +</h3> + +<p> +In consideration of the importance of galvanized plates, I shall endeavor +to give as plain and concise a manner of manipulation as possible. For +some time it was a question among the operators generally, as to the +beneficial result of electrotyping, the Daguerreotype plate, but for a few +years past our first operators have found it a fact, that a well +electro-silvered surface is the best for producing a portrait by the +Daguerreotype. +</p> + +<p> +From my own experiments, I have found that a plate, by being galvanized, +can be rendered more sensitive to the operation of the light in proportion +of one to five, viz.: if a plate as furnished by the market, be cleaned, +polished, coated and exposed in the camera, if the required time to freely +develop an impression be ten seconds, a similar plate prepared in like +manner and galvanized, will produce an equally well-defined image in eight +seconds. In connection with this subject, there is one fact worthy of +notice; a plate with a very heavy coating of pure silver, will not produce +an equally developed image, as a plate with a thinner coating, hence the +thin coating, providing it entirely covers the surface, is the best, and +is the one most to be desired. The experiment is plain and simple. Let the +slate receive a heavy or thick coating by the electrotype, then polish, +coat, expose in the usual manner, and the result will be a flat, ashy, +indistinct impression; when, on the other hand, the thin coating will +produce a bright, clear and distinct image, with all the details +delineated. +</p> + +<p> +The style of battery best for the purpose has been, and now is, a question +of dispute among operators; some preferring the Daniell battery to Smee’s. +Some claim the superiority of the first from its uniformity of action; +others, of the latter, for its strength. I consider either good, and for +the inexperienced would prefer the Daniell. This is more simple in its +construction, while it has certainty in action. The more skillful +electrotyper would prefer Smee’s, and this is the one most generally in +use. I would remark that the plan of galvanizing plates should be followed +by every operator, and when once thoroughly tested, no one will abandon +it. +</p> + +<h3> +SILVERING SOLUTION. +</h3> + +<p> +To any desired quantity of chloride of silver in water add, little by +little, cyanide of potassium, shaking well at each addition, until all the +cyanide is dissolved. Continue this operation, and add the cyanide, until +all the precipitate is taken up and held in solution. +</p> + +<p> +This solution is now ready for the plate-cup. Enough water may be added to +cover any sized plate when held perpendicular in the cup. The strength of +the solution may be kept up by occasionally adding the chloride of silver +and cyanide of potassium. There should alway be a very little excess of +the cyanide. +</p> + +<p> +The plate should be well cleaned and buffed, and the solution well stirred +before it is immersed. Care should be observed to keep the solution clean, +and allow no particle of dust to come in contact with the surface of the +plate. The plate is now to be attached to the pole of the battery. +</p> + +<p> +After remaining a short time, it assumes a blue color; take it out, rinse +freely with pure water, then dry with a spirit lamp, and it is ready for +buffing. Buff and coat in the usual manner. Some operators are in the +practice of immersing the plate in the solution and buffing twice. This +additional silvering is no improvement wherever there has been a proper +first coating. +</p> + +<p> +Sometimes the operator is troubled with streaks or scum on the plate. This +may arise from three causes, all of which experience must teach the +experimenter to avoid; first, too great an excess of cyanide in the +solution; second, a lack of silver; third, the current too strong. Another +annoyance arises from the solution being dirty and the dirt collecting on +the surface. When this is the case, the dirt is sure to come in contact +with the surface of the plate as it is plunged into the solution, and the +result is a scum that it is difficult to dispose of. This can be prevented +only by frequent filtering. One thing should always be borne in mind in +electrotyping Daguerreotype plates—that in order to secure a perfectly +coated surface, the plate should be perfectly cleaned. In this point, many +who have tried the electrotype process have failed, attributing their ill +success to other than the proper cause. +</p> + +<h3> +DAGUERREOTYPES WITHOUT MERCURY. +</h3> + +<p> +The following process possesses some interest, and is worthy a trial from +operators. M. Natterer, of Vienna, discovered a process for obtaining +proofs on iodized plates with the chloride of sulphur, without the use of +mercury. A plate of silver is iodized in the usual manner, and then placed +on the top of a vessel six or eight inches high, having at the bottom, in +a small cup, a few drops of chloride of sulphur; it should remain exposed +to the action of the vapor until the sombre yellow color is changed to a +red, after which it is brought to a focus in the camera, where it is +exposed to the light in the camera, for about the time necessary to +produce an ordinary daguerreotype. The plate is then taken out and +examined in the camera by the light of a candle. It often occurs that no +trace of the image is as yet perceptible, but if the plate is heated by +placing over a spirit lamp the unprepared side, or if left for some time +in the dark, or, lastly, if exposed only a few seconds to a weak, dimmed +light, the positive picture then appears with all its shades. Of these +three modes of bringing out the image, the second is superior to the +others. +</p> + +<h3> +MANAGEMENT OF CHEMICALS. +</h3> + +<p> +It is necessary, first of all, to know that you have a chemical which is +capable of producing good results when in skillful hands. For this reason +it is best to prepare your own quick, after some formula which is known to +be good. Those quick-stuffs which contain chloride of iodine are noted for +their depth of tone while they probably operate with less uniformity than +those which are destitute of it. For operating under ordinary +circumstances, especially with an inferior light, probably no accelerator +is more quick and sure than Wolcott’s. It also produces a very fine, white +pleasing picture, though lacking that depth of impression so much to be +desired. The dry quick operates with surety, and its use is simple and +easy, producing an impression much like Wolcott’s. For those having a good +and permanent light, however, we would recommend a chemical giving more +body to the impression. +</p> + +<p> +There is a class of accelerators called sensitives, claiming to work in +from three to ten seconds, which, however, will be found very little, if +any, more sensitive than this. We frequently work it with the ordinary +coating in twelve and fifteen seconds. The manner in which the sensitives +are worked is by coating very light. In this way, a flat, shallow picture +is obtained in a few seconds; and the same can be done with any of the +more volatile quicks. +</p> + +<p> +It is a fact not generally known, that a plate coated in a light chemical +room is more sensitive than when coated in darkness. By admitting a free, +uniform light, and exposing the plate to it a few seconds after coating, +then timing short in the camera, a very light, clear impression is +obtained. The time in the camera is reduced in proportion to the previous +action of light. The shades, of course, are destroyed, and the tone +injured; still, for taking children, we have succeeded better by this +method than by the use of “sensitives.” The discovery of this principle +was accidental, while operating where the direct ray s of the sun, +entering the window just before sunset, fell on the curtain of our dark +room, rendering it very light within. +</p> + +<p> +The selection of iodine is not unimportant. Reject, at once, that which +has anything like a dull, black, greasy appearance; and select that which +is in beautiful large crystalline scales, of a purple color, and brilliant +steel lustre. +</p> + +<p> +Solarization, and general blueness of all the light parts of the picture, +were formerly great obstacles to success, though now scarcely thought of +by first-class artists. Beginners in the art, however, are still apt to +meet with this difficulty. It is occasioned by dampness in the iodine box, +which causes the plate to become coated with a hydro-iodide of silver, +instead of the iodide. The remedy is in drying your iodine. If in summer, +you can open your box and set it in sunshine a few minutes; or if in +winter, set it under a stove a short time. The true method, however, is to +dry it by means of the chloride of calcium. It has such a remarkable +affinity for water, that a small fragment placed in the open air, even in +the dryest weather, soon becomes dissolved. +</p> + +<p> +Take one or two ounces of this chemical, heat it in the drying bath, or in +a hot stove, to perfect dryness; place it in a small glass toy dish, or +large watch crystal, and set it in the centre of your iodine box. Take +this out and heat to dryness every morning. Adopt this process, and with +your mercury at a high temperature, you will never be troubled with blue +pictures. +</p> + +<p> +Young operators are apt to impute all want of success in operating to +their chemicals, even though the cause is quite as likely to be elsewhere. +Failure is quite likely to occur from dampness in the buffs, or in the +polish; it is therefore necessary to be constantly on the guard in this +quarter. With a view to this, always scrape your buffs with a dull knife, +or with one blade of your shears, the first thing in the morning, and +after brushing them thoroughly, dry them, either in the sun, by a stove, +or in the buff-dryer. It is equally important that the polish and the +brush should be kept dry. +</p> + +<p> +Want of success may arise from vapors of iodine or bromine in the camera +box, mercury bath, or even in the buffs. It is incredible how small a +quantity of these vapors will affect the effect of light when coming in +contact with the plate, after or during the exposure in the camera. It is +therefore necessary to be cautious not to mix chemicals, nor open your +boxes or bottles in your room, but take them out to do it. Never hurry the +operation through from lack of confidence in the result. The fact of +anything being out of order, forms no excuse for slighting the process. If +unsuccessful, do not pursue the same course every trial, but vary with a +view to detect the cause of the difficulty. +</p> + +<p> +In case of a long series of failures, institute a regular course of +investigation, after this manner, commencing where the trouble is most +likely to occur: +</p> + +<p> +1. Are the plates well cleaned? +</p> + +<p> +2. Is the iodine dry? If the impressions come out blue, you may rest +assured it is not. Take out the iodine, wipe and dry the box, and dry the +calcium. +</p> + +<p> +3. Is the quick battery of the right strength? If dry, it must change the +plate in from six to fifteen seconds. If any of the chloride of iodine +class, it may vary from five seconds to a minute. Begin by coating light, +and increase on each trial, observing the effect. If the light side of the +picture seems loth to come out, and shows no contrast with the dark side, +it is to be inferred that your battery is too strong, and must be reduced +with water or set out in the open air for a few minutes, with the lid off. +If working an old battery, never renew very strong, or it will work dark +and heavy. A battery, to work well, should be gradually losing strength, +but never gaining. An old battery, however, may be quickened up and made +to work well for some time, by adding five of six drops of sulphuric acid, +repeating the quantity as often as necessary, providing always that acid +be not used in manufacturing the quick. +</p> + +<p> +4. Have the plates lost their sensitiveness by being many times exposed to +mercury? Clean and burn them; but if French plates, burn light, or you +spoil them. +</p> + +<p> +5. Are the buff s dry and clean? Examine the plate critically after +buffing to detect any appearance of scum or film on the surface. If so, +the longer you buff the more it shows. Scrape and dry the buffs +thoroughly. +</p> + +<p> +6. Is the mercury free from scum and dirt? If not, filter. Is it also far +enough from the coating boxes? Should be at least three feet, and kept +covered. +</p> + +<p> +7. Is the mercury sufficiently heated? This is important. Long exposure, +however, will answer the same purpose. +</p> + +<p> +8. Are your lenses clean, and in proper place? +</p> + +<p> +9. Are the tablets in focus with the ground-glass? If you can attribute +the failure to none of these, mix a new box of some other kind of quick, +say the dry, for instance. If you fail in the same manner here, take time, +wash your buffs, overhaul all the chemicals, and start anew. Do not be +discouraged. +</p> + +<p> +There is no day so dark but that the sun will shine again. We will close +with this brief summary of advice: +</p> + +<p> +Clean your plates. Keep everything dry. Keep the mercury hot. Follow these +instructions carefully, and you must succeed. +</p> + +<h3> +HINTS AND CAUTIONS. +</h3> + +<p> +First of all, cleanliness should be observed. When there is dust or dirt +about your room, particularly about the work-bench, failures will be +frequent; for the smallest particles of rotten-stone, when allowed to come +in contact with the buffs, will produce scratches on the surface of the +plate, which very much injures the operation, and often causes failures. +</p> + +<p> +Dust flying about the room is injurious, if allowed to fall on the plate, +either before or after it has been coated, as it causes black spots which +cannot be removed. +</p> + +<p> +The polished plate should not be allowed to come in contact with a strong +current of air, for it tends to oxidize the surface. Breathing on the +surface should also be avoided, for the same reason. +</p> + +<p> +The plate should, in all cases, be buffed immediately before using, and +not allowed to stand any length of time. It should be held with the +polished face downward. +</p> + +<p> +It is always best that the plate should be of the same temperature of the +atmosphere in the room. +</p> + +<p> +Keep the camera and mercury-bath perfectly free from the vapors of iodine +and bromine; for the presence of the slightest degree of either of the +above will injure the impression in no small degree. As a preventive, let +the camera be exposed to the sun or fire for a few minutes in the morning. +</p> + +<p> +Filter your mercury often, to keep the surface free from film and dust. +</p> + +<p> +The hyposulphite solution should be filtered through sponge every time it +is used. +</p> + +<p> +The direct rays of light must not enter the camera in conjunction with +those reflected from the object; or the picture will be veiled, and the +color of the plate changed to a thick green. +</p> + +<p> +If the plate be iodized only to a light-yellow, the result might be of a +bluish or grey tinge: and this is generally the case, when the quick is +new and strong, and there is an excess of it on the plate, and yet not +enough to form the bromide iodide of silver; in which case it would wholly +spoil the impression. +</p> + +<p> +Your iodine will be found to operate more successfully, when the time +required for coating the plate does not fall short of fifteen seconds, or +exceed one minute. +</p> + +<p> +Too quick coating can be avoided by using less iodine in your box. In the +summer months, when the weather is 80 deg. and over, one quarter of an +ounce, or even less, will work to advantage. +</p> + +<h3> +ELECTROTYPING. +</h3> + +<p> +I am indebted to Mr. J. H. Fitzgibbons for the following process, which he +employed in producing the excellent specimens he exhibited at the Crystal +Palace: +</p> + +<p> +“I shall endeavor to lay down in as comprehensive a manner as possible the +method by which I have been enabled to produce the most satisfactory +results. I use a Smee’s battery (another kind will do). After filling the +cell, of common size, nearly full with water; add about quarter of an +ounce of sulphuric acid. Mix this well, and let it stand for about three +hours, or until the action of the battery becomes weak, when it is in +order to work with a very uniform action. Put one pound of sulphate of +copper in one quart of water; stir it until the sulphate of copper is all +dissolved, and then add one half ounce of sulphuric acid and a quarter of +an ounce of nitric acid. This solution, well mixed, should be filtered, +and it is ready for use. It is very important that the solution should be +kept clean, clear, and free from all foreign substance. The above quantity +of this solution will be found sufficient for electrotyping a dozen of the +sixth-size plates. When it is required to be strengthened, it is only +necessary to add a little of the sulphate of copper. +</p> + +<p> +“With the battery prepared as above, and the solution of sulphate of +copper in a vessel of proper dimensions to receive your plate, connect the +galvanic current, and immerse the impressioned plate, letting it remain +until a thin film of copper has been formed, then the battery can be +strengthened, and the impression will be of sufficient thickness to be +removed in from eight to twelve hours. An old Daguerreotype plate attached +to the opposite pole of the battery (copper side towards the face of the +plate to be electrotyped), will answer the same purpose as the +silver-plate. +</p> + +<p> +“The great difficulty in taking an electrotype impression, and preserving +the original, has been attributed to the battery being too powerful. I am +led to believe from practice that the principal difficulty has been in the +Daguerreotype plate itself, for if we use an impression that has been +taken but a few days, and taken in the usual way, we will find it +difficult to succeed without spoiling both the copy and original, and so +also with an old impression. +</p> + +<p> +“I have found the most certain method to be as follows:—Coat the +Daguerreotype plate as usual, except use less of the accelerators, the +proportion of iodine coating being greater, of course the time of exposure +in the camera will be lengthened. Mercurialize it at about a temperature +requiring to develop the image, from six to eight minutes, at least. +Gilding the Daguerreotype has much to do towards producing a good +electrotype copy. This should be done by applying a little heat, and +gilding very slowly, giving a coating of gold with the greatest possible +uniformity. By this method, I have been enabled to produce any number of +proofs. I have produced a dozen from one impression, and it remains as +perfect as when first taken. +</p> + +<p> +“By a little judgment and care the operator will be enabled to produce the +electrotype copy of the Daguerreotype plate without any difficulty. The +electrotype copy should be immediately put under a glass and sealed in the +same manner as the ordinary Daguerreotype.” +</p> + +<h3> +CRAYON DAGUERREOTYPES. +</h3> + +<p> +This process is patented in the United States, by J. A. Whipple, of +Boston, and of course no honorable person will use it for his own benefit +without purchasing a right. +</p> + +<p> +A white back-ground is generally employed, the object being to blur the +lower portion of the plate, leaving the head of the subject in relief. +Every Daguerreotypist is familiar with the fact that a motion of any body +between the camera and the sitter will cause a “blur.” Cut a piece of thin +paper and scallop it, making a semicircle. This is kept straight by means +of a wire frame, and it is to be moved in front of the lower part of the +body of the sitter during the time of exposure of the plate in the camera. +Develop over mercury as usual, and the result will be a crayon +Daguerreotype. +</p> + +<p> +Another method is to have a wheel with a hole cut through it of a diameter +of about 12 inches. This hole is so cut as to leave teeth resembling those +of a large saw. This wheel is so arranged that it can be turned around, +which should be done during the time of exposure in the camera. It must be +placed between the camera and the sitter, and at such a distance from the +camera as to allow such proportion of the body of the sitter be seen upon +the ground-glass as is desired. It will be readily seen that by turning +this wheel during the operation will produce the same result as the paper +being moved in the other method. The teeth make the “blur.” The side of +the wheel towards the camera may be black, by which means the result will +be a dark instead of a light border. +</p> + +<h3> +ILLUMINATED DAGUERREOTYPES. +</h3> + +<p> +This process is also patented, and the remarks on the preceding subject +will apply in this case. The plate is prepared and exposed as in the usual +method of the Daguerreotype. A white back-ground is employed. Let the head +of the sitter come in the middle of the plate, and before exposing it to +the vapors of mercury, put a small mat or diaphragm, having a small hole +through it, over or directly on the surface of the plate. This diaphragm +should be bevelled, and the bevel should be towards the surface of the +plate; this, in order to prevent too sharp a line on the impression. It +will be readily seen that if an impressioned plate so covered is placed +over the mercury, it will be developed on such portions only as are +exposed. The principle is so familiar that further explanations are +unnecessary. +</p> + +<h3> +NATURAL COLORS IN HELIOGRAPHY. +</h3> + +<p> +This subject is worthy the attention of every operator. The following +process is so plain and easy of trial that any Daguerreotypist can try it. +This is as given by Mr. James Campbell, and was published in Humphrey’s +Journal of the Daguerreotype and Photographic Arts, vol. 5, page 11. Mr. +Campbell has done much to further the process announced by M. Neipce, and +his experiments have proved highly successful. +</p> + +<p> +The following is submitted as worthy of trial: +</p> + +<p> +“The proper preparation of the chloridated plate, to enable it to receive +colored impressions is an object of the first importance to those wishing +to experiment on it, and consequently requires particular notice. The +plate may be prepared by making it the positive pole of a battery, and +letting it at the same time be immersed in chlorine water. The negative +pole should be a slip of platinum. All the colors may be produced from a +plate so prepared if the chlorine and water are in the right proportions; +but generally one color or the other predominates, according to the amount +of chlorine in the liquid. By adding the chlorides of strontian, uranium, +potassium, sodium, iron, or copper to the liquid, various effects may be +produced, and these bodies will be found to produce the same color on the +plate that their flame gives to alcohol. +</p> + +<p> +“The honor of this discovery is due to M. Neipce. Copper gives a +variegated flame; hence many colors may be impressed on a plate prepared +with a solution of its chloride. +</p> + +<p> +“M. Neipce recommends a solution of the mixed chlorides of copper and +iron, and it is with these, that I have been most successful. As the +chlorides of copper and iron are not much used in the arts, they are not +generally found for sale in the shops; and it may be well to furnish those +not much versed in chemistry with an easy method of preparing them. +</p> + +<p> +“They may be made directly from either metal by dissolving it in +hydrochloric acid; but they may be formed by a cheaper method, and by +which also the acid fumes are avoided. +</p> + +<p> +“Sulphate of iron or copper, or both together, may be dissolved in water +and then neutralized with common crude potash, or its carbonate or +bicarbonate—known commonly as pearl ash and saleratus. If either of the +latter be used, there will be formed sulphate of potash and a carbonate of +the metal used, and there will also be a considerable effervescence of +carbonic acid, which will, if care is not taken, cause the mixture to run +over the vessel. After the copper or iron salt is neutralized, which is +known by its ceasing to effervesce, the carbonate of the metal will settle +slowly, and will at first nearly fill the vessel. The supernatant fluid, +which is sulphate of potash in solution, may now be carefully poured off, +and its place filled with water; this operation should be repeated several +times until the water which passes off is tasteless. The carbonate of the +metal rapidly changes to an oxide by contact with the air, and it will +generally be found, when it is sufficiently washed, that it is at least +half oxide. On adding hydrochloric acid cautiously to the mixture, a +chloric of the metal will be formed, and carbonic acid will be evolved +from the remaining carbonate. The chloride formed is soluble; but as there +are two chlorides of these metals, and we wish to produce the one which +contains the most chlorine, it is best to add the acid cautiously until +the solution is decidedly acid. After filtering the solution, it is fit +for use; and it should be preserved in well-stoppered bottles. The water +used should be rain or distilled water. +</p> + +<p> +“About one part of the mixed chlorides should be used to three or four of +water. +</p> + +<p> +“The battery may be either Smee’s, Daniell’s, or Grove’s; if of either of +the former, it should be of two series; if of the latter, one cup is +sufficient. +</p> + +<p> +“The plate on being immersed in the liquid, almost instantly takes a +violet color. It should be allowed to remain from two to five minutes, +according to the strength of the battery, and until it becomes nearly +black. It should now be carefully washed, and afterwards heated over a +spirit lamp until it takes a cherry-red color, and it is then ready for +exposure in the camera. Before speaking of exposing the plate, it may be +well to speak of some difficulties which the inexperienced operator may +find in preparing it. If the battery is not in good order, and a +sufficient current is not passed through the solution, the plate will +become coated—and apparently almost as well as when the battery is +working well—but on exposure it will give a negative picture, and but +little colored; while if the battery is in good order, the impression is +invariably positive. +</p> + +<p> +“Sometimes on heating the plate after washing, the surface is covered with +spots or assumes a variegated appearance. This indicates that the solution +is impure, or that the plate have not been thoroughly washed and are still +contaminated with the soluble chlorides which are contained in the +solution. +</p> + +<p> +“From the fact that the plate if prepared with positive electricity gives +a positive picture, while it prepared otherwise it gives a negative, it is +evident that electricity plays an important part in this process. The same +is true to some extent with the compounds formed with iodine, bromine, and +fluorine. +</p> + +<p> +“On heating the plate, the brown coating of chloride melts into a +translucent enamel, and the heat should be withdrawn when a cherry-red +color is produced. It the heat is continued longer, the plate assumes a +lighter color, and becomes less sensitive; and the enamel will finally +scale off. To produce a picture by the ordinary process of M. Neipce, +unaccelerated, it should be exposed for from three to five hours to +sunlight in the camera, though pictures may be procured by contact, in +from fifteen to thirty minutes.” +</p> + +<h3> +MULTIPLYING DAGUERREOTYPES ON ONE PLATE. +</h3> + +<p> +I have produced some interesting specimens of the Daguerreotypic art, by +exposing in the camera only a portion of the sensitive plate to the action +of light. When on the exposed portion an image is formed, then taking the +tablet into the dark room, change ends and expose the sensitive portion, +and produce another image, developing as usual. This plan is adapted for +taking likenesses for lockets. Two images can be presented as sitting side +by side, by covering half the plate with black paper, and exposing as +before. In this manner we have been enabled to surprise persons by +exhibiting their portrait on the same plate with a stranger’s. +Daguerreotypists must be cautious in practicing this, as it might not be +agreeable to the parties whose likenesses are together, by the above +process. It is impossible to produce an impression without a line being +seen where the edge of the paper prevented the operation of the light. +</p> + +<p> +I have recently seen a fine specimen produced by another plan, which far +exceeds the above, there being no line, or any peculiarity denoting two +exposures. The specimen referred to, was a gentleman represented on one +plate by two full length portraits. This was produced by using a black +velvet for the background. The plate was exposed sufficient time to +produce one impression, and then the gentleman assumed another position, +and is repeated as looking at himself. From the fact that the time +required to develop black velvet being so much longer than that for +producing a portrait, we are enabled to produce the above interesting +results. +</p> + +<h3> +DEPOSIT IN GILDING. +</h3> + +<p> +Regarding specks from bad water, I would remark that gilding should be +made only with distilled water. Thus made, it produces very little +deposit, even by long keeping. It therefore preserves its original +strength, and works with great uniformity. +</p> + +<p> +Every grain of deposit contains at least 7-10 its weight of gold, easily +discoverable by the blowpipe. Such gilding is continually deteriorating, +which with good chloride and distilled water may be prevented. Distilled +water should also be used for the hyposulphite. and for cleaning plates. +Any good, clear water may be afterwards used for washing off, with equally +good results. I am very rarely troubled with specs, and deem this as the +main reason. +</p> + +<p> +With a portable still attached to a cooking stove, I obtain half a gallon +of water per hour, and with very little trouble. A small tin retort or +still connected with a Leibig’s condenser, would not add much to the +“traps” of the travelling operator, and save him many a disreputable +specimen.—T. J. BAILEY.—Humphrey’s Journal. +</p> + +<h3> +PRACTICAL HINTS ON THE DAGUERREOTYPE. +</h3> + +<p> +The following is from Humphrey’s Journal, vol. 5, and from the pen of Dr. +WM. HARRINGTON, one of the most able writers upon the subject of the +Daguerreotype in this country: +</p> + +<h3> +THE CAUSE OF THE DIFFICULTY THAT SOMETIMES OCCURS TO PREVENT THE +PRODUCTION OF A CLEAR IMPRESSION UPON A DAGUERREOTYPE PLATE. +</h3> + +<p> +Beyond all doubt this is traceable to dampness. Truly this is not a new +thought; but where does this dampness come from? How does it originate, +and where is it located? Generally it has been referred to a point +entirely remote from its real location. +</p> + +<p> +This dampness exists particularly upon the surface of the plate; is +obviously derived immediately from the atmosphere; and is owing to a +certain relative temperature of the plate with the hygrometric condition +of the atmosphere. +</p> + +<p> +Whenever this relation exists between the plate and atmosphere, a +precipitation of moisture takes place upon the surface of the plate, which +render all efforts at polishing impracticable. This interference is not +confined to the buffing operation alone, but sometimes is discoverable +even in the ordinary process of scouring. Every one at all experienced in +this art will remember that it is not always an easy matter for him, by +scouring, to bring his plate to the desired lustre. All his efforts become +unavailing; the more he rubs, the duller the surface of his plate appears; +and although he renews his cotton repeatedly, still he is obliged to +content himself with an unsatisfactory finish. +</p> + +<p> +This relative condition is not confined to any particular season of the +year, nor to any certain thermometric temperature; but may occur in summer +as well as in winter; the weather being warm or cold, wet or dry, clear or +cloudy, raining or shining. Under any of these circumstances, if the +relation of the plate and atmosphere be such as to invite upon the plate a +precipitation of humidity from the atmosphere, the prospect of producing a +clear impression is quite problematical. +</p> + +<p> +It is reasonable to expect this occurrence from the fact that metal is a +good radiator, and radiation reduces the temperature of a metallic body +below that of the atmosphere. Consequently, if this relative condition +happens, the result will be as I have stated. +</p> + +<p> +Bodies may be colder than the atmosphere and yet derive no moisture from +it; while at the same time the driest atmosphere is not devoid of +moisture, but will part with it under certain conditions. +</p> + +<p> +Assuming for granted that this relative condition between the plate and +atmosphere, disposing the former to receive the humidity of the latter, +constitutes the great obstacle the operator has to contend with in +producing, a clear proof upon the plate, the remedy naturally suggests +itself, and is very simple. It consists in merely heating the plate above +the temperature of the atmosphere, previous to polishing, and retaining +that temperature during the operation. Various measures might be devised +to effect the desired object; one of which consists of a sheet-iron box, +heated from the inside by a spirit-lamp, upon the top of which are to be +kept the plates ready to undergo the process of being polished; the blocks +of the swing or any other vice; or the iron bed belonging to Lewis’s vice. +</p> + +<p> +In cold weather, when it is necessary to keep a fire in the preparation +room, all of the above may be so arranged in the vicinity of the fire as +to receive the requisite degree of heat for the purpose specified. +</p> + +<p> +This part of the subject, however, is left entirely for the ingenuity of +the operator. No matter by hat means he accomplishes the object; all that +is required is to heat the plate above the temperature of the atmosphere +and retain that heat during the process of polishing. +</p> + +<p> +Since the adoption of this method, in connection with my partner, T. J. +Dobyns, even in this humid climate of ours, when everything in the room is +dripping with moisture, it has been attended with invariable success. +</p> + +<h3> +CHOICE OF PLATES, ETC. +</h3> + +<p> +In the great catalogue of complaints made by operators, none is more +common than that alleged against the quality of plates in general use. +Although the greatest diversity of opinion exists upon this subject, +nevertheless the plates of every manufactory share in this universal +condemnation. +</p> + +<p> +To be sure it cannot be denied but that this necessary article of utility +in the photographic art has undergone a sad deterioration in quality owing +to the increasing demand and great reduction in price—the plates of the +present day being by no means so heavily coated with silver as +formerly—but the complaint alluded to is not predicated so much upon the +thinness of silver as upon a mysterious something which has conferred upon +the plates the epithet of not good. +</p> + +<p> +That this complaint is in a great measure groundless appears evident from +the fact that while, with the same brand of plates one operator can work +successfully, another encounters the greatest difficulty; while one is +able to produce beautifully clear and altogether satisfactory results, the +other labors under the troublesome annoyance of innumerable specks, large +dark insensitive patches and brown map-like portions, together with divers +other blemishes, sufficient to prevent him from obtaining anything like a +tolerable impression. +</p> + +<p> +From this wide difference in the results of the two operators using +identically the same article, it is but reasonable to conclude that the +complaint is founded in error; while the inference is no more than just, +that the fault may be traced to a want of practical skill on the part of +the complaining operator himself; rather than to the inferior quality of +the plates. +</p> + +<p> +The question, then, whether the plates are unfit for use, or whether those +who pronounce them so understand how to use them, appears to be +satisfactorily answered. It therefore becomes a matter worthy of +investigation, to ascertain what superior judgment and skill one operator +possesses over another which enable him to work successfully a quality of +plate, pronounced by the other entirely useless. +</p> + +<p> +Suppose we make a critical examination of one of the repudiated plates. +From its external appearance we have little hesitation in pronouncing it +to be French; indeed, this presumption is strongly corroborated by the +fact that it is ornamented upon one of its corners with a brand to +designate the manufactory from which it emanated. +</p> + +<p> +Upon close inspection we cannot fail to notice a striking peculiarity upon +the surface; the roughness is very remarkable; the planishing hammer has +left amazingly visible indications of its busy work. One would suppose the +manufacturer intended the surface of the plate to represent the +undulations of the sea, instead of that smooth and level character so +strongly recommended by M. Daguerre. +</p> + +<p> +Such a plate necessarily requires at the hand of the operator considerable +labor before the surface is in a proper condition to receive a suitable +polish from the buffer. The least reflection in the world should teach any +one that so long as the undulatory character continues upon the surface of +the plate, it is in a very imperfect condition for buffing, because the +buffer cannot touch every point equally; the elevated portions alone +receiving a high degree of polish while the depressed portion, from their +roughness acting as nuclei, gather dust, rouge, and other foreign bodies, +so detrimental to sensitiveness. The secret of the superior judgment and +skill of one operator over another, is intimately connected with this +point: his success depends very much upon the first process of cleaning +the plate. +</p> + +<p> +Let us examine the manipulation of the complaining operator. He takes one +of these plates and gives it a careful scouring with rotten-stone and +alcohol or any other liquid preferred for this part of the operation—that +is, he gives it what he terms a careful scouring—very gently indeed +because, from the frequent trials he is in the habit of making in the +camera, he fears he will rub the silver entirely away before he succeeds +in obtaining a good impression. The dark patches, specks, and granular +appearance resulting entirely from the unevenness of the surface of the +plate, look like copper to him, and he is surprised that he should have +rubbed away the silver so soon, particularly by such delicate handling. +</p> + +<p> +The judgment and experience of the successful operator, however, teach him +that scouring injures a plate less than buffing. He knows that unless the +hammer marks be obliterated, he cannot by the buffer produce a surface of +uniform polish and sensitiveness, without which a fair proof is extremely +doubtful; he knows that the time employed in the preliminary operation of +cleaning the plate properly is economy. +</p> + +<p> +There is a style of French plates in the market, denominated heavy, which +are truly excellent, if properly managed. Much patience, however, is +required to remove the marks of the hammer; but with tripoli and alcohol +the surface is readily cut down, and the plate is then susceptible of a +beautiful black lustre by polishing with the buffer. The complaining +operator could not succeed by his own method with one of the plates; he +would encounter all manner of clouds and other unaccountable phenomena; he +would imagine this plate entirely worn out before it was half cleaned, and +soon fix in his own estimation the reputation of the heavy plate. +</p> + +<p> +In making a choice of plates, therefore, it would appear to be a matter of +perfect indifference with an experienced operator what kind he would use, +except so far only as the labor required in cleaning them was to be taken +into consideration. +</p> + +<p> +The distinction between a scale plate, a Scovill No. 1, S. F., heavy A, +star, crescent, eagle, or any other brand, consists in the superior finish +of some, and the thinness of the silver in the cheaper qualities. +</p> + +<p> +Consequently, let the complaining operator but employ the diligence +inculcated in this article, to clean his plate thoroughly, so as to bring +it to a perfectly even and level surface, and he will seldom be troubled +with specks, clouds, dark patches, and the host of other obstacles which +heretofore have tormented him. +</p> + +<h2><a name="chap06"></a>CHAPTER VI.</h2> + +<p class="letter"> +AN ACCOUNT OF WOLCOTT AND JOHNSON’S EARLY EXPERIMENTS, IN THE +DAGUERREOTYPE. BY JOHN JOHNSON. +</p> + +<p class="noindent"> +[From Humphrey’s Journal, vol. ii 1851] +</p> + +<p> +As a general thing, however perfect any invention may be deemed by the +inventor or discoverer, it falls to the lot of most, to be the subject of +improvement and advancement, and especially is this the case with those +new projects in science which open an untrodden field to the view of the +artisan. Such has been, in an eminent degree, the case with the discovery +first announced to the world by Mons. Jean Jaques Claude Daguerre, of +Paris, in the year 1839, and which excited unbounded astonishment, +curiosity and surprise. It may be questioned had any other than Daguerre +himself discovered a like beautiful combination, whether the world would +have been favored with details exhibiting so much care, patience and +perseverance as the Daguerreotype on its introduction. Shortly after, +these details reached the United States, by Professor S. F. B. Morse, of +New York, who was, at the time of the discovery, residing in Paris. By +this announcement, the whole scientific corps was set in operation, many +repeating the experiments, following carefully the directions pointed out +by Daguerre, as being necessary to success. Among the number in the United +States, was Alexander S. Wolcott (since deceased) and myself; both of this +city. On the morning of the 6th day of October, 1839, I took to A. +Wolcott’s residence, a full description of Daguerre’s discovery, he being +at the time engaged in the department of Mechanical Dentistry, on some +work requiring his immediate attention, the work being promised at 2 P.M. +that day; having, therefore, no opportunity to read the description for +himself (a thing he was accustomed to do at all times, when investigating +any subject). I read to him the paper, and proposed to him that if he +would plan a camera (a matter he was fully acquainted with, both +theoretically and practically), I would obtain the materials as specified +by Daguerre. This being agreed to, I departed for the purpose, and on my +return to his shop, he handed me the sketch of a camera box, without at +all explaining in what manner the lens was to be mounted. This I also +undertook to procure. After 2, P.M., he had more leisure, when he +proceeded to complete the camera, introducing for that purpose a reflector +in the back of the box, and also to affix a plate holder on the inside, +with a slide to obtain the focus on the plate, prepared after the manner +of Daguerre. While Mr. Wolcott was engaged with the camera, I busied +myself in polishing the silver plate, or rather silver plated copper; but +ere reaching the end preparatory to iodizing, I found I had nearly or +quite removed the silver surface from off the plate, and that being the +best piece of sliver-plated copper to be found, the first remedy at hand +that suggested itself, was a burnisher, and a few strips were quickly +burnished and polished. Meantime, the camera being finished, Mr. Wolcott, +after reading for himself Daguerre’s method of iodizing, prepared two +plates, and placing them in the camera, guessed at the required time they +should remain exposed to the action of the light; after mercurializing +each in turn, and removing the iodized surface with a solution of common +salt two successful impressions were obtained, each unlike the other! +Considerable surprise was excited by this result, for each plate was +managed precisely like the other. On referring to Daguerre, no explanation +was found for this strange result; time, however, revealed to us that one +picture was positive, and the other negative. On this subject I shall have +much to say during the progress of the work. Investigating, the cause of +this difference occupied the remainder of that day. However, another +attempt was agreed upon, and the instruments, plates, etc., prepared and +taken up into an attic room, in a position most favorable for light. +Having duly arranged the camera, I sat for five minutes, and the result +was a profile miniature (a miniature in reality,) or a plate not quite +three-eighths of an inch square. Thus, with much deliberation and study, +passed the first day in Daguerreotype—little dreaming or knowing into +what a labyrinth such a beginning was hastening us. +</p> + +<p> +[Description of apparatus represented on pages 192 and 199:] <br /><br /> +A.—The Box—about 4 inches long by about 2 outside diameter.<br /> B.—The +Reflector soldered to a brass screw, and mounted in the rear of the box.<br /> +c.—The slide to regulate the focus to the plate holder.<br /> d.—The +standard to the plate holder screwed to the slide.<br /> f.—The +plate-holder frame having two small ledges, * *, for the plate to rest +upon. +</p> + +<p class="noindent"> +{192} +</p> + +<p class="noindent"> +g.—The plate resting upon the ledge., * *, and kept against the frame by +the spring <br /> h. The plates used were about 3/8 of an inch square.<br /> +A.—The window with the sashes removed. +</p> + +<p> +B and C (p. 199) are large looking-glasses mounted as plain reflectors, +the lower one C having rotary motion upon the saddle, resting upon the +sill of the window in order to direct the rays of the sun upon the +reflector B, at any hour of the day—the vertical motion of the reflector +C being necessary, the sun varying in altitude so much during the hours +most favorable to the production of portraits. The reflector C was {193} +kept up to the required position by the handle lever, upright post and +bolts. Reflector B was hinged at its upper end at the top of the window +frame, the only motion being necessary was that which would reflect upon +the sitter the incident rays from reflector C—the reflector B being kept +at the required angle by the connecting lever m, etc. Suitable +back-grounds were placed behind the sitter. +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig12.gif" width="376" height="396" alt="[Illustration: Fig. 12]" /> +</div> + +<p> +The reflector B and C, had frequently to be renewed, the heat of the sun +soon destroying their brilliance or power of reflecting, light, before +renewing them, however, we resorted to the springing of them, by which +means their power was increased for a period. +</p> + +<p> +The camera or reflecting apparatus, invented by Mr. Wolcott, was, from the +nature of the case, better adapted at that day to the taking of portraits +from life, than any other instruments. After carefully examining the +camera described by Daguerre, and the time stated as necessary to produce +action for an image, it became evident to the mind of Mr. Wolcott at once, +that more light could be obtained (as the field of view required was not +large) by employing a reflector of short focus and wide aperture, than +from a lens arrangement, owing to spherical aberration and other causes. +Many experiments having been tried with the small instrument figured (p. +199), a reflector for taking portraits from life was determined on, having +eight inches diameter, with twelve inches focal distance for parallel +rays; this was to admit plates of two inches wide by two and a half long +Mr. Wolcott having on hand reflectors of the right diameter, for Newtonian +telescopes, of eight feet focal distance, resolved (as it was a matter of +experiment) to grind down or increase the curve for the focal distance +before named—this required time. In the mean time, many plans were +pursued for making good plates, and the means of finishing, them. As the +completion of the large reflector drew to a close, our mutual friend, +Henry Fitz, Jr., returned from England, whither he had been on a visit, +and when he heard what we were about, kindly offered his assistance; he +being well versed in optics, and having been before engaged with Mr. +Wolcott, in that and other business is offer was gladly accepted—Mr. +Wolcott himself having frequent engagement; to fill as operator in the +details of mechanical dentistry. Thus, by the aid of Mr. Fitz, the +reflector was polished, and experiments soon after tried on plates of two +by tow and a half inches, with tolerable success. Illness on my part quite +suspended further trial for nearly four weeks. +</p> + +<p> +On my recovery, early in January, 1840, our experiments were again resumed +with improved results, so much so as to induce Mr. Wolcott and myself to +entertain serious thoughts of making a business of the taking of +likenesses from life, intending to use the reflecting apparatus invented +by Mr. Wolcott, and for which he obtained Letters Patent, on the 8th day +of May, 1840. Up to January 1st, 1840, all experiments had been tried on +an economical scale, and the apparatus then made, was unfit for public +exhibition; we resolved to make the instruments as perfect as possible +while they were in progress of manufacture. Experiments were made upon +mediums for protecting the eyes from the direct light of the sun, and also +upon the best form and material for a back-ground to the likenesses. The +length of time required for a “sitting,” even with the reflecting +apparatus, was such as to render the operation anything but pleasant. +Expedients were ever ready in the hands of Wolcott: blue glass was tried +and abandoned in consequence of being, at that time, unable to procure a +piece of uniform density and surface: afterwards a series of thin muslin +screens secured to wire frames were prepared as a substitute for blue +glass. The objections to these screens, however, were serious, inasmuch as +a multiplication of them became necessary to lessen the intensity of the +light sufficiently for due protection to the eyes, without which, the +likenesses, other than profiles, were very unpleasant to look upon. Most +of the portraits, then of necessity were profiles formed upon +back-grounds, the lighter parts relieved upon black, and the darker parts +upon light ground; the back-ground proper being of light colored material +with black velvet so disposed upon the light ground, this being placed +sufficiently far from the sitter, to produce harmony of effect when viewed +in the field of the camera. Other difficulties presented themselves +seriously to the working of the discovery of Daguerre, to portrait +taking—one of which was the necessity for a constant and nearly +horizontal light, that the shaded portions of the portrait should not be +too hard, and yet, at the same time, be sufficiently well developed +without the “high light” of the picture becoming overdone, solarized or +destroyed. In almost all the early specimens of the Daguerreotype, +extremes of light and shade presented themselves, much to the annoyance of +the early operators, and seriously objectionable were such portraits. To +overcome this difficulty, Mr. Wolcott mounted, with suitable joints, upon +the top of his camera, a large looking-glass or plane reflector, in such a +manner that the light of the sun (as a strong light was absolutely +necessary), when falling upon the glass could be directed upon the person +in an almost horizontal direction. +</p> + +<p> +Early in February, 1840, Mr. Johnson, Sen., (since deceased) sailed for +Europe with a few specimen likenesses taken with the instruments completed +as above, with the intention of patenting the invention. On his arrival a +joint arrangement was effected with Mr. Richard Beard, of London, in +patenting and working the invention in England. Up to February, 1840, but +few friends had been made acquainted with the progress of the art in the +hands of Mr. Wolcott and myself. From time to time reports reached us from +various sources of the success of others, and specimens of landscapes, +etc., were exhibited at Dr. James R. Chilton’s laboratory, in Broadway, +much to the gratification of the numerous visitors and anxious expectants +for this most wonderful discovery. Dr. Chilton, Professor J. J. Mapes, +Professor J. W. Draper. Professor S. F. B. Morse, all of this city; Mr. +Cornelius, Dr. Goddard and others of Philadelphia; Mr. Southworth, +Professor Plumbe, and numerous others were early in the field; all, +however, using the same description of camera as that of Daguerre, with +modification for light, either by enlargement by lens and aperture for +light, or by shortening the focal distance. +</p> + +<p> +At a conversational meeting of the Mechanics’ Institute, Professor J. J. +Mapes being present, a question was asked if any one present could give +information relative to portraiture from life by the Daguerreotype. Mr. +Kells, a friend of Mr. Wolcott and a scientific and practical man (since +deceased), at once marked out upon the black-board, the whole as contrived +by Mr. Wolcott. This gave publicity to the invention of Mr. Wolcott. +Shortly after, Professor Mapes, Dr. Chilton, and many others, sat for +their portraits, and were highly gratified. Professor Morse also came and +proposed to Mr. Wolcott to join him in the working of the invention, etc. +</p> + +<p> +From this time much interest was manifested by our friends in our +progress. Rooms were obtained in the Granite Buildings, corner of Broadway +and Chambers street, and fitted for business. The rooms being small, it +was soon found impracticable to use the arrangement of looking-glass, as +previously spoken of; a new plan became necessary, to introduce which, the +sashes were removed, {199} and two large looking-glasses were mounted in +proper frames, thus:— +</p> + +<div class="fig" style="width:100%;"> +<img src="images/fig13.gif" width="723" height="376" alt="[Illustration: Fig. 13]" /> +</div> + +<p> +Just in front, and between the sitter and {200} the reflector, upon a +proper stand, were used those paper muslin screen before described; also +screens of tissue paper. These screens, however, when they were used, +required so much time for a sitting, that some other medium, as a +protection to the eyes, became absolutely necessary. The most plausible +thing that suggested itself was blue glass; but, as this could not be +found, numerous were the expedients proposed by the friends of the art, +who from time to time visited our rooms. At the suggestion of Professor +Mapes (who is ever ready to assist those in perplexity), a trough of plate +glass s, about twenty-eight inches square in the clear, and from three to +four inches thick, was filled with a solution of ammonia sulphate of +copper, and mounted on the frame as in the sketch, which, for a time, +answered extremely well; soon, however, decomposition of this solution +became apparent from the increased length of time required for a sitting, +although to the eye of an observer, no visible cause for such long +sittings could be pointed out. Professor Mapes being appealed to, +suggested that to the above solution a little acid be added which acted +like a charm—shortening the time for a sitting from six, eight, or ten +minutes to that of about one. Decomposition, however, would go on by the +action of light and heat through the solution. New solutions were tried, +when the whole were finally abandoned as being, too uncertain and +troublesome. (The reflecting apparatus R, was placed upon the stand as in +the sketch, with a wedge for elevating the camera, between it and the +table, to obtain the image properly upon the plate.) A quantity of blue +window glass was next obtained, and holes drilled through the corners of +it, and several sheets were wired together to increase the size, and, when +complete, was suspended from the ceiling in its proper place, and so +arranged that when a person was sitting, this sheet of glass could be +moved to and from, the object of which was to prevent shadows on the face +of the sitter produced from the uneven surface of the glass. This latter +contrivance was used until a perfect plate of glass was procured. +</p> + +<p> +The number of persons desirous of obtaining, their miniatures, induced +many to entertain the idea of establishing themselves in the Art as a +profession, and numerous were the applications for information; many +persons paying for their portraits solely with the view of seeing the +manner of our manipulations, in order that they might obtain information +to carry on likeness-taking as a business. +</p> + +<p> +The reflecting camera being a very troublesome instrument to make, and +difficulties besetting us from every source, but little attention could be +given to teaching others; and, indeed, as the facts seemed to be at this +time, we knew but little of the necessary manipulations ourselves. In +course of time, several established themselves. The first one, after +ourselves, who worked the discovery of Daguerre for portrait taking in +this city, was a Mr. Prosch; followed soon after by many others, in almost +all cases copying the reflecting arrangement for light, as figured above, +many using it even after we had long abandoned that arrangement for a +better one. +</p> + +<p> +Innumerable obstacles to the rapid advance of the daguerreotype, presented +themselves almost hourly, much to the annoyance of ourselves, and those +dependent upon our movements for their advancement. Among the most +difficult problems of the day, was the procuring of good plates. Messrs. +Corduran & Co. were among the first to supply the trade; at that early +day, however, it was a very rare thing, to be able to procure an even +perfect surface, from the fact that a pure surface of silver could +scarcely be obtained, the manufacturers deeming it too much trouble to +prepare silver plated copper with pure silver—the result was, that in +attempting to polish perfectly such plated metal as could be procured, the +plates would become cloudy, or colored in spots, from the fact of having +more or less alloy, according as more or less of the silver surface was +removed in polishing the plate fit for an impression. To explain more +clearly, it was the practice of most silver platers to use an alloy for +silver-plating. In the reduction of the ingot to sheet metal, annealing +has to be resorted to, and acid pickles to remove oxides, etc. The number +of times the plated metal is exposed to heat and acid in its reduction to +the required thickness, produces a surface of pure silver. The most of +this surface is, however, so rough as to be with difficulty polished, +without in places removing entirely this pellicle of pure metal, and +exposing a polished surface of the alloy used in plating. Whenever such +metal was used, very unsightly stains or spots frequently disfigured the +portraits. The portrait, or portion of it, developed upon the pure silver, +being much lighter or whiter than that developed upon the alloy; it +therefore appeared that the purer the silver, the more sensitive the plate +became. Accordingly, we directed Messrs. Scovills, of Connecticut, to +prepare a roll of silver-plated metal, with pure silver; it fortunately +proved to be a good article, but, unfortunately, a pound of this metal +(early in 1840) cost the round sum of $9. Like descriptions of metal, the +same gentlemen would be glad to furnish, at this time, for $4. Soon after +this, some samples of English plated metal, of a very superior quality, +came to our possession, and relieved us from the toil of making and +plating one plate at a time, an expedient we were compelled to resort to, +to command material to meet the pressing demands for portraits. +</p> + +<p> +Having it now in our power to obtain good plated metal, a more rapid mode +of polishing than that recommended by Daguerre was attempted as follows: +</p> + +<p> +This metal was cut to the desired size, and having a pair of “hand rolls” +at hand, each plate, with its silvered side placed next to the highly +polished surface of a steel die, was passed and repassed through the rolls +many times, by which process a very smooth, perfect surface was obtained. +The plates were then annealed, and a number of plates thus prepared were +fastened to the bottom of a box a few inches deep a foot wide, and +eighteen inches long; this box was placed upon a table and attached to a +rod connected to the face plate of a lathe, a few inches from its centre, +so as to give the box a reciprocating motion. A quantity of emery was now +strewn over the plates, and the lathe set in motion. The action produced +wag a friction or rubbing of the emery over the surface of the plates. +</p> + +<p> +When continued for some time, a greyish polish was the result. Linseed, +when used in the same manner, gave us better hope of success, and the next +step resorted to was to build a wheel and suspend it after the manner of a +grindstone. The plates being secured to the inner side of the wheel or +case, and as this case revolved, the seeds would constantly keep to the +lower level, and their sliding over the surface of the plates would polish +or burnish their surfaces. This, with the former, was soon abandoned; +rounded shots of silver placed in the same wheel were found not to perform +the polishing so well as linseed. Buff-wheels of leather with rotten-stone +and oil, proved to be far superior to all other contrivances; and, +subsequently, at the suggestion of Professor Draper, velvet was used in +lieu of buff leather, and soon superseded all other substances, both for +lathe and hand-buffs, and I would add, for the benefit of new beginners +that those who are familiar with its use, prefer cotton velvet. The only +requisite necessary is, that the buffs made of cotton velvet should be +kept dry and warm. +</p> + +<p> +The greater number of operators, with whose practice I am familiar, use, +for polishing plates, prepared tripoli, imported from France, or Browne’s +rotten-stone. The former of these articles is very objectionable, inasmuch +as there is no positive certainty of being enabled to procure or make the +article of uniform grit—the nature of the substance rendering, it +impossible to reduce it to varying degrees of evenness, by the well known +process of washing, for that purpose, and the burning of rotten-stone +changes its chemical nature somewhat, at the same time rendering, this +invaluable article harsh and gritty. And especially, no reliance can be +placed upon burned rotten stone if purchased from those who do not give +very great attention and care to its preparation; and the same remarks +apply to rouge. +</p> + +<p> +The best article for polishing Daguerreotype plates is rotten-stone, such +as can be procured in any town, prepared after the following manner: +Procure, say half a dozen wide-mouthed bottles, of suitable dimensions, +numbering each from one to six. Put into No. 1 about half a pound of +rotten-stone, and nearly fill the bottle with water. Then, with a proper +stick or spatule, mix well the rotten-stone and water; after which, let +No. 1 rest for, say one minute, then carefully pour off into bottle No. 2 +(or, what would be better, draw off by a syphon) as much of the floating +particles of rotten-stone as is suspended in the water. Again fill bottle +No. 1 with water, agitate it as before, and decant it to bottle No. 2, +care being taken to draw off only the suspended particles of rotten-stone. +</p> + +<p> +When a sufficient quantity of washings from bottle No. 1 is collected into +bottle No. 2, a similar process must be gone through, as above stated, for +No. 1; the difference being in the care required, and in the time allowed +between the stirring or mixing the rotten-stone and water. The floating +particles of rotten-stone, after four minutes’ subsiding, will be found +fine enough for the finest Daguerreotype polishing required. +</p> + +<p> +A quantity of such washings may be collected in a large bottle, and +allowed to stand a few hours, when all the rotten-stone will have settled. +The water may be poured off and the rotten-stone put into an evaporating +dish, and while being dried, must be constantly stirred to obtain an +impalpable powder. +</p> + +<p> +Further washings may in like manner be resorted to for finer qualities of +rotten-stone. In my practice, I have used the articles at two and four +minutes’ settling, and occasionally have prepared it after standing for +eight minutes. So fine a quality as this, however, is seldom required. In +using, rotten-stone, I mix with it, for polishing, fine olive oil, until I +obtain a thin paste—and the best of all methods for polishing (well +planished) Daguerreotype plates, is one like that used for glass by lens +polishers; that is, by using a disc or buff-wheel, and having, a suitable +holder by which to secure the plate, and then by pressing the plate +against the revolving buff, well saturated with the mixed oil and +rotten-stone, a very good surface is obtained. A quantity of plates may be +prepared in this way, and all the adhering oil, etc., may be removed by a +clean hand, or lathe buff, after which each plate must be heated to the +point necessary to burn off the remaining oil great care being required +not to overheat the plate. A very slight excess of temperature will at +once destroy all the polish previously obtained. The test for ascertaining +the right temperature is at hand; the adhering oil will be driven from the +plate in the form of smoke when the right temperature is reached. The +moment the smoke ceases to rise from the plate, the heat must be removed, +and the plate quickly cooled upon a piece of iron. +</p> + +<p> +A quantity of plates thus prepared may be kept on hand for any required +time, and the labor of one minute, with a lathe or hand-buff with dry +charcoal, or rather, prepared lampblack, will perfectly polish the surface +ready for indexing, etc. This lampblack also requires some care in +preparing. Take a small-size crucible, properly temper it by a slow fire, +that it may not be cracked after which, fill it with common lampblack, +cover it over with a piece of soap-stone, and again replace it in the +fire. Build a good hard coal fire around it continue the heat for two or +three hours, being careful not to raise the cover till the crucible be +quite cold. Pulverize when using it. It is very desirable to keep this +lampblack dry and warm. Some operators use much rouge I would recommend +the above in preference; but those who feel that they cannot dispense with +the use of rouge, had better try a large addition of prepared lampblack to +a small one of rouge, as this latter article, unless great pains be taken +in its preparation, will adhere and work itself into the body of the +surface, so that it cannot be removed therefrom; and I have seen many +specimens of Daguerreotype very much injured in effect from this rouge +tint disseminated throughout their shaded features, at the same time that +the whole general effect of such pictures is that of a want of life. It is +true that with the use of rouge a very high degree of polish may be +obtained, but probably not higher than can be produced with many other +substances of a less objectionable nature. +</p> + +<p> +From the announcement of the discovery by Daguerre to the beginning of the +year 1840, I am not aware of any attempt to lessen the time for the action +of an image, or an impression, other than that of the reflecting camera +invented by Mr. Wolcott. Early, however, in 1840, Mr. Wolcott was desirous +to be enabled to further shorten the time for a sitting, and having some +knowledge of bromine and its action, by request, Dr. Chilton prepared a +small quantity; but Mr. Wolcott did not succeed very well with it, he +having invariably used too much in combination with iodine to produce that +sensitive coating now well known to the profession. Professor Morse, of +this city, Dr. Goddard, of Philadelphia, and others, in the years 1840 and +1841, were acquainted with the use of bromine. N. Griffing, of this city, +or myself, used with tolerable success, iodine in large excess to nitric +acid and water; and, subsequently, to nitro muriatic acid (which reacted +and formed a peculiar chloride of iodine); this latter combination proved +to be preferable to simple iodine, at the same time somewhat more +sensitive, and was used by me in this city up to the time of my leaving +for London (October 1, 1840). On arriving in London, I instituted a series +of experiments in the various chemical combinations, solely with the view +to be enabled to obtain more speedily a portrait than it was practicable +to do with any known chemicals at that date. The high latitude, and the +winter season of the year rendering but a feeble light at best, the +greater the necessity for a more sensitive chemical preparation to the +shortening the time for a sitting. Near the beginning of the year 1841, I +discovered and practically applied, chloride of iodine to great advantage, +and, as far as memory serves me, I believe the first used in this country +was some made and shipped, Messrs. Harnden & Co., from London, to Mr. +Wolcott, in New York. +</p> + +<p> +About the same time, Mr. John Goddard, of London (who was associated with +myself), discovered a rather valuable combination of chemicals, consisting +of a mixture of iodine, bromine, iodus, and iodic acid, and a proper +combination of those bodies gave an action somewhat more sensitive than +chloride of iodine—but the “high lights” of the portraits would become +solarized or overdone, more frequently with this combination than with the +chloride of iodine. Throughout the year 1841, I used, with great success, +chloride of iodine, applied as one coating—occasionally in conjunction +with Mr. Wolcott, attempting the use of iodine, bromine, and chlorine, and +at times with more or less success. The difficulty of exactly combining, +the three elements above mentioned, in order to produce a certainty of +result with harmony of effect, was the work of many months, with great +labor and study, the slightest modification requiring a long, series of +practical experiments, a single change consuming, frequently, an entire +day in instituting comparisons, etc., etc. +</p> + +<p> +Early in the year, 1842, I discovered a combination of chemicals (now +known in London as “Wolcott’s Mixture,” in hermetically sealed bulbs) of +exceeding uniform character, very sensitive to the action of light, and +specimens produced in 1842-3, with this combination, will bear comparison +with the best specimens produced at this late date. +</p> + +<p> +About the same time, I discovered that however much overdone a +Daguerreotype might be, the means were at hand to save or redeem it. It +has long, since been known to operators, that if a plate be exposed to +light after being coated, unless it be again coated, a clear and distinct +picture could not be obtained upon the same plate without first +repolishing and recoating the same, care being taken that no light fall +upon the prepared surface. To prevent solarization, coat a plate as usual, +expose to the action of light any required time (according to +circumstances), say from quarter to one half more time than would be +required in the ordinary method of procedure; observe, before putting the +plate in the mercury box, place it over the vapor of iodine, bromine, or +chlorine, etc. (carefully excluding the light), for a very brief period, +great care being required to have the selected vapor very much diluted +with air, in order to success. Many experiments will be required ere +arriving at satisfactory results. Specimens now unknown to general +operators, for harmony of effect, have been, and may again be produced by +the method pointed out above. I have found the best general effect, and +the most certain result to follow from the use of the vapor of +chlorine—but this requires more than ordinary care. I would, therefore, +recommend the use of iodine. Thus: to a few grains of iodine, add an ounce +of warm water (which will become tinged with iodine); when cold, to half a +pint of pure water in a new and clean coating box, put, of the above, +fifty drops; stir and mix well this small quantity of iodine in with the +water; in ten minutes this box will be ready for use. Great care and +judgment will be required in the application of this vapor to the plate; +if the plate remain over the vapor too long, the developed picture will +have a faint and misty appearance; if not exposed long enough, the “high +light” will be solarized. I have great hope of the ultimate use of this +process, as it is the only means yet discovered to be enabled to secure +specimens of extremes of light and shade, yet producing harmony of effect; +and I would call the attention of the profession to the fact, that a plate +may be exposed to the action of light for any length of time (a thousand +times longer than required to act for the lesser quantity of mercury to +deposit itself, or that amount necessary to form a perfect specimen), and +be restored by the application of any of the vapors above mentioned, +remarking that for extremes for solarization, denser vapors will be +required. Much remains to be done with this discovery to the application +of the Daguerreotype. +</p> + +<p> +<br /><br /><br /> +</p> + +<h3> +HUMPHREY’S JOURNAL OF THE DAGUERREOTYPE & PHOTOGRAPHIC ARTS. +</h3> + +<p> +The above-named publication is well known as the best and most valuable +one devoted to the Photographic Science in this country. Humphrey’s +Journal made its appearance November 1st, 1850, and consequently is the +first and oldest serial offered to the Photographic world. +</p> + +<p> +The art of producing Portraits and Landscapes by means of Light, has +recently taken a new and enlivening impulse, which will in all probability +lead to important and interesting results. No practical Daguerreotypist, +Photographer, or amateur, should be without the means at hand for securing +all of the information upon this subject. Each should be ready to receive +and apply the improvements as they may be developed. In order to +accomplish this, it is a matter of great importance to the Practitioner or +Experimenter that he should have a reliable medium through which he can +obtain information. In what source can the inquirer better place his +confidence than in a regular Journal, whose editor is literally a +practical person, and familiar with the manipulations necessary for +producing Portraits upon “Daguerreotype Plates,” and upon glass and paper? +Such is the conductor of Humphrey’s Journal. +</p> + +<p> +This Journal is published once every two weeks, and contains all the +improvements relating to the Art, and is the only American Journal whose +editor is practically acquainted with the process for producing +Daguerreotypes, Ambrotypes, and Photographs. The first No. of Vol. X. is +dated May 1st, 1858. The terms (Two Dollars per annum) are trifling +compared with the vast amount of information furnished. +</p> + +<p> +AMBROTYPES.—Humphrey’s Journal contains everything novel which appears +upon this subject, and has already presented more new, important, and +original matter than can be found in any other place. +</p> + +<p> +Many are the letters we have received during the term of the last volume, +in which the writer has stated that a single number of Humphrey’s Journal +has contained information of more value to him than “several times the +amount paid for the entire volume.” +</p> + +<p> +Our resources have grown up around us, and our facilities for procuring, +as well as distributing, all such facts and improvements as will benefit +as well as instruct all who have the progress of the Art at heart, are as +ample as they can well be made. +</p> + +<p> +The future volumes will be abundantly furnished with original writings +from persons of standing in the scientific world; and the practical +Photographer will here find a full account of such improvements as may +from time to time develop themselves. +</p> + +<p> +From the editor’s long practical experience in the Heliographic Science, +he will be enabled to present the subject in a plain, clear, and concise +manner. +</p> + +<p> +Read what the Editors say of Humphrey’s Journal:— +</p> + +<p> +“We have received a copy of a valuable Journal (Humphrey’s) published in +New York, which has reached the 18th number of Vol. VI.... We now have the +pleasure of quoting from our trans-atlantic coadjutor.”—Liverpool +Photographic Jour. +</p> + +<p> +“Humphrey’s Journal is practical as well as scientific in +character.”—American Journal of Science and Arts. +</p> + +<p> +“It treats the subject knowingly and with force.”—New York Tribune. +</p> + +<p> +“It is both a popular and interesting publication.”—Mechanics’ Magazine. +</p> + +<p> +“It is highly useful to all who practice ‘shadow catching.’”—Ohio State +Journal. +</p> + +<p> +“The work is neatly gotten up, and contains many interesting varieties in +this new field of science.”—Times. +</p> + +<p> +“It should be hailed and encouraged, not only by Daguerreotypists +themselves, but by every lover of Science and Art.”—The Democrat. +</p> + +<p> +“We cannot too strongly urge all artists, and those persons who feel an +interest in the Heliographic Arts and Sciences, to take a copy of the +work.”—Sentinel. +</p> + +<p> +“It is indicative of talent worthy of the important Art it is designed to +elevate.”—American. +</p> + +<p> +“This Art is entitled to its own organ, which could not have fallen into +better hands than those of the editor of ‘Humphrey’s +Journal.’”—Transcript. +</p> + +<p> +“It is a scientific work of interest and usefulness.”—Star of the North. +</p> + +<p> +“This Journal answers many points heretofore regarded as +inexplicable.”—Hudson River Chronicle. +</p> + +<p> +“It is rich with interest.”—North American. +</p> + +<p> +“It contains all the ‘Improvements.’”—Delta. +</p> + +<p> +“It teaches us how to take our own portraits.”—Bee. +</p> + +<p> +“It will cultivate a taste for Daguerreotypes.”—Commercial Advertiser. +</p> + +<p> +“It should be in the hands of all.”—Reveille. +</p> + +<p> +“It is the Daguerreotypist’s friend.”—London News. +</p> + +<p> +“It should be found in every library.”—Evening Journal. +</p> + +<p> +<br /><br /> +</p> + +<p> +From some of our Subscribers +</p> + +<p> +“Humphrey’s Journal has been the means of saving much time and money, for +by its instruction I have been enabled to produce some of the finest Paper +Pictures I have ever seen.” W. P. +</p> + +<p> +“Don’t fail to send me the Journal, for I would not be without it for five +times the amount of subscription. It is the only publication I can depend +upon.” A. G. R. +</p> + +<p> +“Your treatment of the humbugs and humbugging members of the profession, +is of the most valuable importance to us practical Daguerreans. Go on. God +speed! Here is the amount for the renewal of my subscription.” E. F. S. +</p> + +<p> +“How can any Operator afford to be without it?” L. L. H. +</p> + +<p> +“Here are five dollars: send me Humphrey’s Journal to this amount. I will +not be without it.” M. S. +</p> + +<p> +“It is my best friend.” J. E. W. +</p> + +<p> +We might quote like commendatory extracts enough to more than ten times +fill this page. +</p> + +<p> +Humphrey’s Journal contains 16 octavo pages of reading matter. +</p> + +<h3> +TERMS. +</h3> + +<pre xml:space="preserve"> +One copy per annum, in advance . . . . . . $2 00 +Three copies, do. do. . . . . . . $5 00 +Six copies, do. do. . . . . . . $9 00 +</pre> + +<p> +The thousands who read it cannot be induced to remain without it. All who +desire to keep up with the improvements should subscribe for a copy. +</p> + +<p> +Subscription price Two Dollars per year. +</p> + +<p> +Don’t fail to become a subscriber. Address <br /><br /> S. D. HUMPHREY +Office, 37 Lispenard Street, NEW YORK. +</p> + +<h3> +THE PRACTICAL MANUAL OF THE COLLODION PROCESS.<br /> BY S. D. HUMPHREY.<br /> +THIRD EDITION +</h3> + +<p> +This Edition contains all the Improvements in the Art made public up to +the day of publication, and gives complete Practical Instructions for +making Collodion Positives or Ambrotypes, Collodion Negatives, Printing, +etc., etc. The quick, great and unprecedented sale of the first and second +editions demonstrates, more than the strongest language could possibly do, +the extraordinary and increasing popularity of this work. The Third +Edition contains two hundred and sixteen 12mo. pages, of a larger size and +in smaller type than either of the preceding editions, and is illustrated +with numerous wood-cuts. It is intended to be the best practical work +extant; substantially bound in cloth, price One Dollar; forwarded by mail +(postage prepaid). Address +</p> + +<p class="noindent"> +S. D. HUMPHREY, New York +</p> + +<p> +<br /><br /> +</p> + +<h3> +A GUIDE TO PHOTOGRAPHY, +</h3> + +<p> +Containing simple and concise directions for obtaining Views, Portraits, +etc., by the chemical agency of Light, by W. H. Thornthwaite, author of +“Photogenic Manipulations,” etc. Illustrated with numerous wood-cuts. The +Book contains more than one hundred 12mo pages, bound in board, and is +sold at twenty-five cents per copy, or five copies for one dollar. Address +</p> + +<p class="noindent"> +S. D. HUMPHREY, New York +</p> + +<p> +<br /><br /> +</p> + +<p class="noindent"> +HOLMES, BOOTH & HAYDENS,<br /> MANUFACTURERS OF<br /> DAGUERREOTYPE +CASES,<br /> PLATES, CAMERAS,<br /> MATTINGS, PRESERVERS, ETC., ETC. +</p> + +<p class="noindent"> +MANUFACTURERS AND IMPORTERS OF EVERY VARIETY OF AMBROTYPE, <br /> AND +PHOTOGRAPHIC GOODS, +</p> + +<p> +Of the Best and most approved Quality. +</p> + +<p class="noindent"> +ESPECIAL ATTENTION GIVEN TO THE FURNISHING OF EVERY ARTICLE USED IN THE +PRACTICE OF THE DAGUERREOTYPE +</p> + +<p> +Depot 81 Chambers and 63 Reade St., New York. +</p> + +<p> +Manufactory at Waterbury, Conn. +</p> + +<p> +<br /><br /> +</p> + +<h3> +HOLMES, BOOTH & HAYDENS’ CAMERAS +</h3> + +<p> +From 1/4 to the Mammoth size. These CAMERAS are of the most superior make, +and all subjected to the most thorough test before being offered for sale. +</p> + +<p> +VIEW CAMERAS, made expressly for taking views: an entirely new article. +</p> + +<p> +DAGUERREOTYPE PLATES, OF EVERY VARIETY, AND WE WOULD CALL PARTICULAR +ATTENTION TO THE +</p> + +<p> +Wreath, and H. B. & H. Eagle 40 Plates, AS HAVING NO EQUALS IN THE +MARKET. +</p> + +<p> +SOLE AGENTS FOR THE CELEBRATED H. B. AND N. P. FRENCH PLATES. +</p> + +<p> +Always on hand a complete assortment of Ambrotype and Photographic goods. +</p> + +<p> +SOLE AGENTS FOR THE Patent solid glass corner Plate Holders. +</p> + +<p> +All orders will receive prompt attention, and be forwarded with dispatch. +</p> + +<p class="noindent"> +HOLMES, BOOTH & HAYDENS, 81 Chambers, and 63 Reade St. New York. +</p> + +<p> +<br /><br /> +</p> + +<h3> +SCOVILL MANUFACTURING CO. +</h3> + +<p class="noindent"> +MANUFACTURER OF<br /> DAGUERREOTYPE PLATES,<br /> MATTINGS,<br /> PRESERVERS, +CASES,<br /> APPARATUS, etc., etc. +</p> + +<p> +Importers and Dealers in every description of Daguerreotype, Photographic, +AND AMBROTYPE GOODS, +</p> + +<p> +The SCOVILL MANUFACTURING COMPANY flatter themselves that an experience of +nearly twenty years in the business and the most extensive variety of the +above Goods in the United States, entitle them to the continuance of +orders for the Domestic and Foreign trade, which will receive the most +careful attention. +</p> + +<p> +Park Building, New York. Entrances—36 Park Row, 4 Beekman, and 141 Nassau +Street. +</p> + +<p> +<br /><br /> +</p> + +<h3> +SCOVILL MANUFACTURING CO. +</h3> + +<p> +Would call especial attention to their large variety of +</p> + +<p> +CASES, +</p> + +<p> +Embracing many Fancy Styles made only by themselves, and to which they are +constantly adding New Designs. +</p> + +<p class="noindent"> +Union Cases,<br /> Of all sizes, with Riveted Hinges.<br /> AGENTS FOR THE +SALE OF<br /> C. C. HARRISON’S CAMERAS, +</p> + +<p> +with improvements, which we are now prepared to sell at reduced prices, +and warranted to give better satisfaction than ever before DAGUERREOTYPE +PLATES, H. B.—N. P.—Star and other brands PLATE GLASS, embracing +three-quarters white: Crown and all other varieties. We would call +particular attention to our Black Glass, made expressly for Ambrotypes. +</p> + +<p class="noindent"> +CHEMICALS,<br /> for the Daguerreotype and Photographic Art.<br /> Iodized +and Plain COLLODION. Gun Cotton, etc., etc.<br /> Tagliabue’s +Collodiometres and Actino-Hydrometres, for<br /> testing Chemicals. +</p> + +<p> +APPARATUS OF EVERY VARIETY. +</p> + +<p> +Gutta Percha, Porcelain, and Glassware of all kinds used in the Art. +</p> + +<p> +A large assortment of Gilt Frames always on hand and made to order. +</p> + +<p> +Ambrotype Shields, with solid corners of a new style. +</p> + +<p> +All orders will meet with prompt attention +</p> + +<p class="noindent"> +SCOVILL MANUFACTURING CO.,<br /> PARK BUILDINGM<br /> New York<br /> 36 Park +Row, 4 Beckman, and<br /> 141 Nassau Street. +</p> + +<p> +<br /><br /> +</p> + +<h3> +HARDWICH’S PHOTOGRAPHIC CHEMISTRY<br /> AMERICAN EDITION. +</h3> + +<p class="noindent"> +A MANUAL of<br /> PHOTOGRAPHIC CHEMISTRY,<br /> <br /> INCLUDING THE PRACTICE +OF THE COLLODION PROCESS. +</p> + +<p class="noindent"> +BY +</p> + +<p class="noindent"> +T. FREDERICK HARDWICH, +</p> + +<p class="noindent"> +LECTURER ON PHOTOGRAPHY IN KINGS COLLEGE, LONDON;<br /> LATE DEMONSTRATOR +OF CHEMISTRY IN KING’S COLLEGE. +</p> + +<p class="noindent"> +Last Edition, +</p> + +<p> +The above is the title of this new and valuable work. It is too well known +to need any further comment in this place. This volume contains nearly 300 +large duodecimo pages, bound in red cloth, $1.00. Copies to be forwarded +by mail, $1.18, postage pre-paid. +</p> + +<p class="noindent"> +S. D. HUMPHREY,<br /> Photographic<br /> Book Publisher,<br /> 37 LISPENARD<br /> +STREET, NEW YORK, +</p> + +<p> +N.B. Postage stamps taken. +</p> + +<pre> + + + + + +End of the Project Gutenberg EBook of American Handbook of the Daguerrotype, by Samuel D. 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