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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:14:30 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:14:30 -0700 |
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Snelling. +</TITLE> + +<STYLE TYPE="text/css"> +BODY { color: Black; + background: White; + margin-right: 10%; + margin-left: 10%; + font-size: medium; + font-family: "Times New Roman", serif; + text-align: justify } + +PRE { font-size: medium; + font-family: "Times New Roman", serif; } + +P {text-indent: 4% } + +P.noindent {text-indent: 0% } + +P.poem {text-indent: 0%; + margin-left: 10%; + font-size: small } + +P.letter {font-size: small ; + margin-left: 10% ; + margin-right: 10% } + +P.salutation {font-size: small ; + text-indent: 0%; + margin-left: 10% ; + margin-right: 10% } + +P.closing {font-size: small ; + text-indent: 0%; + margin-left: 10% ; + margin-right: 10% } + +P.footnote {font-size: small ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +P.transnote {font-size: small ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +P.index {font-size: small ; + text-indent: -5% ; + margin-left: 5% ; + margin-top: 0% ; + margin-bottom: 0% ; + margin-right: 0% } + +P.intro {font-size: small ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +P.dedication {text-indent: 0%; + margin-left: 15%; + text-align: justify } + +P.published {font-size: small ; + text-indent: 0% ; + margin-left: 15% } + +P.quote {font-size: small ; + text-indent: 4% ; + margin-left: 0% ; + margin-right: 0% } + +P.finis { text-align: center ; + text-indent: 0% ; + margin-left: 0% ; + margin-right: 0% } + +H3.h3left { margin-left: 0%; + margin-right: 1%; + margin-bottom: .5% ; + margin-top: 0; + float: left ; + clear: left ; + text-align: center } + +H3.h3right { margin-left: 1%; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: right ; + clear: right ; + text-align: center } + +H3.h3center { margin-left: 0; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: none ; + clear: both ; + text-align: center } + +H4.h4left { margin-left: 0%; + margin-right: 1%; + margin-bottom: .5% ; + margin-top: 0; + float: left ; + clear: left ; + text-align: center } + +H4.h4right { margin-left: 1%; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: right ; + clear: right ; + text-align: center } + +H4.h4center { margin-left: 0; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: none ; + clear: both ; + text-align: center } + +H5.h5left { margin-left: 0%; + margin-right: 1%; + margin-bottom: .5% ; + margin-top: 0; + float: left ; + clear: left ; + text-align: center } + +H5.h5right { margin-left: 1%; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: right ; + clear: right ; + text-align: center } + +H5.h5center { margin-left: 0; + margin-right: 0 ; + margin-bottom: .5% ; + margin-top: 0; + float: none ; + clear: both ; + text-align: center } + +IMG.imgleft { float: left; + clear: left; + margin-left: 0; + margin-bottom: 0; + margin-top: 1%; + margin-right: 1%; + padding: 0; + text-align: center } + +IMG.imgright {float: right; + clear: right; + margin-left: 1%; + margin-bottom: 0; + margin-top: 1%; + margin-right: 0; + padding: 0; + text-align: center } + +IMG.imgcenter { margin-left: auto; + margin-bottom: 0; + margin-top: 1%; + margin-right: auto; } + +.pagenum { position: absolute; + left: 1%; + font-size: 95%; + text-align: left; + text-indent: 0; + font-style: normal; + font-weight: normal; + font-variant: normal; } + +.sidenote { left: 0%; + font-size: 65%; + text-align: left; + text-indent: 0%; + width: 17%; + float: left; + clear: left; + padding-left: 0%; + padding-right: 2%; + padding-top: 2%; + padding-bottom: 2%; + font-style: normal; + font-weight: normal; + font-variant: normal; } + + + +</STYLE> + +</HEAD> + +<BODY> + + +<pre> + +The Project Gutenberg EBook of The History and Practice of the Art of +Photography, by Henry H. Snelling + +This eBook is for the use of anyone anywhere 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 + + +Title: The History and Practice of the Art of Photography + +Author: Henry H. Snelling + +Release Date: July 7, 2008 [EBook #168] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK HISTORY/PRACTICE OF PHOTOGRAPHY *** + + + + +Produced by Gregory Walker, for the Digital Daguerreian Archive Project. + + + + + +</pre> + + +<BR><BR> + +<P CLASS="intro"> +This etext was created by Gregory Walker, in Austin, Texas, for the +Digital Daguerreian Archive Project--electronic texts from the dawn of +photography. +<BR><BR> +Internet: gwalker@netcom.com CompuServe: 73577,677 +<BR><BR> +The location of the illustrations in the text are marked by +"[HIPHO_##.GIF]" on a separate line. +<BR><BR> +I hope this etext inspires a wider interest in the origins of +photography and in the modern practice of the Daguerreian Art. +</P> + +<BR><BR><BR> + +<H1 ALIGN="center"> +THE HISTORY AND PRACTICE<BR>OF THE ART OF PHOTOGRAPHY; +</H1> + +<H2 ALIGN="center"> +OR THE PRODUCTION OF PICTURES<BR>THROUGH THE AGENCY OF LIGHT. +</H2> + +<H4 ALIGN="center"> +CONTAINING ALL THE INSTRUCTIONS NECESSARY FOR THE COMPLETE PRACTICE OF<BR> +THE DAGUERREAN AND PHOTOGENIC ART, BOTH ON METALLIC PLATES AND ON PAPER. +</H4> + +<BR> + +<H3 ALIGN="center"> +By HENRY H. SNELLING. +</H3> + +<BR><BR> + +<H4 ALIGN="center"> +ILLUSTRATED WITH WOOD CUTS. +</H4> + +<BR><BR> + +<H4 ALIGN="center"> +New York: PUBLISHED BY G. P. PUTNAM, 155 Broadway, 1849. +</H4> + +<BR><BR><BR> + +<H5 ALIGN="center"> +Entered according to act of Congress in the year 1849, by H. H. +Snelling, in the Clerk's office, of the District Court of the Southern +District of New York. +</H5> + +<BR> + +<H5 ALIGN="center"> +New York: PRINTED BY BUSTEED & McCOY, 163 Fulton Street. +</H5> + +<BR><BR><BR> + +<H3 ALIGN="center"> +TO EDWARD ANTHONY, ESQ., AN ESTEEMED FRIEND. +<BR><BR> +Whose gentlemanly deportment, liberal feelings, and strict integrity +have secured him a large circle of friends, this work is Respectfully +Dedicated By the AUTHOR. +</H3> + +<BR><BR><BR> + + +<H2 ALIGN="center"> +CONTENTS +</H2> + +<TABLE ALIGN="center" WIDTH="100%"> + +<TR> +<TD ALIGN="right" VALIGN="top"> </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#preface">PREFACE</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#intro">INTRODUCTION</A></TD> +</TR> + + +<TR> +<TD ALIGN="right" VALIGN="top">I. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap01">A BRIEF HISTORY OF THE ART.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">II. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap02">THE THEORY ON LIGHT.—THE PHOTOGRAPHIC PRINCIPLE</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">III. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap03">SYNOPSIS OF MR. HUNT'S TREATISE ON "THE INFLUENCE OF THE +SOLAR RAYS ON COMPOUND BODIES, WITH ESPECIAL REFERENCE TO + THEIR PHOTOGRAPHIC APPLICATION." +</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">IV. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap04">A FEW HINTS AND SUGGESTIONS TO DAGUERREOTYPISTS.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">V. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap05">DAGUERREOTYPE APPARATUS.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">VI. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap06">THE DAGUERREOTYPE PROCESS.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">VII </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap07">PAPER DAGUERREOTYPES.—ETCHING DAGUERREOTYPES.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">VIII. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap08">PHOTOGENIC DRAWING ON PAPER.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">IX. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap09">CALOTYPE AND CHRYSOTYPE.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">X. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap10">CYANOTYPE—ENERGIATYPE—CHROMATYPE—ANTHOTYPE—AMPHITYPE +AND "CRAYON DAGUERREOTYPE." +</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">XI. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap11">ON THE PROBABILITY OF PRODUCING COLORED PICTURES BY THE SOLAR +RADIATIONS--PHOTOGRAPHIC DEVIATIONS--LUNAR PICTURES--DRUMMOND LIGHT. +</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">XII. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap12">ON COLORING DAGUERREOTYPES.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top">XIII. </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#chap13">THE PHOTOGRAPHOMETER.</A></TD> +</TR> + +<TR> +<TD ALIGN="right" VALIGN="top"> </TD> +<TD ALIGN="left" VALIGN="top"> +<A HREF="#index">INDEX.</A></TD> +</TR> + +</TABLE> + +<BR><BR><BR> + +<A NAME="preface"></A> +<H3 ALIGN="center"> +PREFACE. +</H3> + +<P> +The object of this little work is to fill a void much complained of by +Daguerreotypists--particularly young beginners. +</P> + +<P> +The author has waited a long time in hopes that some more able pen +would be devoted to the subject, but the wants of the numerous, and +constantly increasing, class, just mentioned, induces him to wait no +longer. +</P> + +<P> +All the English works on the subject--particularly on the practical +application, of Photogenic drawing--are deficient in many minute +details, which are essential to a complete understanding of the art. +Many of their methods of operating are entirely different from, and +much inferior to, those practised in the United States: their +apparatus, also, cannot compare with ours for completeness, utility or +simplicity. +</P> + +<P> +I shall, therefore, confine myself principally--so far as Photogenic +drawing upon metalic plates is concerned--to the methods practised by +the most celebrated and experienced operators, drawing upon French and +English authority only in cases where I find it essential to the +purpose for which I design my work, namely: furnishing a complete +system of Photography; such an one as will enable any gentleman, or +lady, who may wish to practise the art, for profit or amusement, to do +so without the trouble and expense of seeking instruction from +professors, which in many cases within my own knowledge has prevented +persons from embracing the profession. +</P> + +<P> +To English authors I am principally indebted for that portion of my +work relating to Photogenic drawing on paper. To them we owe nearly +all the most important improvements in that branch of the art. +Besides, it has been but seldom attempted in the United States, and +then without any decided success. Of these attempts I shall speak +further in the Historical portion of this volume. +</P> + +<P> +Every thing essential, therefore, to a complete knowledge of the whole +art, comprising all the most recent discoveries and improvements down +to the day of publication will be found herein laid down. +</P> + +<BR><BR><BR> + +<A NAME="intro"></A> +<H3 ALIGN="center"> +INTRODUCTION +</H3> + +<P CLASS="noindent"> +New York, January 27, 1849. +E. ANTHONY, ESQ. +</P> + +<P> +Dear Sir,--In submitting the accompanying "History and Practice of +Photography" to your perusal, and for your approbation, I do so with +the utmost confidence in your ability as a practical man, long engaged +in the science of which it treats, as well as your knowledge of the +sciences generally; as well as your regard for candor. To you, +therefore, I leave the decision whether or no I have accomplished my +purpose, and produced a work which may not only be of practical benefit +to the Daguerrean artist, but of general interest to the reading +public, and your decision will influence me in offering it for, or +withholding it from, publication. +</P> + +<P> +If it meets your approbation, I would most respectfully ask permission +to dedicate it to you, subscribing myself, +</P> + +<P CLASS="noindent"> +With esteem,<BR> +Ever truly yours,<BR> +HENRY H. SNELLING +</P> + +<BR> + +<P CLASS="noindent"> +New York, February 1st, 1849.<BR> +Mr. H. H. SNELLING. +</P> + +<P> +Dear Sir--Your note of January 27th, requesting permission to dedicate +to me your "History and Practice of Photography," I esteem a high +compliment, particularly since I have read the manuscript of your work. +</P> + +<P> +Such a treatise has long been needed, and the manner in which you have +handled the subject will make the book as interesting to the reading +public as it is valuable to the Daguerrean artist, or the amateur +dabbler in Photography. I have read nearly all of the many works upon +this art that have emanated from the London and Paris presses, and I +think the reader will find in yours the pith of them all, with much +practical and useful information that I do not remember to have seen +communicated elsewhere. +</P> + +<P> +There is much in it to arouse the reflective and inventive faculties of +our Daguerreotypists. They have heretofore stumbled along with very +little knowledge of the true theory of their art, and yet the quality +of their productions is far in advance of those of the French and +English artists, most of whose establishments I have had the pleasure +of visiting I feel therefore, that when a sufficient amount of +theoretic knowledge shall have been added to this practical skill on +the part of our operators, and when they shall have been made fully +acquainted with what has been attained or attempted by others, a still +greater advance in the art will be manifested. +</P> + +<P> +A GOOD Daguerreotypist is by no means a mere machine following a +certain set of fixed rules. Success in this art requires personal +skill and artistic taste to a much greater degree than the unthinking +public generally imagine; in fact more than is imagined by nine-tenths +of the Daguerreotypists themselves. And we see as a natural result, +that while the business numbers its thousands of votaries, but few rise +to any degree of eminence. It is because they look upon their business +as a mere mechanical operation, and having no aim or pride beyond the +earning of their daily bread, they calculate what will be a fair per +centage on the cost of their plate, case, and chemicals, leaving MIND, +which is as much CAPITAL as anything else (where it is exercised,) +entirely out of the question. +</P> + +<P> +The art of taking photographs on PAPER, of which your work treats at +considerable length, has as yet attracted but little attention in this +country, though destined, as I fully believe, to attain an importance +far superior to that to which the Daguerreotype has risen. +</P> + +<P> +The American mind needs a waking up upon the subject, and I think your +book will give a powerful impulse in this direction. In Germany a high +degree of perfection has been reached, and I hope your countrymen will +not be slow to follow. +</P> + +<P> +Your interesting account of the experiments of Mr. Wattles was entirely +new to me, and is another among the many evidences that when the age is +fully ripe for any great discovery, it is rare that it does not occur +to more than a single mind. +</P> + +<P> +Trusting that your work will meet with the encouragement which your +trouble in preparing it deserves, and with gratitude for the undeserved +compliment paid to me in its dedication, +</P> + +<P CLASS="noindent"> +I remain, very sincerely,<BR> +Your friend and well wisher,<BR> +E. ANTHONY. +</P> + +<BR><BR><BR> + +<A NAME="chap01"></A> +<H1 ALIGN="center"> +PHOTOGRAPHY. +</H1> + +<BR> + +<H3 ALIGN="center"> +CHAP. I. +</H3> + +<H3 ALIGN="center"> +A BRIEF HISTORY OF THE ART. +</H3> + +<P> +As in all cases of great and valuable inventions in science and art the +English lay claim to the honor of having first discovered that of +Photogenic drawing. But we shall see in the progress of this history, +that like many other assumptions of their authors, priority in this is +no more due them, then the invention of steamboats, or the cotton gin. +</P> + +<P> +This claim is founded upon the fact that in 1802 Mr. Wedgwood recorded +an experiment in the Journal of the Royal Institution of the following +nature. +</P> + +<P> +"A piece of paper, or other convenient material, was placed upon a +frame and sponged over with a solution of nitrate of silver; it was +then placed behind a painting on glass and the light traversing the +painting produced a kind of copy upon the prepared paper, those parts +in which the rays were least intercepted being of the darkest hues. +Here, however, terminated the experiment; for although both Mr. +Wedgwood and Sir Humphry Davey experimented carefully, for the purpose +of endeavoring to fix the drawings thus obtained, yet the object could +not be accomplished, and the whole ended in failure." +</P> + +<P> +This, by their own showing, was the earliest attempt of the English +savans. But this much of the principle was known to the Alchemists at +an early date--although practically produced in another way--as the +following experiment, to be found in old books, amply proves. +</P> + +<P> +"Dissolve chalk in aquafortis to the consistence of milk, and add to it +a strong solution of silver; keep this liquor in a glass bottle well +stopped; then cutting out from a piece of paper the letters you would +have appear, paste it on the decanter, and lay it in the sun's rays in +such a manner that the rays may pass through the spaces cut out of the +paper and fall on the surface of the liquor the part of the glass +through which the rays pass will be turned black, while that under the +paper remains white; but particular care must be observed that the +bottle be not moved during the operation." +</P> + +<P> +Had not the alchemists been so intent upon the desire to discover the +far famed philosopher's stone, as to make them unmindful of the +accidental dawnings of more valuable discoveries, this little +experiment in chemistry might have induced them to prosecute a more +thorough search into the principle, and Photogenic art would not now, +as it is, be a new one. +</P> + +<P> +It is even asserted that the Jugglers of India were for many ages in +possession of a secret by which they were enabled, in a brief space, to +copy the likeness of any individual by the action of light. This fact, +if fact it be, may account for the celebrated magic mirrors said to be +possessed by these jugglers, and probable cause of their power over the +people. +</P> + +<P> +However, as early as 1556 the fact was established that a combination +of chloride and silver, called, from its appearance, horn silver, was +blackened by the sun's rays; and in the latter part of the last century +Mrs. Fulhame published an experiment by which a change of color was +effected in the chloride of gold by the agency of light; and gave it as +her opinion that words might be written in this way. These incidents +are considered as the first steps towards the discovery of the +Photogenic art. +</P> + +<P> +Mr. Wedgwood's experiments can scarcely be said to be any improvement +on them since he failed to bring them to practical usefulness, and his +countrymen will have to be satisfied with awarding the honor of its +complete adaptation to practical purposes, to MM. Niepce and Daguerre +of France, and to Professors Draper, and Morse of New-York. +</P> + +<P> +These gentlemen--MM. Niepce and Daguerre--pursued the subject +simultaneously, without either, however being aware of the experiments +of his colleague in science. For several years, each pursued his +researches individually until chance made them acquainted, when they +entered into co-partnership, and conjointly brought the art almost to +perfection. +</P> + +<P> +M. Niepce presented his first paper on the subject to the Royal Society +in 1827, naming his discovery Heliography. What led him to the study +of the principles of the art I have no means, at present, of knowing, +but it was probably owing to the facts recorded by the Alchemists, Mrs. +Fulhame and others, already mentioned. But M. Daguerre, who is a +celebrated dioramic painter, being desirous of employing some of the +singularly changeable salts of silver to produce a peculiar class of +effects in his paintings, was led to pursue an investigation which +resulted in the discovery of the Daguerreotype, or Photogenic drawing +on plates of copper coated with silver. +</P> + +<P> +To this gentleman--to his liberality--are we Americans indebted for the +free use of his invention; and the large and increasing class of +Daguerrean artists of this country should hold him in the most profound +respect for it. He was not willing that it should be confined to a few +individuals who might monopolise the benefits to be derived from its +practice, and shut out all chance of improvement. Like a true, noble +hearted French gentleman he desired that his invention should spread +freely throughout the whole world. With these views he opened +negociations with the French government which were concluded most +favorably to both the inventors, and France has the "glory of endowing +the whole world of science and art with one of the most surprising +discoveries that honor the land." +</P> + +<P> +Notwithstanding this, it has been patented in England and the result is +what might have been expected: English pictures are far below the +standard of excellence of those taken by American artists. I have seen +some medium portraits, for which a guinea each had been paid, and taken +too, by a celebrated artist, that our poorest Daguerreotypists would be +ashamed to show to a second person, much less suffer to leave their +rooms. +</P> + +<P> +CALOTYPE, the name given to one of the methods of Photogenic drawing on +paper, discovered, and perfected by Mr. Fox Talbot of England, is +precisely in the same predicament, not only in that country but in the +United States, Mr. Talbot being patentee in both. He is a man of some +wealth, I believe, but he demands so high a price for a single right in +this country, that none can be found who have the temerity to purchase. +</P> + +<P> +The execution of his pictures is also inferior to those taken by the +German artists, and I would remark en passant, that the Messrs. Mead +exhibited at the last fair of the American Institute, (of 1848,) four +Calotypes, which one of the firm brought from Germany last Spring, that +for beauty, depth of tone and excellence of execution surpass the +finest steel engraving. +</P> + +<P> +When Mr. Talbot's patent for the United States expires and our +ingenious Yankee boys have the opportunity, I have not the slightest +doubt of the Calotype, in their hands, entirely superceding the +Daguerreotype. +</P> + +<P> +Let them, therefore, study the principles of the art as laid down in +this little work, experiment, practice and perfect themselves in it, +and when that time does arrive be prepared to produce that degree of +excellence in Calotype they have already obtained in Daguerreotype. +</P> + +<P> +It is to Professor Samuel F. B. Morse, the distinguished inventor of +the Magnetic Telegraph, of New York, that we are indebted for the +application of Photography, to portrait taking. He was in Paris, for +the purpose of presenting to the scientific world his Electro-Magnetic +Telegraph, at the time, (1838,) M. Daguerre announced his splendid +discovery, and its astounding results having an important bearing on +the arts of design arrested his attention. In his letter to me on the +subject, the Professor gives the following interesting facts. +</P> + +<P> +"The process was a secret, and negociations were then in progress, for +the disclosure of it to the public between the French government and +the distinguished discoverer. M. Daguerre had shown his results to the +king, and to a few only of the distinguished savans, and by the advice +of M. Arago, had determined to wait the action of the French Chambers, +before showing them to any other persons. I was exceedingly desirous +of seeing them, but knew not how to approach M. Daguerre who was a +stranger to me. On mentioning my desire to Robert Walsh, Esq., our +worthy Consul, he said to me; 'state that you are an American, the +inventor of the Telegraph, request to see them, and invite him in turn +to see the Telegraph, and I know enough of the urbanity and liberal +feelings of the French, to insure you an invitation.' I was successfull +in my application, and with a young friend, since deceased, the +promising son of Edward Delevan, Esq., I passed a most delightful hour +with M. Daguerre, and his enchanting sun-pictures. My letter containing +an account of this visit, and these pictures, was the first +announcement in this country of this splendid discovery." +</P> + +<P> +"I may here add the singular sequel to this visit. On the succeeding +day M. Daguerre paid me a visit to see the Telegraph and witness its +operations. He seemed much gratified and remained with me perhaps two +hours; two melancholy hours to him, as they afterwards proved; or while +he was with me, his buildings, including his diorama, his studio, his +laboratory, with all the beautiful pictures I had seen the day before, +were consumed by fire. Fortunately for mankind, matter only was +consumed, the soul and mind of the genius, and the process were still +in existence." +</P> + +<P> +On his return home, Professor Morse waited with impatience for the +revelation of M. Daguerre's process, and no sooner was it published +than he procured a copy of the work containing it, and at once +commenced taking Daguerreotype pictures. At first his object was +solely to furnish his studio with studies from nature; but his +experiments led him into a belief of the practicability of procuring +portraits by the process, and he was undoubtedly the first whose +attempts were attended with success. Thinking, at that time, that it +was necessary to place the sitters in a very strong light, they were +all taken with their eyes closed. +</P> + +<P> +Others were experimenting at the same time, among them Mr. Wolcott and +Prof. Draper, and Mr. Morse, with his accustomed modesty, thinks that +it would be difficult to say to whom is due the credit of the first +Daguerreotype portrait. At all events, so far as my knowledge serves +me, Professor Morse deserves the laurel wreath, as from him originated +the first of our inumerable class of Daguerreotypists; and many of his +pupils have carried the manipulation to very great perfection. In +connection with this matter I will give the concluding paragraph of a +private letter from the Professor to me; He says. +</P> + +<P> +"If mine were the first, other experimenters soon made better results, +and if there are any who dispute that I was first, I shall have no +argument with them; for I was not so anxious to be the first to produce +the result, as to produce it in any way. I esteem it but the natural +carrying out of the wonderful discovery, and that the credit was after +all due to Daguerre. I lay no claim to any improvements." +</P> + +<P> +Since I commenced the compilation of this work, I have had the pleasure +of making the acquaintance of an American gentleman--James M. Wattles +Esq.--who as early as 1828--and it will be seen, by what I have already +stated, that this is about the same date of M. Niepce's discovery--had +his attention attracted to the subject of Photography, or as he termed +it "Solar picture drawing," while taking landscape views by means of +the camera-obscura. When we reflect upon all the circumstances +connected with his experiments, the great disadvantages under which he +labored, and his extreme youthfullness, we cannot but feel a national +pride--yet wonder--that a mere yankee boy, surrounded by the deepest +forests, hundred of miles from the populous portion of our country, +without the necessary materials, or resources for procuring them, +should by the force of his natural genius make a discovery, and put it +in practical use, to accomplish which, the most learned philosophers of +Europe, with every requisite apparatus, and a profound knowledge of +chemistry--spent years of toil to accomplish. How much more latent +talent may now be slumbering from the very same cause which kept Mr. +Wattles from publicly revealing his discoveries, viz; want of +encouragement--ridicule! +</P> + +<P> +At the time when the idea of taking pictures permanently on paper by +means of the camera-obscura first occurred to him, he was but sixteen +years of age, and under the instructions of Mr. Charles Le Seuer, (a +talented artist from Paris) at the New Harmony school, Indiana. +Drawing and painting being the natural bent of his mind, he was +frequently employed by the professors to make landscape sketches in the +manner mentioned. The beauty of the image of these landscapes produced +on the paper in the camera-obscura, caused him to pause and admire them +with all the ardor of a young artist, and wish that by some means, he +could fix them there in all their beauty. From wishing he brought +himself to think that it was not only possible but actually capable of +accomplishment and from thinking it could, he resolved it should be +done. +</P> + +<P> +He was, however, wholly ignorant of even the first principles of +chemistry, and natural philosophy, and all the knowledge he was enabled +to obtain from his teachers was of very little service to him. To add +to this, whenever he mentioned his hopes to his parents, they laughed +at him, and bade him attend to his studies and let such moonshine +thoughts alone--still he persevered, though secretly, and he met with +the success his perseverance deserved. +</P> + +<P> +For the truth of his statement, Mr. Wattles refers to some of our most +respectable citizens residing at the west, and I am in hopes that I +shall be enabled to receive in time for this publication, a +confirmation from one or more of these gentlemen. Be that as it may, I +feel confident in the integrity of Mr. Wattles, and can give his +statement to the world without a doubt of its truth. +</P> + +<P> +The following sketch of his experiments and their results will, +undoubtedly, be interesting to every American reader and although some +of the profound philosophers of Europe may smile at his method of +proceeding, it will in some measure show the innate genius of American +minds, and prove that we are not far behind our trans-atlantic brethren +in the arts and sciences. +</P> + +<P> +Mr. Wattles says: "In my first efforts to effect the desired object, +they were feeble indeed, and owing to my limited knowledge of +chemistry--wholly acquired by questioning my teachers--I met with +repeated failures but following them up with a determined spirit, I at +last produced, what I thought very fair samples--but to proceed to my +experiments." +</P> + +<P> +"I first dipped a quarter sheet of thin white writing paper in a weak +solution of caustic (as I then called it) and dried it in an empty box, +to keep it in the dark; when dry, I placed it in the camera and watched +it with great patience for nearly half an hour, without producing any +visible result; evidently from the solution being to weak. I then +soaked the same piece of paper in a solution of common potash, and then +again in caustic water a little stronger than the first, and when dry +placed it in the camera. In about forty-five minutes I plainly +percieved the effect, in the gradual darkening of various parts of the +view, which was the old stone fort in the rear of the school garden, +with the trees, fence, &c. I then became convinced of the +practicability of producing beautiful solar pictures in this way; but, +alas! my picture vanished and with it, all--no not all--my hopes. With +renewed determination I began again by studying the nature of the +preparation, and came to the conclusion, that if I could destroy the +part not acted upon by the light without injuring that which was so +acted upon, I could save my pictures. I then made a strong solution of +sal. soda I had in the house, and soaked my paper in it, and then +washed it off in hot water, which perfectly fixed the view upon the +paper. This paper was very poor with thick spots, more absorbent than +other parts, and consequently made dark shades in the picture where +they should not have been; but it was enough to convince me that I had +succeeded, and that at some future time, when I had the means and a +more extensive knowledge of chemistry, I could apply myself to it +again. I have done so since, at various times, with perfect success; +but in every instance laboring under adverse circumstances." +</P> + +<P> +I have very recently learned, that, under the present patent laws of +the United States, every foreign patentee is required to put his +invention, or discovery, into practical use within eighteen months +after taking out his papers, or otherwise forfeit his patent. With +regard to Mr. Talbot's Calotype patent, this time has nearly, if not +quite expired, and my countrymen are now at perfect liberty to +appropriate the art if they feel disposed. From the statement of Mr. +Wattles, it will be perceived that this can be done without dishonor, +as in the first instance Mr. Talbot had no positive right to his patent. +</P> + +<P> +Photography; or sun-painting is divided, according to the methods +adopted for producing pictures, into +</P> + +<PRE STYLE="font-family: Courier New; font-size: 1opt"> + DAGUERREOTYPE, CHROMATYPE, + CALOTYPE, ENERGIATYPE, + CHRYSOTYPE, ANTHOTYPE and + CYANOTYPE, AMPHITYPE. +</PRE> + +<BR><BR><BR> + +<A NAME="chap02"></A> +<H3 ALIGN="center"> +CHAP. II. +</H3> + +<H3 ALIGN="center"> +THE THEORY ON LIGHT.--THE PHOTOGRAPHIC PRINCIPLE +</H3> + +<P> +Some philosophers contend that to the existence of light alone we owe +the beautiful effects produced by the Photogenic art, while others give +sufficient reasons for doubting the correctness of the assumption. +That the results are effected by a principle associated with light and +not by the luminous principle itself, is the most probable conclusion. +The importance of a knowledge of this fact becomes most essential in +practice, as will presently be seen. To this principle Mr. Hunt gives +the name of ENERGIA. +</P> + +<P> +THE NATURE of Light is not wholly known, but it is generally believed +to be matter, as in its motions it obeys the laws regulating matter. +So closely is it connected with heat and electricity that there can be +little doubt of their all being but different modifications of the same +substance. I will not, however, enter into a statement of the various +theories of Philosophers on this head, but content myself with that of +Sir Isaac Newton; who supposed rays of light to consist of minute +particles of matter, which are constantly emanating from luminous +bodies and cause vision, as odoriferous particles, proceeding from +certain bodies, cause smelling. +</P> + +<P> +The effects of light upon other bodies, and how light is effected by +them, involve some of the most important principles, which if properly +understood by Daguerreotypists would enable them to improve and correct +many of the practical operations in their art. These effects we shall +exhibit in this and the following chapters. Before we enter on this +subject it will be necessary to become familiar with the +</P> + +<P> +DEFINITIONS of some of the terms used in the science of optics. +</P> + +<P> +Luminous bodies are of two kinds; those which shine by their own light, +and those which shine by reflected light. +</P> + +<P> +Transparent bodies are such as permit rays of light to pass through +them. +</P> + +<P> +Translucent bodies permit light to pass faintly, but without +representing the figure of objects seen through them. +</P> + +<P> +Opaque bodies permit no light to pass through them, but reflect light. +</P> + +<P> +A ray is a line of light. +</P> + +<P> +A beam is a collection of parallel rays. +</P> + +<P> +A pencil is a collection of converging, or diverging rays. +</P> + +<P> +A medium is any space through which light passes. +</P> + +<P> +Incident rays are those which fall upon the surface of a body. +</P> + +<P> +Reflected rays are those which are thrown off from a body. +</P> + +<P> +Parallel rays are such as proceed equally distant from each other +through their whole course. +</P> + +<P> +Converging rays are such as approach and tend to unite at any one +point, as at b. Fig. 3. +</P> + +<P> +Diverging rays are those which continue to recede from each other, as +at e. Fig. 3. +</P> + +<P> +A Focus is that point at which converging rays meet. +</P> + +<P> +MOTION OF LIGHT--Rays of light are thrown off from luminous bodies in +every direction, but always in straight lines, which cross each other +at every point; but the particles of which each ray consists are so +minute that the rays do not appear to be impeded by each other. A ray +of light passing through an aperture into a dark room, proceeds in a +straight line; a fact of which any one may be convinced by going into a +darkened room and admitting light only through a small aperture. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_1.GIF" ALT="Fig. 1 (HIPHO_1.GIF)" BORDER=""> +</CENTER> + +<P> +Light also moves with great velocity, but becomes fainter as it recedes +from the source from which it eminates; in other words, diverging rays +of light diminish in intensity as the square of the distance increases. +For instance let a fig. 1, represent the luminous body from which light +proceeds, and suppose three square boards, b. c. d. severally one, +four and sixteen square inches in size be placed; b one foot, c two +feet, and d four feet from a, it will be perceived that the smallest +board b will throw c into shadow; that is, obstruct all rays of light +that would otherwise fall on c, and if b were removed c would in like +manner hide the light from d--Now, if b recieve as much light as would +fall on c whose surface is four times as large, the light must be four +times as powerful and sixteen times as powerful as that which would +fall on the second and third boards, because the same quantity of light +is diffused over a space four and sixteen times greater. These same +rays may be collected and their intensity again increased. +</P> + +<P> +Rays of light are reflected from one surface to another; Refracted, or +bent, as they pass from the surface of one transparent medium to +another; and Inflected, or turned from their course, by the attraction +of opaque bodies. From the first we derive the principles on which +mirrors are constructed; to the second we are indebted for the power of +the lenses, and the blessings of sight,--for the light acts upon the +retina of the eye in the same manner as on the lens of a camera. The +latter has no important bearing upon our subject. +</P> + +<P> +When a ray of light falls perpendicularly upon an opaque body, it is +reflected bark in the same line in which it proceeds; in this case the +reflected ray returns in the same path the incident ray traversed; but +when a ray falls obliquely, it is reflected obliquely, that is, it is +thrown off in opposite direction, and as far from the perpendicular as +was the incident ray, as shown at Fig. 2; a representing the incident +ray and b the reflected. The point, or angle c made by the incident +ray, at the surface of the reflector e f, with a line c d, +perpendicular to that surface, is called the angle of incidence, while +the angle formed by the reflected ray b and the perpendicular line d is +called the angle of reflection, and these angles are always equal. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_2.GIF" ALT="Fig. 2 (HIPHO_2.GIF)" BORDER=""> +</CENTER> + +<P> +It is by this reflection of light that objects are made visible; but +unless light falls directly upon the eye they are invisible, and are +not sensibly felt until after a certain series of operations upon the +various coverings and humors of the eye. Smooth and polished surfaces +reflect light most powerfully, and send to the eye the images of the +objects from which the light proceeded before reflection. Glass, which +is transparent--transmitting light--would be of no use to us as a +mirror, were it not first coated on one side with a metalic amalgam, +which interrupts the rays in their passage from the glass into the air, +and throws them either directly in the incident line, or in an oblique +direction. The reason why trees, rocks and animals are not all +mirrors, reflecting other forms instead of their own, is, that their +surfaces are uneven, and rays of light reflected from an uneven surface +are diffused in all directions. +</P> + +<P> +Parallel rays falling obliquely upon a plane mirror are reflected +parallel; converging rays, with the same degree of convergence; and +diverging rays equally divergent. +</P> + +<P> +Stand before a mirror and your image is formed therein, and appears to +be as far behind the glass as you are before it, making the angle of +reflection equal to that of incidence, as before stated. The incident +ray and the reflected ray form, together, what is called the passage of +reflection, and this will therefore make the actual distance of an +image to appear as far again from the eye as it really is. Any object +which reflects light is called a radiant. The point behind a +reflecting surface, from which they appear to diverge, is called the +virtual focus. +</P> + +<P> +Rays of light being reflected at the same angle at which they fall upon +a mirror, two persons can stand in such a position that each can see +the image of the other without seeing his own. Again; you may see your +whole figure in a mirror half your length, but if you stand before one +a few inches shorter the whole cannot be reflected, as the incident ray +which passes from your feet into the mirror in the former case, will in +the latter fall under it. Images are always reversed in mirrors. +</P> + +<P> +Convex mirrors reflect light from a rounded surface and disperse the +rays in every direction, causing parallel rays to diverge, diverging +rays to diverge more, and converging rays to converge less--they +represent objects smaller than they really are--because the angle +formed by the reflected ray is rendered more acute by a convex than by +a plane surface, and it is the diminishing of the visual angle, by +causing rays of light to be farther extended before they meet in a +point, which produces the image of convex mirrors. The greater the +convexity of a mirror, the more will the images of the objects be +diminished, and the nearer will they appear to the surface. These +mirrors furnish science with many curious and pleasing facts. +</P> + +<P> +Concave mirrors are the reverse of convex; the latter being rounded +outwards, the former hollowed inwards--they render rays of light more +converging--collect rays instead of dispersing them, and magnify +objects while the convex diminishes them. +</P> + +<P> +Rays of light may be collected in the focus of a mirror to such +intensity as to melt metals. The ordinary burning glass is an +illustration of this fact; although the rays of light are refracted, or +passed through the glass and concentrated into a focus beneath. +</P> + +<P> +When incident rays are parallel, the reflected rays converge to a +focus, but when the incident rays proceed from a focus, or are +divergent, they are reflected parallel. It is only when an object is +nearer to a concave mirror than its centre of concavity, that its image +is magnified; for when the object is farther from the mirror, this +centre will appear less than the object, and in an inverted position. +</P> + +<P> +The centre of concavity in a concave mirror, is an imaginary point +placed in the centre of a circle formed by continuing the boundary of +the concavity of the mirror from any one point of the edge to another +parallel to and beneath it. +</P> + +<P> +REFRACTION OF LIGHT:--I now pass to the consideration of the passage of +light through bodies. +</P> + +<P> +A ray of light failing perpendicularly through the air upon a surface +of glass or water passes on in a straight line through the body; but if +it, in passing from one medium to another of different density, fall +obliquely, it is bent from its direct course and recedes from it, +either towards the right or left, and this bending is called +refraction; (see Fig. 3, b.) If a ray of light passes from a rarer into +a denser medium it is refracted towards a perpendicular in that medium; +but if it passes from a denser into rarer it is bent further from a +perpendicular in that medium. Owing to this bending of the rays of +light the angles of refraction and incidence are never equal. +</P> + +<P> +Transparent bodies differ in their power of bending light--as a general +rule, the refractive power is proportioned to the density--but the +chemical constitution of bodies as well as their density, is found to +effect their refracting power. Inflammable bodies possess this power +to a great degree. +</P> + +<P> +The sines of the angle of incidence and refraction (that is, the +perpendicular drawn from the extremity of an arc to the diameter of a +circle,) are always in the same ratio; viz: from air into water, the +sine of the angle of refraction is nearly as four to three, whatever be +the position of the ray with respect to the refracting surface. From +air into sulphur, the sine of the angle of refraction is as two to +one--therefore the rays of light cannot be refracted whenever the sine +of the angle of refraction becomes equal to the radius* of a circle, +and light falling very obliquely upon a transparent medium ceases to be +refracted; this is termed total reflection. +</P> + +<P CLASS="footnote"> +* The RADIUS of a circle is a straight line passing from the centre to +the circumference. +</P> + +<P> +Since the brightness of a reflected image depends upon the quantity of +light, it is quite evident that those images which arise from total +reflection are by far the most vivid, as in ordinary cases of +reflection a portion of light is absorbed. +</P> + +<P> +I should be pleased to enter more fully into this branch of the science +of optics, but the bounds to which I am necessarily limited in a work +of this kind will not admit of it. In the next chapter, however, I +shall give a synopsis of Mr. Hunt's treatise on the "Influence of the +Solar Rays on Compound Bodies, with especial reference to their +Photographic application"--a work which should be in the hands of every +Daguerreotypist, and which I hope soon to see republished in this +country. I will conclude this chapter with a brief statement of the +principles upon which the Photographic art is founded. +</P> + +<P> +SOLAR and Stellar light contains three kinds of rays, viz: +</P> + +<P> +1. Colorific, or rays of color. +</P> + +<P> +2. Calorific, or rays of heat. +</P> + +<P> +3. Chemical rays, or those which produce chemical effects. +</P> + +<P> +On the first and third the Photographic principle depends. In +explaining this principle the accompanying wood cuts, (figs. 3 and 4) +will render it more intelligible. +</P> + +<P> +If a pencil of the sun's rays fall upon a prism, it is bent in passing +through the transparent medium; and some rays being more refracted than +others, we procure an elongated image of the luminous beam, exhibiting +three distinct colors, red, yellow and blue, which are to be regarded +as primitives--and from their interblending, seven, as recorded by +Newton, and shown in the accompanying wood cut. These rays being +absorbed, or reflected differently by various bodies, give to nature +the charm of color. Thus to the eve is given the pleasure we derive in +looking upon the green fields and forests, the enumerable varieties of +flowers, the glowing ruby, jasper, topaz, amethist, and emerald, the +brilliant diamond, and all the rich and varied hues of nature, both +animate and inanimate. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_3.GIF" ALT="Fig. 3 (HIPHO_3.GIF)" BORDER=""> +</CENTER> + +<P> +Now, if we allow this prismatic spectrum (b. Fig. 3.) to fall upon any +surface (as at c.) prepared with a sensitive photographic compound, we +shall find that the chemical effect produced bears no relation to the +intensity of the light of any particular colored ray, but that, on the +contrary, it is dispersed over the largest portion of the spectrum, +being most energetic in the least luminous rays, and ever active over +an extensive space, where no traces of light can be detected. Fig. 4, +will give the student a better idea of this principle. It is a copy of +the kind of impression which the spectrum, spoken of, would make on a +piece of paper covered with a very sensitive photographic preparation. +The white space a. corresponds with the most luminous, or yellow ray, +(5, Fig. 3) over limits of which all chemical change is prevented. A +similar action is also produced by the lower end of the red ray c; but +in the upper portion, however we find a decided change (as at d). The +most active chemical change, you will perceive, is produced by the rays +above the yellow a; viz. 4, 3, 2 and 1 (as at b) the green (4) being +the least active, and the blue (3) and violet (1) rays the most so, the +action still continuing far beyond the point b which is the end of the +luminous image. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_4.GIF" ALT="Fig. 4 (HIPHO_4.GIF)" BORDER=""> +</CENTER> + +<P> +Suppose we wish to copy by the Daguerreotype, or Calotype process, any +objects highly colored--blue, red and yellow, for instance +predominating--the last of course reflects the most light, the blue the +least; but the rays from the blue surface will make the most intense +impression, whilst the red radiations are working very slowly, and the +yellow remains entirely inactive. This accounts for the difficulty +experienced in copying bright green foliage, or warmly colored +portraits; a large portion of the yellow and red rays entering into the +composition of both--and the imperfections of a Daguerreotype portrait +of a person with a freckled face depends upon the same cause. +</P> + +<P> +A yellow, hazy atmosphere, even when the light is very bright, will +effectually prevent any good photographic result--and in the height of +summer, with the most sensative process, it not unfrequently happens +that the most annoying failures arise from this agency of a yellow +medium. A building painted of a yellow color, which may reflect the +sun's rays directly into the operator's room will have the same effect. +Daguerreotypists, being ignorant of these facts, are very apt to charge +their want of success to the plates, or chemicals, or any thing but the +real cause; and it would be well to bear these facts constantly in mind +and as far as possible avoid them. This, may be accomplished, in a +measure, by a choice of location or by having the glass of your windows +tinged with blue; or a screen of thin blue paper may be interposed +between the light and sitter. In selecting subjects, all striking +contrasts in color should be avoided, and sitters for portraits should +be cautioned not to wear anything that may produce the effect spoken +of--dark dresses always being the best. +</P> + +<P> +The action of light both combines and decomposes bodies. For instance, +chlorine and hydrogen will remain in a glass vessel without alteration +if kept in the dark; but if exposed to the rays of the sun, they +immediately enter into combination, and produce hydrochloric acid. On +the other hand, if colorless nitric acid be exposed to the sun, it +becomes yellow, then changes to red, and oxygen is liberated by the +partial decomposition effected by the solar rays. +</P> + +<P> +Of the organic substances none are more readily acted upon by light +than the various combinations of silver. +</P> + +<P> +Of these some are more, and others less sensitive. If Chloride of +silver, which is a white precipitate formed by adding chloride of +sodium (common salt) to a solution of nitrate of silver, be exposed to +diffused light, it speedily assumes a violet tint, and ultimately +becomes nearly black. With iodide of silver, bromide of silver, +ammonio-nitrate of silver, and other salts of this metal, the result +will be much the same. +</P> + +<P> +Some bodies, which under the influence of light, undergo chemical +changes, have the power of restoring themselves to their original +condition in the dark. This is more remarkably displayed in the iodide +of platinum, which readily recieves a photogenic image by darkening +over the exposed surfaces, but speedily loses it by bleaching in the +dark. The ioduret of Daguerre's plate, and some other iodides, exhibit +the same peculiarity--This leads us to the striking fact, that bodies +which have undergone a change of estate under the influence of +day-light have some latent power by which they can renovate themselves. +Possibly the hours of night are as necessary to inanimate nature as +they are to the animate. During the day, an excitement which we do not +heed, unless in a state of disease, is maintained by the influence of +light and the hours of repose, during which the equilibrium is +restored, are absolutely necessary to the continuance of health. +</P> + +<P> +Instead of a few chemical compounds of gold and silver, which at first +were alone supposed to be photographic, we are now aware that copper, +platinum, lead, nickel, and indeed, probably all the elements, are +equally liably to change under the sun's influence. This fact may be +of benefit to engravers, for if steel can be made to take photographic +impressions, the more laborious process of etching may be dispensed +with. In fact, in the latter part of this work, a process is described +for etching and taking printed impressions from Daguerreotype plates. +As yet this process has produced no decided beneficial results--but +future experiments may accomplish some practical discovery of intrinsic +value to the art of engraving. +</P> + +<P> +A very simple experiment will prove how essential light is to the +coloring of the various species comprising the vegetable and animal +kingdoms. If we transplant any shrub from the light of day into a dark +cellar, we will soon see it lose its bright green color, and become +perfectly white. +</P> + +<P> +Another effect of light is that it appears to impart to bodies some +power by which they more readily enter into chemical combination with +others. We have already said that chlorine and hydrogen, if kept in +the dark, will remain unaltered; but if the chlorine alone be +previously exposed to the sun, the chlorine thus solarised will unite +with the hydrogen in the dark. Sulphate of iron will throw down gold +or silver from their solutions slowly in the dark; but if either +solution be first exposed to sunshine, and the mixture be then made, in +the dark, the precipitation takes place instantly. Here is again, +evidence of either an absorption of some material agent from the +sunbeam, or an alteration in the chemical constitution of the body. It +was from understanding these principles and applying them that +philosophers were enabled to produce the Calotype, Daguerreotype, &c. +For the effects and action of light on the camera, see Chapter V. +</P> + +<P> +Some advances have been made towards producing Photographic impressions +in color--the impossibility of which some of our best and oldest +artists have most pertinaciously maintained. The colored image of the +spectrum has been most faithfully copied, ray for ray, on paper spread +with the juice of the Cochorus Japonica, (a species of plant) and the +fluoride of silver; and on silver plate covered with a thin film of +chloride. The day may be still remote when this much to be desired +desideratum shall be accomplished in portrait taking; but I am led to +hope that future experiments may master the secret which now causes it +to be looked upon, by many, as an impossibility. +</P> + +<P> +That great advantages have resulted, and that greater still will result +from the discovery of the Photographic art, few will deny. The +faithful manner in which it copies nature, even to the most minute +details, renders it of much value to the painter; but a few minutes +sufficing to take a view that formerly would have occupied several +days. Its superiority in portraits, over miniature or oil painting has +been tacitly acknowledged by the thousands who employ it to secure +their own, or a friends likeness, and by the steady increase in the +number of artists who are weekly, aye daily springing up in every town +and village in the land. +</P> + +<BR><BR><BR> + +<A NAME="chap03"></A> +<H3 ALIGN="center"> +CHAP. III. +</H3> + +<H3 ALIGN="center"> +SYNOPSIS OF MR. HUNT'S TREATISE ON "THE INFLUENCE OF THE SOLAR RAYS ON +COMPOUND BODIES, WITH ESPECIAL REFERENCE TO THEIR PHOTOGRAPHIC +APPLICATION." +</H3> + +<P> +OXIDE OF SILVER exposed for a few hours to good sunshine, passes into a +more decided olive color, than characterises it when first prepared by +precipitation from nitrate of silver. Longer exposure renders this +color very much lighter, and the covered parts, are found much darker, +than those on which the light has acted directly. In some instances +where the oxide of silver has been spread on the paper a decided +whitening process in some parts, after a few days exposure, is noticed. +Oxide of silver dissolved in ammonia is a valuable photographic fluid; +one application of a strong solution forming an exceedingly sensitive +surface. The pictures on this paper are easily fixed by salt or weak +ammonia. +</P> + +<P> +NITRATE OF SILVER.--This salt in a state of purity, does not appear to +be sensibly affected by light, but the presence of the smallest portion +of organic matter renders it exceedingly liable to change under +luminous influence. +</P> + +<P> +If a piece of nitrated paper is placed upon hot iron, or held near the +fire, it will be found that at a heat just below that at which the +paper chars, the salt is decomposed. Where the heat is greatest, the +silver is revived, and immediately around it, the paper becomes a deep +blue; beyond this a pretty decided green color results, and beyond the +green, a yellow or yellow brown stain is made. This exhibits a +remarkable analogy between heat and light,--before spoken of in chap. +II--and is of some practical importance in the preparation of the paper. +</P> + +<P> +PRISMATIC ANALYSIS.--The method of accomplishing the prismatic +decomposition of rays of light by the spectrum has already been +described on pages 22 and 23. The color of the impressed spectrum, on +paper washed with nitrate of silver, is at first, a pale brown, which +passes slowly into a deeper shade; that portion corresponding with the +blue rays becoming a blue brown; and under the violet of a peculiar +pinkey shade, a very decided green tint, on the point which corresponds +with the least refrangible blue rays, may be observed, its limits of +action being near the centre of the yellow ray, and its maximum about +the centre of the blue, although the action up to the edge of the +violet ray is continued with very little diminution of effect; beyond +this point the action is very feeble. +</P> + +<P> +When the spectrum is made to act on paper which has been previously +darkened, by exposure to sunshine under cupro-sulphate of ammonia, the +phenomena are materially different. The photographic spectrum is +lengthened out on the red or negative side by a faint but very visible +red portion, which extends fully up to the end of the red rays, as seen +by the naked eye. The tint of the general spectrum, too, instead of +brown is dark grey, passing, however, at its most refracted or positive +end into a ruddy brown. +</P> + +<P> +In its Photographic application, the nitrate of silver is the most +valuable of the salts of that metal, as from it most of the other +argentine compounds can be prepared, although it is not of itself +sufficiently sensible to light to render it of much use. +</P> + +<P> +CHLORIDE OF SILVER.--This salt of silver, whether in its precipitated +state, or when fused, changes its color to a fine bluish grey by a very +short exposure to the sun's rays. If combined with a small quantity of +nitrate, the change is more rapid, it attains a deep brown, then slowly +passes into a fine olive, and eventually, after a few weeks, the +metalic silver is seen to be revived on the surface of the salt. Great +differences of color are produced on chlorides of silver precipitated +by different muriates. Nearly every variety in combination with the +nitrate, becomes at last of the same olive color, the following +examples, therefore, have reference to a few minutes exposure, only, to +good sunshine; it must also be recollected that the chloride of silver +in these cases is contaminated with the precipitant. +</P> + +<P> +Muriate of ammonia precipitates chloride to darken to a fine chocolate +brown, whilst muriate of lime produces a brick-red color. Muriates of +potash and soda afford a precipitate, which darkens speedily to a pure +dark brown, and muriatic acid, or aqueous chlorine, do not appear to +increase the darkening power beyond the lilac to which the pure +chloride of silver changes by exposure. This difference of color +appears to be owing to the admixture of the earth or alkali used with +the silver salt. +</P> + +<P> +The prismatic impression on paper spread with the chloride of silver is +often very beautifully tinted, the intensity of color varying with the +kind of muriate used. Spread paper with muriate of ammonia or baryta +and you obtain a range of colors nearly corresponding with the natural +hues of the prismatic spectrum. Under favorable circumstances the mean +red ray, leaves a red impression, which passes into a green over the +space occupied by the yellow rays. Above this a leaden hue is +observed, and about the mean blue ray, where the action is greatest, it +rapidly passes through brown into black, and through the most +refrangible rays it gradually declines into a bluish brown, which tint +is continued throughout the invisible rays. At the least refrangible +end of the spectrum, the very remarkable phenomenon has been observed, +of the extreme red rays exerting a protecting influence, and preserving +the paper from that change, which it would otherwise undergo, under the +influence of the dispersed light which always surrounds the spectrum. +Not only the extreme red ray exerts this very peculiar property, but +the ordinary red ray through nearly its whole length. +</P> + +<P> +In photographic drawing this salt is of the utmost importance. Mr. +Talbot's application of it will be given hereafter in another portion +of this work. +</P> + +<P> +IODIDE OF SILVER--Perfectly pure, undergoes very little change under +the influence of light or heat; but if a very slight excess of the +nitrate of silver be added it becomes infinitely more sensitive than +the chloride. +</P> + +<P> +The spectrum impressed upon paper prepared with a weak solution of the +hydriodate of potash presents some very remarkable peculiarities. The +maximum of intensity is found at the edge of the most refrangible +violet rays, or a little beyond it, varying slightly according to the +kind of paper used, and the quantity of free nitrate of silver present. +The action commences at a point nearly coincident with the mean red of +the luminous spectrum, where it gives a dull ash or lead color, while +the most refrangible rays impress a ruddy snuff-brown, the change of +tint coming on rather suddenly about the end of the blue or beginning +of the violet rays of the luminous spectrum. Beyond the extreme violet +rays, the action rapidly diminishes, but the darkening produced by +these invisible rays, extends a very small space beyond the point at +which they cease to act on the chloride of silver. +</P> + +<P> +In its photographic application, it is, alone, of very little use; but +in combination with other reagents it becomes exquisitely sensitive. +With gallic acid and the ferrocyanate of potash it forms two of the +most sensitive photographic solutions with which we are acquainted. +These are used in the calotype process. +</P> + +<P> +IODURET OF SILVER.--If upon a plate of polished silver we place a small +piece of iodine, and apply the heat of a lamp beneath the plate for a +moment, a system of rings is speedily formed. The first ring, which +spreading constantly forms the exterior of the circle, is of a bright +yellow color; within this, there arises, successively, rings of green, +red and blue colors, and then again a fine yellow circle, centred by a +greyish spot on the place occupied by the iodine. On exposing these to +the light, the outer yellow circle almost instantly changes color, the +others slowly, in the order of their position, the interior yellow +circle resisting for a long time the solar influence. These rings must +be regarded as films of the ioduret of silver, varying, not only in +thickness, but in the more or less perfect states of combination in +which the iodine and metal are. The exterior circle is an ioduret in a +very loose state of chemical agregation; the attractive forces increase +as we proceed towards the centre, where a well formed ioduret, or +probably a true iodide of silver, is formed, which is acted upon by +sunlight with difficulty. The exterior and most sensitive film +constitutes the surface of Daguerreotype plates. The changes which +these colored rings undergo are remarkable; by a few minutes exposure +to sunlight, an inversion of nearly all the colors takes place, the two +first rings becoming a deep olive green; and a deep blue inclining to +black. +</P> + +<P> +The nature of the change which the ioduret of silver undergoes on +Daguerreotype plates, through the action of light, Mr. Hunt considers +to be a decided case of decomposition, and cites several circumstances +in proof of his position. These with other facts given by Mr. Hunt in +his great work on the Photographic art, but to voluminous to include in +a volume of the size to which I am obliged to confine myself, should be +thoroughly studied by all Daguerreotypists. +</P> + +<P> +PRISMATIC ANALYSIS.--The most refrangible portion of the spectrum, (on +a Daguerreotype plate) appears, after the plate has been exposed to the +vapor of mercury, to have impressed its colors; the light and delicate +film of mercury, which covers that portion, assuming a fine blue tint +about the central parts, which are gradually shaded off into a pale +grey; and this is again surrounded by a very delicate rose hue, which +is lost in a band of pure white. Beyond this a protecting influence is +powerfully exerted; and notwithstanding the action of the dispersed +light, which is very evident over the plate, a line is left, perfectly +free from mercurial vapor, and which, consequently, when viewed by a +side light, appears quite dark. The green rays are represented by a +line of a corresponding tint, considerably less in size than the +luminous green rays. The yellow rays appear to be without action, or +to act negatively, the space upon which they fall being protected from +the mercurial vapor; and it consequently is seen as a dark band. A +white line of vapor marks the place of the orange rays. The red rays +effect the sensitive surface in a peculiar manner; and we have the +mercurial vapor, assuming a molecular arrangement which gives to it a +fine rose hue; this tint is surrounded by a line of white vapor, shaded +at the lowest extremity with a very soft green. Over the space +occupied by the extreme red rays, a protecting influence is again +exerted; the space is retained free from mercurial vapor and the band +is found to surround the whole of the least refrangible rays, and to +unite itself with the band which surrounds the rays of greatest +refrangibility. This band is not equally well defined throughout its +whole extent. It is most evident from the extreme red to the green; it +fades in passing through the blue, and increases again, as it leaves +the indigo, until beyond the invisible chemical rays it is nearly as +strong as it is at the calorific end of the spectrum. +</P> + +<P> +Images on Daguerreotype plates which have been completely obliterated +by rubbing may be restored, by placing it in a tolerably strong +solution of iodine in water. +</P> + +<P> +BROMIDE OF SILVER.--This salt, like the iodide, does not appear to be +readily changed by the action of light; but when combined with the +nitrate of silver it forms a very sensitive photographic preparation. +</P> + +<P> +Paper prepared with this salt, blackens over its whole extent with +nearly equal intensity, when submitted to the prismatic spectrum. The +most characteristic peculiarity of the spectrum is its extravagant +length. Instead of terminating at the mean yellow ray, the darkened +portion extends down to the very extremity of the visible red rays. In +tint it is pretty uniformly of a grey-black over its whole extent, +except that a slight fringe of redness is perceptible at the least +refracted end. Beyond the red ray, an extended space is protected from +the agency of the dispersed light, and its whiteness maintained; thus +confirming the evidence of some chemical power in action, over a space +beyond the luminous spectrum, which corresponds with the rays of the +least refrangibility. +</P> + +<P> +This salt is extensively used in photographic drawing. +</P> + +<P> +PREPARATIONS OF GOLD.--Chloride of Gold, freed from an excess of acid +is slowly changed under the action of light; a regularly increasing +darkness taking place until it becomes purple, the first action of the +light being to whiten the paper, which, if removed from the light at +this stage, will gradually darken and eventually develope the picture. +This process may be quickened by placing the paper in cold water. +</P> + +<P> +Chloride of gold with nitrate of silver gives a precipitate of a yellow +brown color. Paper impregnated with the acetate of lead, when washed +with perfectly neutral chloride of gold, acquires a brownish-yellow +hue. The first impression of light seems rather to whiten than darken +the paper, by discharging the original color, and substituting for it a +pale greyish tint, which by slow degrees increases to a dark slate +color; but if arrested, while yet, not more than a moderate ash grey, +and held in a current of steam, the color of the parts acted upon by +light--and of that only--darkens immediately to a deep purple. +</P> + +<P> +Here I must leave the subject of the action of light upon metalic +compounds--referring to Mr. Hunts work for any further information the +student may desire on the other metals--as I find myself going beyond +my limits. I cannot, however, entirely dismiss the subject without +giving a few examples of the action of light on the juices of plants, +some of which produce very good photographic effect. +</P> + +<P> +CORCHORUS JAPONICA--The juice of the flowers of this plant impart a +fine yellow color to paper, and, so far as ascertained, is the most +sensitive of any vegetable preparation; but owing to its continuing to +change color even in the dark, photographic images taken on paper +prepared with it soon fade out. +</P> + +<P> +WALL FLOWER.--This flower yields a juice, when expressed with alcohol, +from which subsides, on standing, a bright yellow finely divided +faecula, leaving a greenish-yellow transparent liquid, only slightly +colored supernatant. The faecula spreads well on paper, and is very +sensitive to light, but appears at the same time to undergo a sort of +chromatic analysis, and to comport itself as if composed of two very +distinct coloring principles, very differently affected. The one on +which the intensity and sub-orange tint of the color depends, is +speedily destroyed, but the paper is not thereby fully whitened. A +paler yellow remains as a residual tint, and this on continued exposure +to the light, slowly darkens to brown. Exposed to the spectrum, the +paper is first reduced nearly to whiteness in the region of the blue +and violet rays. More slowly, an insulated solar image is whitened in +the less refrangible portion of the red. Continue the exposure, and a +brown impression begins to be percieved in the midst of the white +streak, which darkens slowly over the region between the lower blue and +extreme violet rays. +</P> + +<P> +THE RED POPPY yields a very beautiful red color, which is entirely +destroyed by light. When perfectly dried on paper the color becomes +blue. This blue color is speedily discharged by exposure to the sun's +rays, and papers prepared with it afford very interesting +photographs.-- Future experiments will undoubtedly more fully develope +the photogenic properties of flowers, and practically apply them. +</P> + +<P> +Certain precautions are necessary in extracting the coloring matter of +flowers. The petals of fresh flowers, carefully selected, are crushed +to a pulp in a mortar, either alone or with the addition of a little +alcohol, and the juice expressed by squeezing the pulp in a clean linen +or cotton cloth. It is then to be spread upon paper with a flat brush, +and dried in the air. If alcohol be not added, it must be applied +immediately, as the air changes or destroys the color instantly. +</P> + +<P> +Most flowers give out their coloring matter to alcohol or water--but +the former is found to weaken, and in some cases to discharge +altogether these colors; but they are in most cases restored in drying. +Paper tinged with vegetable colors must be kept perfectly dry and in +darkness. +</P> + +<P> +To secure an eveness of tint on paper it should be first moistened on +the back by sponging, and blotting off with bibulous paper. It should +then be pinned on a board, the moist side downwards, so that two of its +edges--the right and lower ones--project a little over those of the +board. Incline the board twenty or thirty degrees to the horizon, and +apply the tincture with a brush in strokes from right to left, taking +care not to go over the edges which rests on the board, but to pass +clearly over those that project; and also observing to carry the tint +from below upwards by quick sweeping strokes, leaving no dry spaces +between them. Cross these with other strokes from above downwards, +leaving no floating liquid on the paper. Dry as quickly as possible, +avoiding, however, such heat as may injure the tint. +</P> + +<BR><BR><BR> + +<A NAME="chap04"></A> +<H3 ALIGN="center"> +CHAP. IV. +</H3> + +<H3 ALIGN="center"> +A FEW HINTS AND SUGGESTIONS TO DAGUERREOTYPISTS. +</H3> + +<P> +There are very few who may not be capable of practising the +Photographic art, either on paper, or metalic plates--but, like all +other professions, some are more clever in its various processes than +others. +</P> + +<P> +Impatience is a great drawback to perfect success, and combined with +laziness is a decided enemy. Besides this, no one can excel in +Photography who does not possess a natural taste for the fine arts, who +is not quick in discerning grace and beauty--is regardless of the +principles of perspective, foreshortening and other rules of drawing, +and who sets about it merely for the sake of gain--without the least +ambition to rise to the first rank, both in its practice and theory. +There is no profession or trade in which a slovenly manner will not +show itself, and none where its effects will be more apparent than this. +</P> + +<P> +In order to be great in any pursuit, we must be ourselves, and keep all +things, in order. In your show and reception rooms, let neatness +prevail; have your specimens so placed--leaning slightly forward--as +to obtain the strongest light upon them, and at the same time prevent +that glassiness of appearance which detracts so materially from the +effect they are intended to produce. If possible, let the light be of +a north-western aspect, mellowed by curtains of a semitransparent hue. +Your show-cases, at the door, should be kept well cleaned. I have +often been disgusted while attempting to examine portraits in the cases +of our artists, at the greasy coating and marks of dirty fingers upon +the glass and frame enclosing them. Believe it, many a good customer +is lost for no other reason. +</P> + +<P> +In your operating room, dust should be carefully excluded. It should +be furnished with nothing apt to collect and retain dust; a carpet is +therefore not only a useless article, but very improper. A bare floor +is to be prefered; but if you must cover it use matting. There is no +place about your establishment where greater care should be taken to +have order and cleanliness; for it will prevent many failures often +attributed to other causes. "A place for every thing, and every thing +in its place," should be an absolute maxim with all artists. Do not +oblige the ladies, on going away from your rooms, to say--"That H. is a +slovenly man; see how my dress is ruined by sitting down in a chair +that looked as if it had just come out of a porter house kitchen and +had not been cleaned for six months." +</P> + +<P> +In choosing your operating room, obtain one with a north-western +aspect, if possible; and either with, or capable of having attached, a +large skylight. Good pictures may be taken without the sky-light, but +not the most pleasing or effective. +</P> + +<P> +A very important point to be observed, is to keep the camera perfectly +free from dust. The operator should be careful to see that the +slightest particle be removed, for the act of inserting the +plate-holder will set it in motion, if left, and cause those little +black spots on the plate, by which an otherwise good picture is +spoiled. The camera should be so placed as to prevent the sun shining +into the lenses. +</P> + +<P> +In taking portraits, the conformation of the sitter should be minutely +studied to enable you to place her or him in a position the most +graceful and easy to be obtained. The eyes should be fixed on some +object a little above the camera, and to one side--but never into, or +on the instrument, as some direct; the latter generally gives a fixed, +silly, staring, scowling or painful expression to the face. Care +should also be taken, that the hands and feet, in whatever position, +are not too forward or back ward from the face when that is in good +focus. +</P> + +<P> +If any large surface of white is present, such as the shirt front, or +lady's handkerchief, a piece of dark cloth (a temporary bosom of +nankeen is best,) may be put over it, but quickly withdrawn when the +process is about two thirds finished. +</P> + +<P> +A very pleasing effect is given to portraits, by introducing, behind +the sitter, an engraving or other picture--if a painting, avoid those +in which warm and glowing tints predominate. The subject of these +pictures may be applicable to the taste or occupation of the person +whose portrait you are taking. This adds much to the interest of the +picture, which is otherwise frequently dull, cold and inanimate. +</P> + +<P> +Mr. J. H. Whitehurst of Richmond, Va., has introduced a revolving +background, which is set in motion during the operation, and produces a +distinctness and boldness in the image not otherwise to be obtained. +The effect upon the background of the plate is equally pleasing; it +having the appearance of a beautifully clouded sky. +</P> + +<P> +In practising Photographic drawing on paper, the student must bear in +mind that it is positively essential, to secure success in the various +processes, to use the utmost precaution in spreading the solutions, and +washes from the combination of which the sensitive surfaces result. +The same brush should always be used for the same solution, and never +used for any other, and always washed in clean water after having been +employed. Any metalic mounting on the brushes should be avoided, as +the metal precipitates the silver from its solution. The brushes +should be made of camels or badger's hair and sufficiently broad and +large to cover the paper in two or three sweeps; for if small ones be +employed, many strokes must be given, which leave corresponding streaks +that will become visible when submitted to light, and spoil the picture. +</P> + +<P> +These few preliminary hints and suggestions, will, I trust, be of some +service to all who adopt this pleasing art as a profession; and will, +with a due attention to the directions given in the practical working +of the Daguerreotype, Calotype, etc., ensure a corresponding measure of +success. +</P> + +<BR><BR><BR> + +<A NAME="chap05"></A> +<H3 ALIGN="center"> +CHAP. V. +</H3> + +<H3 ALIGN="center"> +DAGUERREOTYPE APPARATUS. +</H3> + +<P> +The entire Daguerreotype process is comprised in seven distinct +operations; viz: +</P> + +<P> +1.--Cleaning and polishing the plate. +</P> + +<P> +2.--Applying the sensitive coating. +</P> + +<P> +3--Submitting the plate to the action of light in the camera. +</P> + +<P> +4.--Bringing out the picture; in other words rendering it visible. +</P> + +<P> +5.--Fixing the image, or making it permanent--so that the light may no +longer act upon it. +</P> + +<P> +6.--Gilding: or covering the picture with a thin film of gold--which +not only protects it, but greatly improves its distinctness and tone of +color. +</P> + +<P> +7.--Coloring the picture. +</P> + +<P> +For these various operations the following articles--which make up the +entire apparatus of a Daguerrean artist--must be procured +</P> + +<P> +1.--THE CAMERA.--(Fig. 5.). The Camera Obscura of the Italian +philosophers, although highly appreciated, on account of the magical +character of the pictures it produced, remained little other than a +scientific toy, until the discovery of M. Daguerre. The value of this +instrument is now great, and the interest of the process which it so +essentially aids, universally admitted. A full description of it will +therefore be interesting. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_5.GIF" ALT="Fig. 5 (HIPHO_5.GIF)" BORDER=""> +</CENTER> + +<P> +The camera is a dark box (a), having a tube with lenses (b) placed in +one end of it, through which the radiations from external objects pass, +and form a diminished picture upon the ground glass (g) placed at the +proper distance in the box to receive it; the cap c covering the lenses +at b until the plate is ready to receive the image of the object to be +copied. +</P> + +<P> +Thus a (fig. 6.) representing the lens, and b the object desired to be +represented, the rays (c, c) proceeding from it fall upon the lens, and +are transmitted to a point, which varies with the curvature of the +glass, where an inverted image (d) of b is very accurately formed. At +this point, termed the focus, the sensitive photographic material is +placed for the purpose of obtaining the required picture. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_6.GIF" ALT="Fig. 6 (HIPHO_6.GIF)" BORDER=""> +</CENTER> + +<P> +The great desideratum in a photographic camera is perfect lenses. They +should be achromatic, and the utmost transparency should be obtained; +and under the closest inspection of the glass not the slightest wavy +appearance, or dark spot should be detected; and a curvature which as +much as possible prevents spherical aberration should be secured. The +effect produced by this last defect is a convergence of perpendiculars, +as for instance; two towers of any building, would be represented as +leaning towards each other; and in a portrait the features would seem +contracted, distorted and mingled together, so as to throw the picture +out of drawing and make it look more like a caricature than a likeness. +If the lens be not achromatic, a chromatic aberration takes place, +which produces an indistinct, hazy appearance around the edges of the +picture, arising from the blending of the rays. +</P> + +<P> +The diameter and focal length of a lens must depend in a great measure +on the distance of the object, and also on the superficies of the plate +or paper to be covered. For portraits one of 1 1/2 inches diameter, +and from 4 1/2 to 5 1/2 inches focus may be used; but for distant +views, one from 2 inches to 3 inches diameter, and from 8 to 12 inches +focal length will answer much better. For single lenses, the aperture +in front should be placed at a distance from it, corresponding to the +diameter, and of a size not more than one third of the same. A variety +of movable diaphragms or caps, to cover the aperture in front, are very +useful, as the intensity of the light may be modified by them and more +or less distinctness and clearness of delineation obtained. These caps +alway come with Voitlander instruments and should be secured by the +purchaser. +</P> + +<P> +Though the single acromatic lens answers very well for copying +engravings; taking views from nature or art, for portraits the double +should always be used. The extensive manufacture of the most approved +cameras, both in Europe and in this country, obviates all necessity for +any one attempting to construct one for their own use. Lenses are now +made so perfect by some artisans that, what is called the "quick +working camera" will take a picture in one second, while the ordinary +cameras require from eight to sixty. +</P> + +<P> +The camera in most general use is that manufactured by Voitlander and +Son of Germany. Their small size consists of two seperate acromatic +lenses; the first, or external one, has a free aperture of 1 1/2 +inches; the second, or internal, 1 5/8 inches; and both have the same +focus, viz: 5 3/4 inches. The larger size differs from the smaller. +The inner lens is an achromatic 3 1/4 inches diameter, its focal length +being 30 inches. The outer lens is a meniscus--that is bounded by a +concave and convex spherical surface which meet--having a focal length +of 18 inches. For every distant view, the aperture in front is +contracted by a diaphram to 1/8 of an inch. By this means the light is +reflected with considerable intensity and the clearness and correctness +of the pictures are truly surprising. +</P> + +<P> +THE AMERICA instruments are constructed on the same principle and many +of them are equally perfect. Mr. Edward Anthony of 205 Broadway, New +York city, has constructed, and sold cameras fully equal to the German +and for which Voitlander instruments have been refused in exchange by +the purchaser. +</P> + +<P> +The ordinary camera box (see fig. 5, a) varies in size to suit the +tube, and is termed medium, half, or whole. Within the box is a slide +to assist in regulating the focus, and in enlarging or diminishing the +picture. In one end of this slide is a springed groove into which the +ground-glass spectrum (g fig. 5) is slid, for the purpose of more +conveniently arranging the focus. After the plate is prepared it is +placed in the holder--partly seen at e, fig. 5, and covered with the +dark slide f, fig. 5; the spectrum is then withdrawn and the holder +takes its place, and the lids d, d, are closed after removing the dark +slide f. The plate is now ready to receive the image, and the cap c +may be removed to admit the light into the box. +</P> + +<P> +A camera constructed by Voitlander is thus described by Mr. Fisher. +"It is made entirely of brass, so that variations of climate has no +effect upon it. It is very portable and when packed in its box, with +all the necessary apparatus and materials for practising the +Daguerreotype art, occupies but very little space. It is not, however, +well adapted for the Calotype process." +</P> + +<CENTER> +<IMG SRC="images/HIPHO_7.GIF" ALT="Fig. 7 (HIPHO_7.GIF)" BORDER=""> +</CENTER> + +<P> +"The brass foot A (fig. 7.), is placed on a table, or other firm +support, and the pillar B. screwed into it; the body of the camera, C, +C is laid into the double forked bearing D. D. The instrument is now +properly adjusted by means of the set screws, e, e, e, in the brass +foot, or it may be raised, lowered, or moved, by the telescope stand, +and when correct, fixed by the screw b. The landscape to be delineated +is viewed either through the small lens, g, or with the naked eye on +the ground glass plate H, the focus being adjusted by the screw I. The +optical part of the instrument consist of the small set of achromatic +lenses already described. When the portrait or view is deliniated on +the ground glass to the entire satisfaction of the operator, the brass +cap L is placed over the lens, and the entire body is removed away into +the dark, taking care not to disturb the position of the stand. The +body is now detached at the part H, and the prepared paper or plate +enclosed in the brass frame work introduced in its place; the whole is +again placed upon the pedestal, the brass cap L is removed, by which +the paper or plate is exposed to the full influence of the light, after +which the cap is again replaced. +</P> + +<P> +Mr. Woodbridge, of this city, has constructed an instrument for taking +full length portraits on plates 10 by 13 inches, which is worthy of +some notice. It is a double camera, consisting of two boxes, placed in +a frame, one above the other, and so arranged as to slide easily up and +down. After the focus has been adjusted, on the object, in both +cameras, the plate is put into the upper box, in the manner already +described, until the superior portion of the figure is complete; it is +then placed in the second box and the lower extremities obtained. The +adjustment of the instrument is so complete that a perfect union of the +parts is effected in the picture without the least possible line of +demarkation being visible. Fig. 8 gives a front view of this +instrument. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_8.GIF" ALT="Fig. 8 (HIPHO_8.GIF)" BORDER=""> +</CENTER> + +<P> +Fig. 9 represents Talbot's Calotype Camera,--a very beautiful +instrument. +</P> + +<P> +The copying camera box has an extra slide in the back end, by which it +may be considerably lengthened at pleasure. +</P> + +<P> +II.--CAMERA STAND.--The best constructed stands are made of maple or +black walnut wood, having a cast iron socket (a, Fig. 12,) through +which the sliding rod b passes, and into which the legs c, c, with iron +screw ferules are inserted. The platform d is made of two pieces, +hinged together, as at e, and having a thumb screw for the purpose of +elevating or depressing the instrument. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_9.GIF" ALT="Fig. 9 (HIPHO_9.GIF)" BORDER=""> +</CENTER> + +<P> +III. MERCURY BATH.--Fig. 13 gives a front view of the mercury bath now +in general use in this country for mercurializing and bringing out the +picture. It is quite an improvement on those first used. To make it +more portable it is in three pieces, a b and c; having a groove e on +one side to receive the thermometre tube and scale by which the proper +degree of heating the mercury is ascertained. Into the top are nicely +fitted two or three iron frames, with shoulders, for the plate to rest +in, suitable for the different sizes of plates. The bath is heated by +means of a spirit lamp placed under it. From two to four ounces of +highly purified mercury are put into the bath at a time. +</P> + +<P> +IV. PLATE BLOCKS AND VICES.--There are several kinds of this article in +use; I shall describe the two best only. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_10.GIF" ALT="Fig. 10 (HIPHO_10.GIF)" BORDER=""> +</CENTER> + +<P> +Fig. 10 gives an idea of the improvement on the English hand block. +The top a is perfectly flat and smooth--a little smaller than the +plate, so as to permit the latter to project a very little all +around--having at opposite angles c c two clasps, one fixed the other +moveable, but capable of being fastened by the thumb screw d, so as to +secure the plate tightly upon the block. This block turns upon a +swivle, b, which is attached to the table by the screw c, This block is +only used for holding the plate while undergoing the first operation in +cleaning. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_11.GIF" ALT="Fig. 11 (HIPHO_11.GIF)" BORDER=""> +</CENTER> + +<P> +Fig. 11, shows the form of Lewis' newly patented plate vice, which for +durability, simplicity and utility is preferable to all others. It +consists of a simple platform and arm of cast iron, the former, a, +having a groove, d, in the centre for fixing the different sizes of +plate beds, e--and the latter supporting the leaves, e f. On this vice +which is secured to a table, or bench, the plate receives its finishing +polish with rouge, or prepared lampblack. Mr. Lewis gives the +following directions for its use. "As the cam wears tighten it with +the adjusting screw (g) so as to allow the lever (f) to fall back into +a horizontal position; the plate being in its place at the time. Oil +the wearing parts occasionally." +</P> + +<P> +Some Daguerreotypists, however, use a foot lathe with buff wheels of +various forms; but this vice is sufficient for all ordinary purposes. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_12.GIF" ALT="Fig. 12 (HIPHO_12.GIF)" BORDER=""> +</CENTER> + +<BR> + +<CENTER> +<IMG SRC="images/HIPHO_13.GIF" ALT="Fig. 13 (HIPHO_13.GIF)" BORDER=""> +</CENTER> + +<P> +V. COATING BOXES.--The usual form for iodine and bromine boxes is see, +at figs. 14 and 15. They are far superior to those in use with the +English operators. Each consists of a wooden box (a,) having firmly +embeded within it a stout glass jar (c), the edges of which are ground. +Over this is placed the sliding cover b, double the length of the box, +one half occupied by a piece of ground glass (e), tightly pressed upon +the glass pot by a spring (i) beneath the cross bar g, and fits the pot +so accurately that it effectually prevents the escape of the vapor of +the iodine, bromine or other accelerating liquid contained therein. +The other half of the lid is cut through, shoulders being left at the +four angles for the different sizes of frames, designed to recieve the +plate while undergoing the coating process. When the plate is put into +the frame, the cover b is shoved under the second lid h and when coated +to the proper degree, it resumes its former position and the plate is +placed in the holder of the camera box. To test the tightness of the +box, light a piece of paper, put it into the pot and cover it with the +sliding lid. The burning paper expels the air from the pot, and if it +be perfectly tight you may raise the whole box by the lid. +</P> + +<P> +VI. GLASS FUNNELS.--Are a necessary article to the Daguerreotypist, for +filtering water, solutions, &c. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_14.GIF" ALT="Fig. 14 (HIPHO_14.GIF)" BORDER=""> +</CENTER> + +<P> +VII. GILDING STAND.--For nervous persons the gilding stand is a useful +article. It is adjusted to a perfect level by thumb screws placed in +its base. +</P> + +<P> +VIII. SPIRIT LAMPS.--The most useful and economical of those made are +the Britania, as they are less liable to break; and the tube for the +wick being fastened to the body by a screw renders it less liable to +get out of order or explode. Glass is the cheapest, and for an amateur +will do very well, but for a professed artist the Britania should +always be obtained. +</P> + +<P> +IX. COLOR BOX.--These are generally found on sale at the shops, and +usually contain eight colors, four brushes and a gold cup. The artist +would, however, do well to obtain, all the colors mentioned in the last +chapter of this work, and be sure to get the very best, as there are +various qualities of the same color, particularly carmine, which is +very expensive, and the cupidity of some may induce them to sell a poor +article for the sake of larger profits. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_15.GIF" ALT="Fig. 15 (HIPHO_15.GIF)" BORDER=""> +</CENTER> + +<P> +STILL.--Daguerreotypists should always use distilled water for +solutions, and washing the plate, as common water holds various +substances in solution which detract very materially from the +excellence of a photograph, and often gives much trouble, quite +unaccountable to many. For the purpose of distilling water the +apparatus represented at Fig. 16 is both convenient and economical. +</P> + +<P> +It may be either wholly of good stout tin, or of sheet iron tinned on +the inside, and may be used over a common fire, or on a stove. A is +the body, which may be made to hold from one to four gallons of water, +which is introduced at the opening b, which is then stopped by a cork. +The tube d connects the neck a of the still with the worm tub, or +refrigerator B, at e, which is kept filled with cold water by means of +the funnel c, and drawn off as fast as it becomes warm by the cock f. +The distilled water is condensed in the worm--and passes off at the +cock b, under which a bottle, or other vessel, should be placed to +receive it. The different joints are rendered tight by lute, or in its +absence, some stiff paste spread upon a piece of linen and wrapped +around them will answer very well; an addition of sealing wax over all +will make them doubly secure. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_16.GIF" ALT="Fig. 16 (HIPHO_16.GIF)" BORDER=""> +</CENTER> + +<P> +HYGROMETER.--This is an instrument never to be found, I believe, in the +rooms of our operators, although it would be of much use to them, for +ascertaining the quantity of moisture floating about the room; and as +it is necessary to have the atmosphere as dry as possible to prevent an +undue absorption of this watery vapor by the iodine &c., and to procure +good pictures,--its detection becomes a matter of importance. Mason's +hygrometer, manufactured by Mr. Roach and sold by Mr. Anthony, 205 +Broadway, New York is the best in use. +</P> + +<P> +It consists of two thermometre tubes placed, side by side, on a metalic +scale, which is graduated equally to both tubes. The bulb of one of +these tubes communicates, by means of a net-work of cotton, with a +glass reservoir of water attached to the back of the scale. Fig. 17 +and 18 represent a front and back view of this instrument. +</P> + +<P> +Fig. 17 is the front view, showing the tubes with their respective +scales; the bulb b being covered with the network of cotton +communicating with the reservoir c fig. 18, at d. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_17.GIF" ALT="Fig. 17 (HIPHO_17.GIF)" BORDER=""> +</CENTER> + +<BR> + +<CENTER> +<IMG SRC="images/HIPHO_18.GIF" ALT="Fig. 18 (HIPHO_18.GIF)" BORDER=""> +</CENTER> + +<P> +The evaporation of the water from this bulb decreases the temperature +of the mercury in the tube b in proportion to the dryness of the +atmosphere, and the number of degrees the tube b indicates below that +of the other, shows the real state of the atmosphere in the room; for +instance, if b stands at forty and a at sixty-one the room is in a +state of extreme dryness, the difference of twenty-one degrees between +the thermometers--let a stand at any one point--gives this result. If +they do not differ, or there is only four or five degrees variation, +the atmosphere of the room is very moist and means should be taken to +expel the superfluous quantity. +</P> + +<P> +HEAD RESTS.--The button head rest with chair back clip, A fig. 19--is +much the best for travelling artists, as it can be taken apart, into +several pieces and closely packed; is easily and firmly fixed to the +back of a chair by the clamp and screw a and b, and is readily adjusted +to the head, as the buttons c, c and arms d, d are movable. +</P> + +<P> +Sometimes the button rest is fixed to a pole, which is screwed to the +chair; but this method is not so secure and solid as the clip and +occupies more room in packing. Both the pole and clip, are furnished +in some cases with brass band rests instead of the button; but the only +recommendation these can possibly possess in the eyes of any artist, is +their cheapness. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_19.GIF" ALT="Fig. 19 (HIPHO_19.GIF)" BORDER=""> +</CENTER> + +<P> +For a Daguerreotypist permanently located the independent iron +head-rest, B fig. 19, is the most preferable, principally on account of +its solidity. It is entirely of iron, is supported by a tripod (a) of +the same metal and can be elevated by means of a rod (b) passing +through the body of the tripod, to a height sufficient for a person, +standing, to rest against. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_20.GIF" ALT="Fig. 20 (HIPHO_20.GIF)" BORDER=""> +</CENTER> + +<P> +GALVANIC BATTERY.--This article is used for the purpose of giving to +imperfectly coated plates a thicker covering of silver. The form of +battery now most universally employed for electrotype, and other +galvanic purposes, is Smee's--Fig. 20. It consists of a piece of +platinized silver, A, on the top of which is fixed a beam of wood, B, +to prevent contact with the silver. A binding screw C is soldered on +to the silver plate to connect it with any desired object, by means of +the copper wire, e. A plate of amalgamated zinc, D, varying with the +fancy of the operator from one half to the entire width of the silver +is placed on each side of the wood. This is set into a glass vessel, +P,--the extreme ends of the wood resting upon its edge--on which the +acid with which it is charged has no effect. The jar is charged with +sulphuric acid, (common oil of vitriol) diluted in eight parts its bulk +of water. The zinc plates of the battery have been amalgamated with +quicksilver, and when the battery is set into the jar of acid there +should be no action percieved upon them when the poles F, G, are not in +contact. Should any action be percieved, it indicates imperfect +amalgamation; this can be easily remedied by pouring a little mercury +upon them immediately after removing them from the acid, taking care to +get none upon the centre plate A. +</P> + +<P> +Directions for use.--A sheet of silver must be attached to the wire +connected with the centre plate A of the battery, and placed in the +silver solution--prepared as directed below. The plate to be silvered +is first cleaned with diluted sulphuric acid, and then attached to the +wire, G, proceeding from the zinc plates D, D, and placed in the silver +solution, opposite the silver plate attached to the pole F, and about +half an inch from it. A slight effervescence will now be percieved +from the battery, and the silver will be deposited upon the +Daguerreotype plate, while at the same time a portion of the silver +plate is dissolved. +</P> + +<P> +To prepare the solution of silver.--Dissolve one ounce of chloride of +silver in a solution of two ounces of cyanide of potassium, previously +dissolved in one quart of water. The oxide of silver may be used +instead of the chloride. This solution is put into a tumbler, or other +vessel. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_21.GIF" ALT="Fig. 21 (HIPHO_21.GIF)" BORDER=""> +</CENTER> + +<BR> + +<CENTER> +<IMG SRC="images/HIPHO_22.GIF" ALT="Fig. 22 (HIPHO_22.GIF)" BORDER=""> +</CENTER> + +<P> +This battery with the necessary articles for using it may be obtained +of E. Anthony, 205 Broadway, New York city. +</P> + +<P> +The other articles required by every operator may be simply enumerated, +viz: +</P> + +<P> +Sticking, or sealing paper. +</P> + +<P> +A pair of pliers, or forceps. +</P> + +<P> +Porcelain pans or dishes, for applying the hyposulphite of soda and +washing after the imagine is fixed, something in form like fig. 23. +</P> + +<P> +A support for holding the plate while being washed, like fig. 24. +</P> + +<P> +[Updater's note: Figures 23 and 24 were missing from the image set.] +</P> + +<CENTER> +<IMG SRC="images/HIPHO_25.GIF" ALT="Fig. 25 (HIPHO_25.GIF)" BORDER=""> +</CENTER> + +<P> +BUFF STICKS.--Fig. 25.--These are usually from one to three feet in +length, and about three inches wide--some think two and a half +sufficient. The underside, which is convex, is covered with a strip of +finely prepared buckskin, or velvet, well padded with cotton or tow. +</P> + +<P> +All the articles enumerated in this chapter may be obtained, of the +very best quality and at the most reasonable rates, of Mr. E. Anthony, +205, Broadway, New York. +</P> + +<BR><BR><BR> + +<A NAME="chap06"></A> +<H3 ALIGN="center"> +CHAP. VI. +</H3> + +<H3 ALIGN="center"> +THE DAGUERREOTYPE PROCESS. +</H3> + +<P> +The process of taking Daguerreotype pictures differs very materially +from all others of the photographic art, inasmuch as the production of +the image is effected upon plates of copper coated with silver. The +silver employed should be as pure as possible; the thickness of the +plate is of little consequence, provided there be sufficient silver to +bear the cleaning and polishing--is free from copper spots, is +susceptible of a high polish, an exquisitely sensitive coating and a +pleasing tone. These qualities are possessed to an eminent degree by +the French plates. +</P> + +<P> +Having already enumerated the various processes--and the apparatus +necessary for the manipulation, I will here give a list of the +chemicals to be used, and then proceed to explain them more fully. The +requisite chemicals are-- +</P> + +<PRE STYLE="font-family: Courier New; font-size: 10pt"> + NITRIC ACID, ROUGE, + DRY IODINE, MERCURY, + DRYING POWDER, HYPOSULPHITE OF SODA, + CYANIDE OF POTASSIUM, CHLORIDE OF GOLD; OR + ROTTENSTONE, HYPOSULPHITE OF GOLD. + TRIPOLI, CHLORIDE OF SILVER. + CHLORIDE OF IODINE, } their compounds, or other + BROMINE } accelerating mixtures. +</PRE> + +<P> +FIRST OPERATION.--Cleaning and polishing the plate.--For this purpose +the operator will require the-- +</P> + +<P> +Plate Blocks, +</P> + +<P> +Plate Vice +</P> + +<P> +Spirit Lamp, +</P> + +<P> +Polishing Buffs, +</P> + +<P> +Nitric Acid, diluted in fifteen times its bulk of water +</P> + +<P> +Galvanic Battery, to galvanize the plate, if it is too imperfect to be +used without, previous cleaning it, as directed in the last chapter. +</P> + +<P> +Rottenstone, +</P> + +<P> +Tripoli, which is too often dispensed with. +</P> + +<P> +Rouge, or lampblack--the first being most preferable. The English +operators mix the two together. +</P> + +<P> +Prepared cotton Wool, or Canton flannel. If the first is used, it +should be excluded from the dust, as it is not so easily cleansed as +the latter. +</P> + +<P> +The plate is secured, with its silver side upward, to the block, by the +means described on page 58--having previously turned the edges backward +all around. The amount of cleaning a plate requires, depends upon the +state it is in. We will suppose one in the worst condition; dirty, +scratched, and full of mercury spots, all of which imperfections are +more or less to be encountered. The mercury spots are to be removed by +burning the plate. To do this hold the plate over the flame of a +spirit lamp, more particularly under the mercury spots, until they, +assume a dull appearance, when the lamp is to be removed, and the plate +allowed to cool, after which it is attached to the block. +</P> + +<P> +Place the block upon the swivle, and hold it firmly with the left hand; +take a small knot or pellet of cotton, or, if you like it better, a +small piece of canton flannel--wet it with a little diluted nitric +acid; then sift some finely prepared rottenstone--Davie's,* if you can +get it--upon it, and rub it over the plate with a continual circular +motion, till all traces of the dirt and scratches are removed; then +wipe off the rottenstone with a clean piece of cotton, adopting, as +before, a slight circular motion, at the same time wiping the edges of +the plate. Even the back should not be neglected, but throughly +cleansed from any dirt or greasy film it may have received from +handling. +</P> + +<P CLASS="footnote"> +* Sold by E. Anthony. +</P> + +<P> +When this is thoroughly accomplished, mix a portion of your tripoli +with the dilute nitric acid, to the consistence of thick cream. Then +take a pellet of cotton and well polish the plate with this mixture, in +the same manner as with the rottenstone. Continue the process till, on +removing the tripoli with a clean pellet, the plate exhibits a clear, +smooth, bright surface, free from all spots, or scratches. Any remains +of the acid on the plate may be entirely removed By sifting on it a +little Drying powder, and then wiping it carefully off with a fine +camels hair brush, or duster. The finishing polish is now to be given. +</P> + +<P> +For this purpose the rouge--or a mixture of rouge and lamp-black, in +the proportion of one part of the former to seven of the latter--is +used. It should be kept either in a muslin bag, or wide mouth bottle, +over which a piece of muslin is tied--in fact, both the rottenstone and +tripoli should be preserved from the dust in the same manner. With a +little of this powder spread over the buff--described on page 53--the +plate recieves its final polish; the circular motion is changed for a +straight one across the plate, which, if intended for a portrait, +should be buffed the narrow way; but if, for a landscape or view of a +house, the length way of the plate. +</P> + +<P> +The operation of cleaning the plate at first appears difficult and +tedious, and many have been deterred from attempting this interesting +art on that account; but, in reality, it is more simple in practice +than in description, and with a little patience and observation, all +difficulties are easily overcome. Great care must be taken to keep the +buff free from all extraneous matter, and perfectly dry, and when not +in use it should be wrapped up in tissue paper, or placed in a tight +box. +</P> + +<P> +The plate should be buffed immediately before the sensitive coating is +given; particles of dust are thus effectually removed; the temperature +of the plate is also increased by the friction, and the required tint +more readily obtained. +</P> + +<P> +SECOND OPERATION.--Applying the sensative coating.--The apparatus and +chemicals required, are an +</P> + +<P> +Iodine box--see fig. 14 page 53. +</P> + +<P> +Bromine box--similar to the iodine box but a trifle deeper. +</P> + +<P> +Dry Iodine. +</P> + +<P> +Bromine, or a compound of Bromine and Chloride of Iodine, or other +sensitive mixture. +</P> + +<P> +Most of our best operators use the compound Bromine and Chloride of +Iodine. In the early days of the Daguerreotype, Iodine alone was used +in preparing the plate, and although it still plays a very important +part, other preparations, called accelerating liquids, quickstuff, &c., +are used, and the discovery of which has alone ensured the application +of the Daguerreotype successfully to portrait taking--for when first +introduced among us it took from five to ten minutes to produce a +tolerable good view, while now but the fraction of a minute is required +to obtain an accurate likeness. +</P> + +<P> +To iodize the plate perfectly it must be placed over the iodine vapor +immediately after buffing. Scatter from a sixteenth to the eighth of +an ounce of dry iodine over the bottom of your coating box, and +slightly cover it with cotton wool. The plate is then dropped into the +frame b, fig. 12, with its silvered surface downward, and thrust under +the lid h. The bright surface of the plate is soon coated with a film +of iodine of a fine yellow color; it is then removed and placed over +the accelerating solution. It is not absolutely necessary to perform +this operation in the dark, although a bright light should be avoided. +Not so the next part of the process, viz; giving the plate its extreme +sensitiveness, or coating with the accelerating liquids. In this great +caution should be used to prevent the slightest ray of light impringing +directly on the plate, and in examining the color reflected light +should always be used. A convenient method of examining the plate, is +to make a small hole in the partition of the closet in which you coat, +and cover it with a piece of tissue paper; by quickly turning the plate +so that the paper is reflected upon it the color is very distinctly +shown. Most of our operators are not so particular in this respect as +they should be. +</P> + +<P> +ACCELERATING LIQUID.--Of these there are several kinds, which differ +both in composition and action--some acting very quickly, others giving +a finer tone to the picture although they are not so expeditious in +there operations; or in other words, not so sensitive to the action of +light. These are adopted by Daguerreotypists according to their tastes +and prejudices. They are all applied in the same way as the coating of +iodine. The following are the best. +</P> + +<P> +Bromine water--This solution is much used in France, and, I shall +therefore give its preparation, and the method of using it, in the +words of M. Figeau. "Put into a bottle of pure water, a large excess +of bromine; shake the mixture well, and before using it, let all the +bromine be taken up. An ascertained quantity of this saturated water +is then diluted in a given quantity of distilled water, which gives a +solution of bromine that is always identical." M. Figeau recommends one +part of the saturated solution to thirty parts its bulk of water; but +M. Lesebour finds it more manageable if diluted with forty times. In +case pure distilled, or rain water cannot be procured, a few drops of +nitric acid--say six to the quart--should be added to the common water. +</P> + +<P> +Put into the bromine box a given quantity of this solution, sufficient +to well cover the bottom; the plate, having been iodized to a deep +yellow, is placed over it; the time the plate should be exposed must be +ascertained by making a few trials; it averages from twelve to forty +seconds. When once ascertained, it is the same for any number of +plates, as the solution, which of course would become weaker and +weaker, is changed after every operation, the same quantity being +always put into the pot. +</P> + +<P> +Chloride of Iodine.--This is prepared by introducing chlorine gass into +a glass vessel containing iodine; the iodine is liquified, and the +above named compound is the result. Operators need not, however, be at +the trouble and expense of preparing it, as it can be obtained +perfectly pure of Mr. Anthony, 205 Broadway, N. Y., as also all of the +chemicals herein enumerated. The compound is diluted with distilled +water, and the plate submitted to its action till it is of a rose +color. Chloride of iodine alone, is seldom if ever used now by +American operators, as it does not sufficiently come up to their +locomotive principle of progression. The next is also eschewed by the +majority, although many of our best artists use no other, on account of +the very fine tone it gives to pictures. +</P> + +<P> +Bromide of Iodine.--This is a compound of bromine and chloride of +iodine. In mixing it, much depends upon the strength of the +ingredients; an equal portion of each being generally used. Perhaps +the best method of preparing it, is to make a solution in alcohol of +half an ounce of chloride of iodine, and add the bromine drop by drop, +until the mixture becomes of a dark red color; then dilute with +distilled water, till it assumes a bright yellow. Put about half an +ounce of this compound into the pot, and coat over it to a violet +color, change the solution when it becomes too weak to produce the +desired effect. +</P> + +<P> +Another.--Mix half an ounce of bromine with one ounce of chloride of +iodine, add two quarts pure distilled water, shake it well and let it +stand for twelve hours then add twenty-five drops of muriatic acid, and +let it stand another twelve hours, occasionally shaking it up well. +Dilute six parts of this solution in sixteen of water. Coat over dry +iodine to a deep yellow, then over the sensitive to a deep rose +color--approaching purple--then back, over dry iodine from four to +eight seconds. +</P> + +<P> +Roach's Tripple Compound.--This is one of the very best sensitive +solutions, and is very popular among Daguerreotypists. To use this, +take one part in weight, say one drachm, of the compound and dilute it +with twelve of water; coat over dry iodine to yellow, then over the +compound to a rosy red. The effect in the camera is quick, and +produces a picture of a fine white tone. +</P> + +<P> +Gurney's Sensitive.--This is another preparation of bromine, and gives +a fine tone. To two parts of water add one of the sensitive, and put +just sufficient in the box to cover the bottom, or enable you to coat +in from eight to ten seconds. Coat over dry iodine to a dark yellow, +and over the quick till you see a good change, then back over the dry +iodine from two to three seconds. +</P> + +<P> +Bromide of Lime, or Dry Sensitive.--This is a compound but recently +introduced, and is becoming somewhat of it favorite, owing principally +to the slight trouble it gives in its preparation, and the tone it +imparts to the picture. To prepare it, fill your jar about half or +quarter full of dry slacked lime, then drop into it bromine, till it +becomes a bright orange red. The plate is generally coated over this +compound, after the iodine coating to yellow, to a violet, or plum +color; but it will work well under any circumstances, the color being +of little consequence, if coated from thirty to ninety seconds, +according to its strength. +</P> + +<P> +Mead's Accelerator.--I merely mention this as being in the market, not +knowing any thing in regard to its merits. The directions given for +its use are as follows: Mix one-third of a bottle with a wine glass +full of water, coat the plate over dry iodine to a dark gold color, +then over the accelerator to a violet, then back over dry iodine, or +chloride of iodine, from three to five seconds. +</P> + +<P> +Chloride of Bromine.--M. Bissou, a French experimentalist, has found +that bromine associated with chlorine, prepared in a similar manner to +chloride of iodine, already described, a solution of bromine being +substituted for the iodine, is a very sensitive solution; by means of +it daguerreotype proofs are obtained in half a second, and, thus very +fugitive subjects are represented, making it the very best compound for +taking children. So quick is its operation, that even persons or +animals may be taken in the act of walking. +</P> + +<P> +Hungarian Liquid.--This, I believe, has never been used here, or +imported into this country, and the composition of it is not generally +known, even in Europe, where it has taken precedence of all others. It +acts quickly and with considerable certainty. It is used by diluting +it with from ten to fifteen times its bulk of water, putting a +sufficient quantity into the jar to cover the bottom. The plate being +previously iodized to a light yellow, is submitted to this mixture till +it assumes a light rose tint. +</P> + +<P> +Bromine and Fluoric Acid, in combination, are used by some Daguerrean +artists as a sensitive, but any of the above compounds are better; +besides this, the fluoric acid is a dangerous poison, and the quick +made from it will not repay the risk to the health in using it. +</P> + +<P> +As I have before said, great caution should be observed in examining +the color of the plate, even by the feeble light allowed, which, when +attained, must be immediately placed in the holder belonging to the +camera and covered with the dark slide. You then pass to the +</P> + +<P> +THIRD OPERATION.--Submitting the Plate to the action of Light in the +Camera.--Experience alone must guide the operator as to the time the +plate should be exposed to the influence of the light; this being +dependent on a variety of circumstances, as clearness of the +atmosphere--and here, a reference to the hygrometer will be of +advantage--time of day, object to be taken, and the degree of +sensitiveness imparted to the plate by the quickstuff. As I have +before said, the artist should be careful to see that the interior of +the camera is clean and free from dust, as the small particles flying +about, or set in motion by the sliding of the holder into the box, +attach themselves to the plate, and cause the little black spots, by +which an otherwise good picture is frequently spoiled. Care should +also be taken in withdrawing the dark slide, in front of the plate, +from the holder, as the same effect may be produced by a too hasty +movement. The lens is the last thing to be uncovered, by withdrawing +the cap c. fig. 5., which should not be done until you have placed the +sitter in the most desirable position. When, according to the judgment +and experience of the operator, the plate has remained long enough to +receive a good impression, the cap is replaced over the lens, and the +dark slide over the plate, which is then removed from the camera. +</P> + +<P> +Daguerreotypists generally mark time by their watches, arriving at the +nearest possible period for producing a good picture by making several +trials. As a ready method of marking short intervals of time is, +however, a very important consideration, and as any instrument which +will enable an artist to arrive at the exact period, must be an +improvement, and worthy of universal adoption, I will here describe one +invented by Mr. Constable of England, which he calls a +</P> + +<P> +Sand Clock, or Time Keeper.--"It consists of a glass tube, about twelve +inches long, by one in diameter, half filled with fine sand, similar to +that used for the ordinary minute glasses, and, like them, it has a +diaphram, with a small hole in the centre through which the sand runs. +The tube is attached to a board which revolves on a centre pin; on the +side is a graduated scale, divided into half seconds; the tube is also +provided with a moveable index. This instrument is attached, in a +conspicuous place, to the wall. The glass tube being revolved on its +centre, the index is set to the number of half seconds required, and +the sand running down, the required time is marked without the +possibility of error. In practice it will be found to be a far more +convenient instrument for the purpose than either a clock or a seconds +watch, and is applicable both for the camera and mercury box." +</P> + +<P> +If the artist finds it desirable or necessary to take the object to be +copied in its right position, that is reverse the image on the +spectrum, he can do so by attaching a mirror (which may be had of Mr. +Anthony, or Mr. Roach) to the camera tube, at an angle of forty-five +degrees. +</P> + +<P> +If, after taking the plate from the camera, it be examined, no picture +will yet be visible, but this is brought about by the +</P> + +<P> +FOURTH PROCESS.--Bringing out the Picture, or rendering it Visible.--We +now come to the use of the mercury bath, Fig. 11. To the bath a +thermometer is attached, to indicate the proper degree of beat +required, which should never be raised above 170 deg. Fahrenheit. The +plate maybe put into one of the frames (see Fig. 11,) over the mercury, +face downwards, and examined from time to time, by simply raising it +with the fingers, or a pair of plyers. This operation, as well as the +others, should take place in the dark closet. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_26.GIF" ALT="Fig. 26 (HIPHO_26.GIF)" BORDER=""> +</CENTER> + +<P CLASS="transnote"> +[Updater's note: HIPHO_26.GIF and hipho27.GIF are both captioned Figure +27.] +</P> + +<P> +Sometimes, to prevent the necessity of raising the plate, an additional +cover or top is made use of. It consists of a box fitted closely to +the inner rim of the bath, and having an inclined top (a, Fig. 27.) The +top is cut through and fitted with frames for each size of plate, like +those already described, and in the back is a piece of glass (b,) +through which to view the progress of mercurialization, and an +additional piece (c,) on one side, colored yellow, to admit the light. +The outline only of the top is here given, in order to show every +portion of it at one view. +</P> + +<P> +The picture, being fully developed, is now taken out and examined; it +must not, however, be exposed to too strong a light. If any glaring +defects be perceived, it is better not to proceed with it, but place it +on one side to be re-polished; if, on the contrary, it appears perfect, +you may advance to the +</P> + +<P> +FIFTH OPERATION.--Fixing the Image so that the light can no longer act +upon it.--The following articles are required for this purpose: +</P> + +<P> +Two or three porcelain or glass dishes, in form, something like fig. 24. +</P> + +<P> +A plate support, fig. 25. Few, I believe, now make use of this, +although it is a very convenient article. +</P> + +<P> +Hyposulphite of Soda, +</P> + +<P> +A pair of Plyers. +</P> + +<P> +In Europe, they also use a drying apparatus, Fig. 27, but this, like +the plate support, is a matter of little consequence, and may be +dispensed with. I will, however, describe it, for the benefit of those +who may wish to use it. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_27.GIF" ALT="Fig. 27 (HIPHO_27.GIF)" BORDER=""> +</CENTER> + +<P CLASS="transnote"> +[Updater's note: HIPHO_26.GIF and hipho27.GIF are both captioned Figure +27.] +</P> + +<P> +A vessel made of copper or brass, tinned inside, and large enough to +take in the largest plate, but not more than half an inch wide, is the +most convenient. It must be kept perfectly clean. Hot distilled water +is poured into it, and the temperature kept up by a spirit lamp. +</P> + +<P> +Hyposulphite of Soda.--Having made a solution of hyposulphite of soda, +and well filtered it--the strength is immaterial; about half an ounce +of the salt to a pint of distilled water is sufficient--pour it into +one of the porcelain dishes, put into another plain, and into a third +distilled water. Immerse the plate with its face downwards into the +hyposulphite, and the whole of the sensitive is removed, and the light +has no farther action upon it; it is then to be removed from the +hyposulphite and plunged into the plain water, or placed upon the +support, fig. 25, and the water poured over it. It is then washed in a +similar manner with the distilled water and well examined, to see that +not the slightest particle of dust rests on the surface. The next step +is to dry it. +</P> + +<P> +This may be readily accomplished by holding the plate with your plyers, +and pouring distilled water over it--if it is hot, so much the better. +Apply the spirit lamp to the back, at the corner held by the plyers, at +the same time facilitating the operation with the breath; pass the lamp +gradually downwards, finishing at the extreme corner. The last drop +may now be removed by a little bibulous paper. A single drop, even, of +distilled water allowed to dry on any part of the surface, is certain +to leave a stain which no after process can remove. +</P> + +<P> +To illustrate the necessity for having perfectly clean water, and free +from all foreign matter--only to be avoided by using that which is +distilled--in these processes, I will relate a little anecdote. +</P> + +<P> +An operator in this city (New York) frequently made complaint to me, +that his plates were occasionally very bad; coming out all over in +little black and white spots and spoiling many very good pictures, +regretting at the same time that perfect plates were not made, for he +had lost many customers in consequence of these defects. These +complaints being somewhat periodical, I suggested that the fault might +be in the hyposulphite, or chloride of gold solutions, or particles of +dust floating about in the room, and not in the plate. +</P> + +<P> +A few days after he stated, that his plates having served him again in +the same way, he procured a fresh supply of hyposulphite of soda and +chloride of gold, but after applying them the result was no better. He +then, by my advice, thoroughly cleaned his wash dishes, bottles and +water pail, made fresh solutions and had no further trouble, becoming +satisfied that the plates suffered an undue share of censure. +</P> + +<P> +SIXTH PROCESS.--Gilding the Picture.--This is an improvement the honor +of which is due to M. Figeau, and may take place either before the +drying process, or at any subsequent period; but it improves the +picture so materially that it should never be neglected. The articles +necessary for gilding are-- +</P> + +<P> +A Pair of Plyers; or a Gilding Stand (see fig. 19) and Chloride of +Gold; or Hyposulphite of Gold. +</P> + +<P> +The latter is imported by Mr. E. Anthony, 205 Broadway, New York, and +is decidedly the best article for the purpose. One bottle simply +dissolved in a quart of water will make a very strong solution, and +gives a richness to the picture impossible to be obtained from the +chloride of gold. The process is precisely similar to that described +below for chloride of gold, taking care to cease the moment the bubbles +are well defined over the surface of the plate. Many Daguerreotypists, +after a superficial trial, discard the hyposulphite of gold as +inferior; but I have no hesitation in asserting that the fault lies +with themselves; for in every case within my knowledge, where its use +has been persisted in until the correct method has been ascertained and +the nature of the gilding has become familiar, it is always preferred. +In illustration of this fact I will relate an anecdote: +</P> + +<P> +A gentleman to whom it had been recommended, purchased a bottle, and +after making one or two trials of it, wrote to his correspondent--"Send +me two bottles of chloride of gold, for I want no more of the +hyposulphite; it is good for nothing." A few weeks after he sent for +three bottles of the condemned article, confessing that he had found +fault unnecessarily; for, that since he had become familiar to its use, +he must acknowledge its superiority, and would use no other gilding. +</P> + +<P> +The Solution of Chloride of Gold is prepared by dissolving in a pint of +distilled water, fifteen grains of chrystalized chloride of gold. This +solution will be of a yellow tint. In another pint of distilled water +dissolve fifty-five grains of hyposulphite of soda; pour gradually, in +very small quantities, the gold into the hyposulphite of soda, stirring +the solution at intervals; when finished the mixture should be nearly +colorless. +</P> + +<P> +Place the plate on its stand, or hold it in the plyers, in a perfectly +horizontal position--silver surface upward--having previously slightly +turned up the edges, so that it may hold the solution. Wet the surface +with alcohol, letting any superfluous quantity drain off. The alcohol +is of no farther use than to facilitate the flowing of the gold mixture +over the surface. Now pour on, carefully, as much of the preparation +of gold as will remain on the plate. The under part of the plate is +then to be heated as uniformly as possible with the spirit lamp; small +bubbles will arise, and the appearance of the portrait or view very +sensibly improved. The process must not be carried too far, but as +soon as the bubbles disappear the lamp should be removed, and the plate +immersed in distilled water, and dried as before directed. +</P> + +<P> +7th. COLORING THE PICTURE.--I very much doubt the propriety of coloring +the daguerreotypes, as I am of opinion, that they are little, if any, +improved by the operation, at least as it is now generally practised. +</P> + +<P> +There are several things requisite in an artist to enable him to color +a head, or even a landscape effectively, and correctly, and I must say +that very few of these are possessed by our operators as a class. +These requirements are, a talent for drawing--taste--due discrimination +of effect--strict observance of the characteristic points in the +features of the subject--quick perception of the beautiful, and a +knowledge of the art of mixing colors, and blending tints. +</P> + +<P> +The method now pursued, I do not hesitate to say, and have no fears of +being contradicted by those capable of critisizing is on the whole +ruinous to any daguerreotype, and to a perfect one absolutely +disgusting. The day may come when accurate coloring may be obtained in +the camera. Until that day, if we cannot lead taste into the right +channel, we will endeavor to give such instructions that +Daguerreotypists may proceed with this part of his work with a better +understanding of the principles involved. For this purpose I have +prepared a short chapter on the art of coloring, which may be found in +the latter part of this volume. +</P> + +<P> +To Preserve Daguerreotypes they must be well sealed and secured in a +case, or frame. These, of course, are selected according to the taste +of the customer, the principal requisite being good glass. Most +Daguerreotypists prefer the white French plate glass--and many think, +very erroneously, that none is good unless it is thick--but the great +desideratum is clearness and freedom from blisters; even glass a little +tinged with green or yellow is to be preferred to the French plate when +cloudy or blistered and there is very little of it comes to this market +that is not so. It is to be hoped that some of our glass factories +will manage to manufacture an article expressly for daguerreotypes; and +I would recommend them to do so, for they would find it quite an item +of profit annually. +</P> + +<P> +Before enclosing the picture in the case you should be careful to wipe +the glass perfectly clean, and blow from the picture any particles of +dust which may have fallen upon it. Then take strips of sticking +paper, about half or three quarters of an inch wide, and firmly and +neatly secure it to the glass, having first placed a "mat" between them +to prevent the plate being scratched by the glass. +</P> + +<P> +TO MAKE SEALING PAPER.--Dissolve one ounce of gum arabic, and a quarter +of an ounce of gum tragicanth in a pint of water; then add a +teaspoonful of benzoin. Spread this evenly on one side of good stout +tissue paper; let it dry, and then cut it up in stripes, about half or +three quarters of an inch wide, for use. If it becomes too soft for +summer use, add gum arabic; if too hard and cracking, add benzoin or +gum tragicanth; if it gets too thick, add water. +</P> + +<P> +COLORED DAGUERREOTYPES ON COPPER.--To effect this, take a polished +plate of copper and expose it to the vapor of iodine, or bromine, or +the two substances combined; or either of them in combination with +chlorine. This gives a sensitive coating to the surface of the plate, +which may then be submitted to the action of light in the camera. +After remaining a sufficient time in the camera, the plate is taken out +and exposed to the vapor of sulphuretted hydrogen. This vapor produces +various colors on the plate, according to the intensity with which the +light has acted on the different parts; consequently a colored +photographic picture is obtained. No further process is necessary as +exposure to light does not effect the picture. +</P> + +<P> +By this process we have an advantage over the silvered plate, both in +economy, and in the production of the picture in colors. +</P> + +<P> +INSTANTANEOUS PICTURES BY MEANS OF GALVANISM.--It will be seen by the +following valuable communication that galvanism can be successfully +applied in producing pictures instantly; a process of great importance +in securing the likeness of a child, or in taking views of animated +nature. Colonel Whitney informs me that he once took a view of the +steeple of the St. Louis Court House after sundown by this means, and +also secured the image of a man in the act of stepping into a store, +and before he had time to place his foot, raised for that purpose, on +the door step. Mr. Whitney is well known as the talented editor of the +Sunday Morning news. +</P> + +<BR><BR><BR> + +<P CLASS="noindent"> +New York, January 16, 1849.<BR> +Mr. H. H. SNELLING. +</P> + +<P> +Dear Sir,--As you are about publishing a history of the Daguerreotype, +and request a description of my mode of taking pictures instantaneously +by the aid of galvanism, I comply with great pleasure. +</P> + +<P> +In the year 1841, while practicing the art in St. Louis, Mo., I was at +times, during the summer, much troubled with the electric influence of +the atmosphere, especially on the approach of a thunder-storm. At such +times I found the coating of my plates much more sensitive than when +the atmosphere was comparatively free from the electric fluid, and the +effect was so irregular that no calculation could counteract the +difficulty. This satisfied me that electricity was in some measure an +important agent in the chemical process, and it occurred to me that the +element might be turned to advantage. I determined, therefore, to +enter on a series of experiments to test my theory. Finding it +impossible to obtain an electric machine, and unwilling to abandon the +examination, it occurred to me, that the galvanic influence might +answer the same purpose. I therefore proceeded to make a galvanic +battery in the following simple manner. I obtained a piece of zinc +about two inches long, one inch wide, and an eighth of an inch thick. +On this I soldered a narrow strip of copper, about six inches long, the +soldered end laid on one side of the zinc, and extending its whole +length. The battery was completed by placing the zinc in a glass +tumbler, two-thirds full of dilute sulphuric acid, strong enough to +produce a free action of the metals. The upper end of the copper slip +extending above the tumbler was sharpened to a point, and bent a little +over the glass. +</P> + +<P> +The method of using, was thus:--After preparing the plate in the usual +manner and placing it in the camera, in such manner as to expose the +back of the plate to view, the battery was prepared by placing the zinc +in the acid, and as soon as the galvanic fluid began to traverse (as +could be known by the effervescence of the acid, operating on the zinc +and copper) the cap of the camera was removed, and the plate exposed to +the sitter; at the same instant the point of the battery was brought +quickly against the back of the plate, and the cap replaced instantly. +If the plate is exposed more than an instant after the contact the +picture will generally be found solarized. By this process I have +taken pictures of persons in the act of walking, and in taking the +pictures of infants and young children I found it very useful. +</P> + +<P CLASS="noindent"> +Very respectfully yours,<BR> +THOMAS R. WHITNEY. +</P> + +<BR><BR><BR> + +<A NAME="chap07"></A> +<H3 ALIGN="center"> +CHAP. VII +</H3> + +<H3 ALIGN="center"> +PAPER DAGUERREOTYPES.--ETCHING DAGUERREOTYPES. +</H3> + +<P> +Mr. Hunt describes a process, discovered by himself by which the +Daguerrean art may be applied to paper. His description is as +follows:-- +</P> + +<P> +"Placing the paper on some hard body, wash it over on one side--by +means of a very soft camel's hair pencil--with a solution of sixty +grains of bromide of potassium, in two fluid ounces of distilled water, +and then dry it quickly by the fire. Being dry, it is again washed +over with the same solution, and dried as before. A solution of +nitrate of silver--one hundred grains to an ounce of distilled +water--is to be applied over the same surface, and the paper quickly +dried in the dark. In this state the papers may be kept for use. +</P> + +<P> +"When they are required, the above solution of silver is to be +plentifully applied, and the paper placed wet in the camera, the +greatest care being taken that no day light--not even the faintest +gleam--falls upon it until the moment when you are prepared, by +removing the dark slide, to permit the light, radiating from the object +you wish to copy, to act in producing the picture. After a few seconds +the light must be again shut off, and the camera removed into a dark +room." The necessity of removing the camera is now avoided by the use +of the dark slide, already described, covering the picture in the +holder, which alone may be removed.--Amer. Aut. +</P> + +<P> +"It will be found by taking the paper from the holder, that there is +but a very faint outline--if any--yet visible. Place it aside, in +perfect darkness until quite dry; then place it in the mercurial vapor +box (meaning bath) and apply a very gentle heat to the bottom. The +moment the mercury vaporizes, the picture will begin to develope +itself. The spirit lamp must now be removed for a short time, and when +the action of the mercury appears to cease, it is to be very carefully +applied again, until a well defined picture is visible. The +vaporization must then be suddenly stopped, and the photograph removed +from the box. The drawing will then be very beautiful and distinct; +but much detail is still clouded, for the developement of which it is +only necessary to place it in the dark and suffer it to remain +undisturbed for some hours. There is now an inexpressible charm about +the pictures, equaling the delicate beauty of the daguerreotype; but +being very susceptible of change, it must be viewed by the light of a +taper only. The nitrate of silver must now be removed from the paper, +by well washing it in soft water, to which a small quantity of salt has +been added, and it should afterwards be soaked in water only. When the +picture has been dried, wash it quickly over with a soft brush dipped +in a warm solution of hyposulphite of soda, and then wash it for some +time in distilled water, in order that all the hyposulphite may be +removed. The drawing is now fixed and we may use it to procure +positive copies, (the original being termed a negative,) many of which +may be taken from one original." +</P> + +<P> +"The action of light on this preparation, does indeed appear to be +instantaneous. The exquisite delicacy of this preparation may be +imagined, when I state that in five seconds in the camera, I have, +during sunshine, obtained perfect pictures, and that when the sky is +overcast, one minute is quite sufficient to produce a most decided +effect." +</P> + +<P> +"This very beautiful process is not without its difficulties; and the +author cannot promise that, even with the closest attention to the +above directions, annoying failures will not occur. It often happens +that some accidental circumstance--generally a projecting film or a +little dust--will occasion the mercurial vapor to act with great energy +on one part of the paper, and blacken it before the other portions are +at all effected. Again, the mercury will sometimes accumulate along +the lines made by the brush, and give a streaky appearance to the +picture, although these lines are not at all evident before the +mercurial vapor was applied. (A brush sufficiently large--and they may +be easily obtained--will, in a measure, prevent this difficulty.--Amer +Au.) I have stated that the paper should be placed wet in the camera; +the same paper may be used dry, which often is a great convenience. +When in the dry state a little longer exposure is required; and instead +of taking a picture in four or five seconds, two or three minutes are +necessary." +</P> + +<P> +The durability of daguerreotypes has been, and is still, doubted by +many, but experiment has proved that they are more permanent than oil +paintings or engravings. +</P> + +<P> +ETCHING DAGUERREOTYPES.--There are several methods of accomplishing +this object; discovered and applied by different individuals. +</P> + +<P> +The first process was published at Vienna by Dr. Berres, and consisted +in covering the plate with the mucilage of gum arabic, and then +immersing the plate in nitric acid of different strengths. +</P> + +<P> +Mr. Figeau, of whom I have already spoken, likewise discovered a +process for the engraving of Daguerreotypes; and founded on the belief +that the lights of a Daguerreotype plate consists of unaltered silver, +while the dark or shadows consists of mercury or an amalgam of mercury +with silver. He finds that a compound acid, consisting of a mixture of +nitric, nitrous, and muriatic acids, or of nitric mixed with nitrate of +potass and common salt, has the property of attaching the silver in +presence of the mercury without acting upon the latter. Bi-chloride of +copper answers the purpose also, but less completely. +</P> + +<P> +"When the clean surface of a Daguerreotype plate is exposed to the +action of this menstruum, particularly if warm, the white parts, or +lights are not altered, but the dark parts are attacked, and chloride +of silver is formed, of which an insoluble coating is soon deposited, +and the action of the acid soon ceases. This coat of chloride of +silver is removed by a solution of ammonia, and then the acid applied +again, and so on, until the depth of biting in is sufficient. However, +it is not possible, by repeating this process, to get a sufficient +force of impression; a second operation is required, in order to obtain +such a depth as will hold the ink, to give a dark impression; for this +purpose the whole plate is covered with drying oil; this is cleared off +with the hand, exactly in the way a copper plate printer cleans his +plate. The oil is thus left in the sinkings, or dark bitten in parts +only. The whole plate is now placed in a suitable apparatus, and the +lights or prominent parts of the face are gilt by the electrotype +process. The whole surface is now touched with what the French +engravers call the "Resin Grain," (grain de resine), a species of +partial stopping out, and it is at once bitten in to a sufficient depth +with nitric acid, the gilding preserving the lights from all action of +the acid. The resin grain gives a surface to the corroded parts +suitable for holding the ink, and the plate is now finished and fit to +give impressions resembling aquatint. But as silver is so soft a metal +that the surface of the plate might be expected to wear rapidly, the +discoverer proposes to shield it by depositing over its whole surface a +very thin coat of copper by the electrotype process; which when worn +may be removed at pleasure down to the surface of the noble metal +beneath, and again a fresh coat of copper deposited; and so an +unlimited number of impressions obtained without injuring the plate +itself." +</P> + +<P> +If, as has been asserted, steel may be rendered sufficiently sensitive, +to take photographic impressions, to what a revolution will the art of +engraving be subject by the discovery of this process. +</P> + +<BR><BR><BR> + +<A NAME="chap08"></A> +<H3 ALIGN="center"> +CHAP. VIII. +</H3> + +<H3 ALIGN="center"> +PHOTOGENIC DRAWING ON PAPER. +</H3> + +<P> +We shall now proceed to describe the various processes for Photogenic +drawing on paper; first, however, impressing on the mind of the +experimenter, the necessity which exists for extreme care in every +stage of the manipulation. In this portion of my work I am entirely +indebted to the works of Professors Hunt, Fisher and others. +</P> + +<P> +I. APPARATUS AND MATERIALS.--Paper.--The principal difficulty to be +contended with in using paper, is the different power of imbibition +which we often find possessed in the same sheet, owing to trifling +inequalities in its texture. This is, to a certain extent, to be +overcome by a careful examination of each sheet, by the light of a +candle or lamp at night, or in the dark. By extending each sheet +between the light and the eye, and slowly moving it up and down, and +from left to right, the variations in its texture will be seen by the +different quantities of light which pass through it in different parts; +and it is always the safest course to reject every sheet in which +inequalities exist. Paper sometimes contains minute portions of +thread, black or brown specks, and other imperfections, all of which +materially interfere with the process. Some paper has an artificial +substance given to it by sulphate of lime (Plaster of Paris); this +defect only exists, however, in the cheaper sorts of demy, and +therefore can be easily avoided. In all cases such paper should be +rejected, as no really sensitive material can be obtained with it. +Paper-makers, as is well known, often affix their name to one half the +sheet; this moiety should also be placed aside, as the letters must +frequently come out with annoying distinctness. Well sized paper is by +no means objectionable, indeed, is rather to be preferred, since the +size tends to exalt the sensitive powers of the silver. The principal +thing to be avoided, is the absorption of the sensitive solution into +the pores; and it must be evident that this desideratum cannot be +obtained by unsized paper. Taking all things into consideration, the +paper known as satin post would appear to be preferable, although the +precautions already recommended should be taken in its selection. +</P> + +<P> +Brushes.--The necessary solutions are to be laid upon the paper by +brushes. Some persons pass the paper over the surface of the +solutions, thus licking up, as it were, a portion of the fluid; but +this method is apt to give an uneven surface; it also rapidly spoils +the solutions. At all events, the brush is the most ready and the most +effectual means. +</P> + +<P> +Distilled Water.--All the water used, both for mixing the solutions, +washing the paper, or cleaning the brushes, must be distilled, to +obtain good results, for reasons before specified. +</P> + +<P> +Blotting Paper.--In many instances, the prepared paper requires to be +lightly dried with bibulous paper. The best description is the white +sort. In each stage of the preparation distinct portions of bibulous +paper must be used. If these be kept seperate and marked, they can be +again employed for the same stage; but it would not do, for example, to +dry the finished picture in the same folds in which the sensitive paper +had been pressed. A very convenient method is to have two or three +quarto size books of bibulous paper, one for each seperate process. +</P> + +<P> +Nitrate of Silver.--In the practice of the photographic art, much +depends on the nitrate of silver. Care should be taken to procure the +best; the crystalized salt is most suitable for the purpose. While in +the form of crystal it is not injured by exposure to light, but the +bottles containing the solutions of this salt should at all times be +kept wrapped in dark paper, and excluded from daylight. +</P> + +<P> +II. DIFFERENT METHODS OF PREPARING THE PAPER.--Preparation of the +Paper.--Dip the paper to be prepared into a weak solution of common +salt. The solution should not be saturated, but six or eight times +diluted with water. When perfectly moistened, wipe it dry with a +towel, or press it between bibulous paper, by which operation the salt +is uniformly dispersed through its substance. Then brush over it, on +one side only, a solution of nitrate of silver. The strength of this +solution must vary according to the color and sensitiveness required. +Mr. Talbot recommends about fifty grains of the salt to an ounce of +distilled water. Some advise twenty grains only, while others say +eighty grains to the ounce. When dried in a dark room, the paper is +fit for use. To render this paper still more sensitive, it must again +be washed with salt and water, and afterwards with the same solution of +nitrate of silver, drying it between times. This paper, if carefully +made, is very useful for all ordinary photographic purposes. For +example, nothing can be more perfect than the images it gives of leaves +and flowers, especially with a summer's sun; the light, passing through +the leaves, delineates every ramification of their fibres. In +conducting this operation, however, it will be found that the results +are sometimes more and sometimes less satisfactory, in consequence of +small and accidental variations in the proportions employed. It +happens sometimes that the chloride of silver formed on the surface of +the paper is disposed to blacken of itself, without any exposure to +light. This shows that the attempt to give it sensibility has been +carried too far. The object is, to approach as nearly to this +condition as possible without reaching it; so that the preparation may +be in a state ready to yield to the slightest extraneous force, such as +the feeblest effect of light. +</P> + +<P> +Cooper's Method.--Soak the paper in a boiling hot solution of chlorate +of potash (the strength matters not) for a few minutes; then take it +out, dry it, and wet it with a brush, on one side only, dipped in a +solution of nitrate of silver, sixty grains to an ounce of distilled +water, or, if not required to be so sensitive, thirty grains to the +ounce will do. This paper possesses a great advantage over any other, +for the image can be fixed by mere washing. It is, however, very apt +to become discolored even in the washing, or shortly afterwards, and +is, besides, not so sensitive, nor does it become so dark as that made +according to Mr. Talbot's method. +</P> + +<P> +Daguerre's Method.--Immerse the paper in hydrochloric (or as it is more +commonly called, muriatic) ether, which has been kept sufficiently long +to become acid; the paper is then carefully and completely dried, as +this is essential to its proper preparation. It is then dipped into a +solution of nitrate of silver, and dried without artificial heat in a +room from which every ray of light is carefully excluded. By this +process it acquires a very remarkable facility in being blackened on a +very slight exposure to light, even when the latter is by no means +intense. The paper, however, rapidly loses its extreme sensitiveness +to light, and finally becomes no more impressionable by the solar beams +than common nitrate paper. +</P> + +<P> +Bromide Paper.--Of all common photographic paper, the best, because the +least troublesome in making, and the most satisfactory in result, is +that which is termed bromine paper, and which is thus +prepared:--Dissolve one hundred grains of bromide of potassium in one +ounce of distilled water, and soak the paper in this solution. Take +off the superfluous moisture, by means of your bibulous paper, and when +nearly dry, brush it over on one side only, with a solution of one +hundred grains of nitrate of silver to an ounce of distilled water. +The paper should then be dried in a dark room, and, if required to be +very sensitive, should a second time be brushed over with the nitrate +of silver solution. +</P> + +<P> +In preparing the papers mentioned above, there are two circumstances +which require particular attention. In the first place, it is +necessary to mark the paper on the side spread with the solutions of +nitrate of silver, near one of the extreme corners. This answers two +purposes: in the first place it serves to inform the experimentalist +of the sensitive surface; and secondly, it will be a guide as to which +portion of the papers has been handled during the application of the +solution, as the impress of the fingers will probably come out upon the +photograph. The second caution is, that the application of the +sensitive solution (nitrate of silver,) and the subsequent drying of +the paper, must be always conducted in a perfectly dark room, the light +of a candle alone being used. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_29.GIF" ALT="Fig. 29 (HIPHO_29.GIF)" BORDER=""> +</CENTER> + +<P> +III. PHOTOGENIC PROCESS ON PAPER.--Method.--The simplest mode is to +procure a flat board and a square of glass, larger in size than the +object intended to be copied. On the board place the photographic +paper with the prepared side upwards, and upon it the object to be +copied; over both lay the glass and secure them so that they are in +close connection by means of binding screws or clamps, similar to g. g. +fig. 29. Should the object to be copied be of unequal thickness, such +as a leaf, grass, &c., it will be necessary to place on the board, +first, a soft cushion, which may be made of a piece of fine flannel and +cotton wool. By this means the object is brought into closer contact +with the paper, which is of great consequence, and adds materially to +the clearness of the copy. The paper is now exposed to diffused +daylight, or, still better, to the direct rays of the sun, when that +part of the paper not covered by the object will become tinged with a +violet color, and if the paper be well prepared, it will in a short +time pass to a deep brown or bronze color. It must then be removed, as +no advantage will be obtained by keeping it longer exposed; on the +contrary, the delicate parts yet uncolored will become in some degree +affected. The photogenic paper will now show a more or less white and +distinct representation of the object. The apparatus figured at 29 +consists of a wooden frame similar to a picture frame; a piece of plate +glass is fixed in front; and it is provided with a sliding cover of +wood, c., which is removed when the paper is ready to be exposed to the +action of the light. The back, d., which is furnished with a cushion, +as just described, is made to remove for the purpose of introducing the +object to be copied, and upon it the prepared paper; the back is then +replaced, and, by aid of the cross piece and screw, e., the whole is +brought into close contact with the glass. +</P> + +<P> +The objects best delineated on these photographic papers, are lace, +feathers, dried plants, particularly the ferns, sea-weeds and the light +grasses, impressions of copper plate and wood engravings, particularly +if they have considerable contrast of light and shade--(these should be +placed with the face downwards, having been previously prepared as +hereafter directed)--paintings on glass, etchings, &c. +</P> + +<P> +To fix the Drawings.--Mr. Talbot recommends that the drawings should be +dipped in salt and water, and in many instances this method will +succeed, but at times it is equally unsuccessful. Iodide of potassium, +or, as it is frequently called, hydriodate of potash, dissolved in +water, and very much diluted, (twenty-five grains to one ounce of +water,) is a more useful preparation to wash the drawings with; it must +be used very weak or it will not dissolve the unchanged muriate only, +as is intended but the black oxide also, and the drawing be thereby +spoiled. +</P> + +<P> +But the most certain material to be used is the hyposulphite of soda. +One ounce of this salt should be dissolved in about a pint of distilled +water. Having previously washed the drawing in a little lukewarm +water, which of itself removes a large portion of the muriate of silver +which is to be got rid of, it should be dipped once or twice in the +hyposulphite solution. By this operation the muriate which lies upon +the lighter parts will become so altered in its nature as to be +unchanged by light, while the rest remains dark as before. +</P> + +<P> +It will be evident from the nature of the process, that the lights and +shadows of an object are reversed. That which is originally opaque +will intercept the light, and consequently those parts of the +photogenic paper will be least influenced by light, while any part of +the object which is transparent, by admitting the light through it, +will suffer the effect to be greater or less in exact proportion to its +degree of transparency. The object wholly intercepting the light will +show a white impression; in selecting, for example, a butterfly for an +object, the insect, being more or less transparent, leaves a +proportionate gradation of light and shade, the most opaque parts +showing the whitest. It may be said, therefore, that this is not +natural, and in order to obtain a true picture--or, as it is termed, a +positive picture--we must place our first acquired photograph upon a +second piece of photogenic paper. Before we do this, however, we must +render our photograph transparent, otherwise the opacity of the paper +will mar our efforts. +</P> + +<P> +To accomplish this object, the back of the paper containing the +negative, or first acquired photograph, should be covered with white or +virgin wax. This may be done by scraping the wax upon the paper, and +then, after placing it between two other pieces of paper, passing a +heated iron over it. The picture, being thus rendered transparent, +should now be applied to a second piece of photogenic paper, and +exposed, in the manner before directed, either to diffused day-light or +to the direct rays of the sun. The light will now penetrate the white +parts, and the second photograph be the reverse of the first, or a true +picture of the original. +</P> + +<P> +Instead of wax, boiled linseed oil--it must be the best and most +transparent kind--may be used. The back of the negative photograph +should be smeared with the oil, and then placed between sheets of +bibulous paper. When dry the paper is highly transparent. +</P> + +<P> +IV. APPLICATION OF PHOTOGENIC DRAWING.--This method of photogenic +drawing may be applied to useful purposes, such as the copying of +paintings on glass by the light thrown through them on the prepared +paper--Imitations of etchings, which may be accomplished by covering a +piece of glass with a thick coat of white oil paint; when dry, with the +point of a needle, lines or scratches are to be made through the white +lead ground, so as to lay the glass bare; then place the glass upon a +piece of prepared paper, and expose it to the light. Of course every +line will be represented beneath of a black color, and thus an +imitation etching will be produced. It is also applicable to the +delineation of microscopic objects, architecture, sculpture, landscapes +and external nature. +</P> + +<P> +A novel application of this art has been recently suggested, which +would doubtless prove useful in very many instances. By rendering the +wood used for engravings sensitive to light, impressions may be at once +made thereon, without the aid of the artist's pencil. The preparation +of the wood is simply as follows:--Place its face or smooth side +downwards, in a plate containing twenty grains of common salt dissolved +in an ounce of water; here let it remain for five minutes, take it out +and dry it; then place it again face downwards in another plate +containing sixty grains of nitrate of silver to an ounce of water; here +let it rest one minute, when taken out and dried in the dark it will be +fit for use, and will become, on exposure to the light, of a fine brown +color. Should it be required more sensitive, it must be immersed in +each solution a second time, for a few seconds only. It will now be +very soon effected by a very diffused light. +</P> + +<P> +This process may be useful to carvers and wood engravers not only to +those who cut the fine objects of artistical design, but still more to +those who cut patterns and blocks for lace, muslin, calico-printing, +paper hangings, etc., as by this means the errors, expense and time of +the draughtsman may be wholly saved, and in a minute or two the most +elaborate picture or design, or the most complicated machinery, be +delineated with the utmost truth and clearness. +</P> + +<BR><BR><BR> + +<A NAME="chap09"></A> +<H3 ALIGN="center"> +CHAP. IX. +</H3> + +<H3 ALIGN="center"> +CALOTYPE AND CHRYSOTYPE. +</H3> + +<P> +The materials and apparatus necessary for the Calotype process are-- +</P> + +<P> +Two or Three Shallow Dishes, for holding distilled water, iodide, +potassium, &c.--the same water never being used for two different +operations. +</P> + +<P> +White Bibulous Paper. +</P> + +<P> +Photogenic Camera--Fig. 9. +</P> + +<P> +Pressure Frame--Fig 29. +</P> + +<P> +Paper, of the very best quality--directions for the choice of which +have been already given. +</P> + +<P> +A Screen of Yellow Glass. +</P> + +<P> +Camels' or Badgers' hair Brushes:--A seperate one being kept for each +wash and solution, and which should be thoroughly cleansed immediately +after using in distilled water. That used for the gallo-nitrate is +soon destroyed, owing to the rapid decomposition of that preparation. +</P> + +<P> +A Graduated Measure. +</P> + +<P> +Three or Four Flat Boards, to which the paper may be fixed with drawing +pins. +</P> + +<P> +A Hot Water Drying Apparatus, for drying the paper will also be found +useful. +</P> + +<P> +In preparing the Calotype paper, it is necessary to be extremely +careful, not only to prevent the daylight from impringing upon it, but +also to exclude, if possible, the strong glare of the candle or lamp. +This may be effected by using a shade of yellow glass or gauze, which +must be placed around the light. Light passing through such a medium +will scarcely affect the sensitive compounds, the yellow glass +intercepting the chemical rays. +</P> + +<P> +Preparation of the Iodized Paper.--Dissolve one hundred grains of +crystalized nitrate of silver in six ounces of distilled water, and +having fixed the paper to one of the boards, brush it over with a soft +brush on one side only with this solution, a mark being placed on that +side whereby it may be known. When nearly dry dip it into a solution +of iodide of potassium, containing five hundred grains of that salt +dissolved in a pint of water. When perfectly saturated with this +solution, it should be washed in distilled water, drained and allowed +to dry. This is the first part of the process, and the paper so +prepared is called iodized paper. It should be kept in a port-folio or +drawer until required: with this care it may be preserved for any +length of time without spoiling or undergoing any change. +</P> + +<P> +Mr. Cundell finds a stronger solution of nitrate of silver preferable, +and employs thirty grains to the ounce of distilled water: he also adds +fifty grains of common salt to the iodide of potassium, which he +applies to the marked side of the paper only. This is the first +process. +</P> + +<P> +Preparation of the paper for the Camera.--The second process consists +in applying to the above a solution which has been named by Mr. Talbot +the "Gallo-Nitrate of Silver;" it is prepared in the following manner: +Dissolve one hundred grains of crystalized nitrate of silver in two +ounces of distilled water, to which is added two and two-third drachms +of strong acetic acid. This solution should be kept in a bottle +carefully excluded from the light. Now, make a solution of gallic acid +in cold distilled water: the quantity dissolved is very small. When +it is required to take a picture, the two liquids above described +should be mixed together in equal quantities; but as it speedily +undergoes decomposition, and will not keep good for many minutes, only +just sufficient for the time should be prepared, and that used without +delay. It is also well not to make much of the gallic acid solution, +as it will not keep for more than a few days without spoiling. A sheet +of the iodized paper should be washed over with a brush with this mixed +solution, care being taken that it be applied to the marked side. This +operation must be performed by candle light. Let the paper rest half a +minute, then dip it into one of the dishes of water, passing it beneath +the surface several times; it is now allowed to drain, and dried by +placing its marked side upwards, on the drying apparatus. It is better +not to touch the surface with bibulous paper. It is now highly +sensitive, and ready to receive the impression. In practice it is +found better and more economical not to mix the nitrate of silver and +gallic acid, but only to brush the paper with the solution of the +nitrate. +</P> + +<P> +Mr. Talbot has recently proposed some modifications in his method of +preparing the calotype paper. The paper is first iodized in the usual +way; it is then washed over with a saturated solution of gallic acid in +distilled water and dried. Thus prepared he calls it the io-gallic +paper: it will remain good for a considerable time if kept in a press +or portfolio. When required for use, it is washed with a solution of +nitrate of silver (fifty grains to the ounce of distilled water), and +it is then fit for the camera. +</P> + +<P> +Exposure in the Camera.--The calotype paper thus prepared possesses a +very high degree of sensibility when exposed to light, and we are thus +provided with a medium by which, with the aid of the photogenic camera, +we may effectually copy views from nature, figures, buildings, and even +take portraits from the shadows thrown on the paper by the living face. +The paper may be used somewhat damp. The best plan for fixing it in +the camera is to place it between a piece of plate glass and some other +material with a flat surface, as a piece of smooth slate or an iron +plate, which latter, if made warm, renders the paper more sensitive, +and consequently the picture is obtained more rapidly. +</P> + +<P> +Time of Exposure.--With regard to the time which should be allowed for +the paper to remain in the camera, no direct rules can be laid down; +this will depend altogether upon the nature of the object to be copied, +and the light which prevails. All that can be said is, that the time +necessary for forming a good picture varies from thirty seconds to five +minutes, and it will be naturally the first object of the operator to +gain by experience this important knowledge. +</P> + +<P> +Bringing Out the Picture.--The paper when taken from the camera, which +should be done so as to exclude every ray of light--and here the dark +slide of the camera plate holder becomes of great use--bears no +resemblance to the picture which in reality is formed. The impression +is latent and invisible, and its existence would not be suspected by +any one not acquainted with the process by previous experiment. The +method of bringing out the image is very simple. It consists in +washing the paper with the gallo-nitrate of silver, prepared in the way +already described, and then warming it gently, being careful at the +same time not to let any portion become perfectly dry. In a few +seconds the part of the paper upon which the light has acted will begin +to darken, and finally grow entirely black, while the other parts +retain their original color. Even a weak impression may be brought out +by again washing the paper in the gallo-nitrate, and once more gently +warming it. When the paper is quite black, as is generally the case, +it is a highly curious and beautiful phenomenon to witness the +commencement of the picture, first tracing out the stronger outlines, +and then gradually filling up all the numerous and complicated details. +The artist should watch the picture as it developes itself, and when in +his judgment it has attained the greatest degree of strength and +clearness, he shall stop further proceedings by washing it with the +fixing liquid. Here again the mixed solution need not be used, but the +picture simply brushed over with the gallic acid. +</P> + +<P> +The Fixing Process.--In order to fix the picture thus obtained, first +dip it into water; then partly dry it with bibulous paper, and wash it +with a solution of bromide of potassium--containing one hundred grains +of that salt dissolved in eight or ten ounces of distilled water. The +picture is again washed with distilled water, and then finally dried. +Instead of bromide of potassium, a solution of hyposulphite of soda, as +before directed, may be used with equal advantage. +</P> + +<P> +The original calotype picture, like the photographic one described in +the last chapter, is negative, that is to say, it has its lights and +shades reversed, giving the whole an appearance not conformable to +nature. But it is easy from this picture to obtain another which shall +be conformable to nature; viz., in which the lights shall be +represented by lights, and the shades by shades. It is only necessary +to take a sheet of photographic paper (the bromide paper is the best), +and place it in contact with a calotype picture previously rendered +transparent by wax or oil as before directed. Fix it in the frame, +Fig. 29, expose it in the sunshine for a short time, and an image or +copy will be formed on the photogenic paper. The calotype paper itself +may be used to take the second, or positive, picture, but this Mr. +Talbot does not recommend, for although it takes a much longer time to +take a copy on the photogenic paper, yet the tints of such copy are +generally more harmonious and agreeable. After a calotype picture has +furnished a number of copies it sometimes grows faint, and the +subsequent copies are inferior. This may be prevented by means of a +process which revives the strength of the calotype pictures. In order +to do this, it is only necessary to wash them by candlelight with +gallo-nitrate of silver, and then warm them. This causes all the +shades of the picture to darken considerably, while the white parts are +unaffected. After this the picture is of course to be fixed a second +time. It will then yield a second series of copies, and, in this way, +a great number may frequently be made. +</P> + +<P> +The calotype pictures when prepared as we have stated, possess a +yellowish tint, which impedes the process of taking copies from them. +In order to remedy this defect, Mr. Talbot has devised the following +method. The calotype picture is plunged into a solution consisting of +hyposulphite of soda dissolved in about ten times its weight of water, +and heated nearly to the boiling point. The picture should remain in +about ten minutes; it must then be removed, washed and dried. By this +process the picture is rendered more transparent, and its lights become +whiter. It is also rendered exceedingly permanent. After this process +the picture may be waxed, and thus its transparency increased. This +process is applicable to all photographic papers prepared with +solutions of silver. +</P> + +<P> +Having thus fully, and it is hoped clearly, considered the process, it +may be necessary before dismissing the calotype from notice, to add one +or two remarks from the observations and labors of some who have +experimented in this art. Dr. Ryan in his lectures before the Royal +Polytechnic Institution, has observed, that in the iodizing process the +sensitiveness of the paper is materially injured by keeping it too long +in the solution of iodide of potassium, owing to the newly formed +iodide of silver being so exceedingly solvable in excess of iodide of +potassium as in a few minutes to be completely removed. The paper +should be dipped in the solution and instantly removed. There is +another point, too, in the preparation of the iodized paper in which +suggestions for a slight deviation from Mr. Talbot's plan have been +made. In the first instance, it is recommended that the paper be +brushed over with the iodide of potassium, instead of the nitrate of +silver, transposing, in fact, the application of the first two +solutions. The paper, having been brushed over with the iodide of +potassium in solution, is washed in distilled water and dried. It is +then brushed over with nitrate of silver, and after drying is dipped +for, a moment in a fresh solution of iodide of potassium of only +one-fourth the strength of the first, that is to say, one hundred and +twenty-five grains of the salt to a pint of water. After this it is +again washed and dried. The advantage derived from this method, is a +more sensitive paper, and a more even distribution of the compounds +over the surface. +</P> + +<P> +Another deviation from Mr. Talbot's method has been suggested, as +follows: +</P> + +<P> +Brush the paper over with a solution of one hundred grains of nitrate +of silver to an ounce of water. When nearly, but not quite, dry, dip +it into a solution of twenty-five grains of iodide of potassium to one +ounce of distilled water, drain it, wash it in distilled water and +again drain it. Now brush it over with aceto-nitrate of silver, made +by dissolving fifty grains of nitrate of silver in one ounce of +distilled water, to which is added one sixth of its volume of strong +acetic acid. Dry it with bibulous paper, and it is ready for receiving +the image. When the impression has been received, which will require +from one to five minutes according to the state of the weather, it must +be washed with a saturated solution of gallic acid to which a few drops +of the aceto-nitrate of silver, made as above, have been added. The +image will thus be gradually brought out, and may be fixed with +hyposulphite of soda. To obtain the positive picture, paper must be +used brushed over with an ammonio-nitrate of silver, made thus: forty +grains of nitrate of silver is to be dissolved in one ounce of +distilled water, and liquid ammonia cautiously added till it +re-dissolves the precipitate. +</P> + +<P> +A pleasing effect may be given to calotype, or indeed to all +photographic pictures, by waxing them at the back, and mounting them on +white paper, or if colored paper be used, various beautiful tones of +color are produced. +</P> + +<H3> +POSITIVE CALOTYPE. +</H3> + +<P> +At a meeting of the British Association, Professor Grove described a +process by which positive calotype pictures could be directly obtained; +and thus the necessity to transfer by which the imperfections of the +paper are shown, and which is moreover a troublesome and tedious +process, is avoided. As light favors most chemical actions, Mr. Grove +was led to believe that a paper darkened by the sun (which darkening is +supposed to result from the precipitation of silver) might be bleached +by using a solvent which would not attack the silver in the dark, but +would do so in the light. The plan found to be the most successful is +as follows: ordinary calotype paper is darkened till it assumes a deep +brown color, almost amounting to black; it is then redipped into the +ordinary solution of iodide of potassium, and dried. When required for +use it is drawn over dilute nitric acid--one part acid to two and a +half parts water. In this state, those parts exposed to the light are +rapidly bleached, while the parts not exposed remain unchanged. It is +fixed by washing in water, and subsequently in hyposulphite of soda, or +bromide of potassium. +</P> + +<P> +Mr. Grove also describes a process for converting a negative calotype +into a positive one, which promises, when carried out, to be of great +utility. +</P> + +<P> +Let an ordinary calotype image or portrait be taken in the camera, and +developed by gallic acid; then drawn over iodide of potassium and +dilute nitric acid and exposed to full sunshine; while bleaching the +dark parts, the light is redarkening the newly precipitated iodide in +the lighter portions and thus the negative picture is converted into a +positive one. +</P> + +<P> +The calotype process has been applied to the art of printing, in +England, but it possesses no advantages whatever over the method, with +type, now so gloriously brought to perfection; and I can hardly think +it will ever be made of any utility. For the benefit of the curious, +however, I will give Mr. Talbot's method. +</P> + +<P> +Some pages of letter-press are taken printed on one side only; and +waxed, to render them more transparent; the letters are then cut out +and sorted. To compose a new page lines are ruled on a sheet of white +paper, and the words are formed by fixing the seperate letters in their +proper order. The page being ready, a negative photograph is produced +from it, from which the requisite number of positive photogenic copies +may be obtained. +</P> + +<P> +Another method, which requires the use of the camera, consists in +employing large letters painted on rectangular pieces of wood, colored +white. These are arranged in lines on a tablet or board, by slipping +them into grooves which keep them steady and upright, thus forming a +page on an enlarged scale. It is now placed before a camera, and a +reduced image of it of the required size is thrown upon the sensitive +paper. The adjustments must be kept invariable, so that the +consecutive pages may not vary from one another in the size of the +type. Mr. Talbot has patented his process, but what benefit he expects +to derive from it, I am at a loss to determine. +</P> + +<P> +Enlarged copies of calotype or Daguerreotype portraits may be obtained +by throwing magnified images of them, by means of lenses, upon calotype +paper. +</P> + +<H3> +THE CHRYSOTYPE. +</H3> + +<P> +A modification of Mr. Talbot's process, to which the name of Chrysotype +was given by its discoverer, Sir John Herschel, was communicated in +June 1843 to the Royal Society, by that distinguished philosopher. +This modification would appear to unite the simplicity of photography +with all the distinctness and clearness of calotype. This preparation +is as follows. +</P> + +<P> +The paper is to be washed in a solution of ammonio-citrate of iron; it +must then be dried, and subsequently brushed over with a solution of +the ferro-sesquicyanuret of potassium. This paper, when dried in a +perfectly dark room, is ready for use in the same manner as if +otherwise prepared, the image being subsequently brought out by any +neutral solution of gold. Such was the first declaration of his +discovery, but he has since found that a neutral solution of silver is +equally useful in bringing out the picture. Photographic pictures +taken on this paper are distinguished by a clearness of outline foreign +to all other methods. +</P> + +<BR><BR><BR> + +<A NAME="chap10"></A> +<H3 ALIGN="center"> +CHAP. X. +</H3> + +<H3 ALIGN="center"> +CYANOTYPE--ENERGIATYPE--CHROMATYPE--ANTHOTYPE--AMPHITYPE AND "CRAYON +DAGUERREOTYPE." +</H3> + +<P> +The several processes enumerated at the head of this chapter, are all +discoveries of English philosophers, with the exception of the third +and last named. Anthotype was first attempted by M. Ponton a French +savan, although it was reserved to Mr. Hunt to bring the process to its +present state. The "Crayon Daguerreotype" is an improvement made by J. +A Whipple, Esq., of Boston. +</P> + +<BR> + +<H3> +I. CYANOTYPE. +</H3> + +<P> +So called from the circumstance of cyanogen in its combinations with +iron performing a leading part in the process. It was discovered by +Sir John Herschel. The process is a simple one, and the resulting +pictures are blue. +</P> + +<P> +Brush the paper over with a solution of the ammonio-citrate of iron. +This solution should be sufficiently strong to resemble sherry wine in +color. Expose the paper in the usual way, and pass over it very +sparingly and evenly a wash of the common yellow ferro-cyanate of +potass. As soon as the liquid is applied, the negative picture +vanishes, and is replaced by a positive one, of a violet blue color, on +a greenish yellow ground, which at a certain time possesses a high +degree of sharpness, and singular beauty of tint. +</P> + +<P> +A curious process was discovered by Sir John Herschel, by which dormant +pictures are produced capable of developement by the breath, or by +keeping in a moist atmosphere. It is as follows. +</P> + +<P> +If nitrate of silver, specific gravity 1.200 be added to ferro-tartaric +acid, specific gravity 1.023, a precipitate falls, which is in a great +measure redissolved by a gentle heat, leaving a black sediment, which, +being cleared by subsidence, a liquid of a pale yellow color is +obtained, in which the further addition of the nitrate causes no +turbidness. When the total quantity of the nitrated solution added +amounts to about half the bulk of the ferro-tartaric acid, it is +enough. The liquid so prepared does not alter if kept in the dark. +Spread on paper, and exposed wet to the sunshine (partly shaded) for a +few seconds, no impression seems to be made, but by degrees, although +withdrawn from the action of light, it developes itself spontaneously, +and at length becomes very intense. But if the paper be thoroughly +dried in the dark, (in which state it is of a very pale greenish yellow +color,) it possesses the singular property of receiving a dormant or +invisible picture, to produce which from thirty to sixty seconds' +exposure to sunshine is requisite. It should not be exposed too long, +as not only is the ultimate effect less striking, but a picture begins +to be visibly produced, which darkens spontaneously after it is +withdrawn. But if the exposure be discontinued before this effect +comes on, an invisible impression is the result, to develope which all +that is necessary is to breathe upon it, when it immediately appears, +and very speedily acquires an extraordinary intensity and sharpness, as +if by magic. Instead of the breath, it may be subject to the regular +action of aqueous vapor, by laying it in a blotting paper book, of +which some of the outer leaves on both sides have been dampened, or by +holding over warm water. +</P> + +<BR> + +<H3> +II. ENERGIATYPE. +</H3> + +<P> +Under this title a process has been brought forward by Mr. Hunt. It +consists of the application of a solution of succinic acid to paper, +which is subsequently washed over with nitrate of silver. The image is +then to be taken either in the camera or otherwise, as required, and is +brought out by the application of the sulphate of iron in solution. +Although this process has not come into general use, its exact +description may be interesting to the general reader, and we therefore +subjoin it. +</P> + +<P> +The solution with which the paper is first washed is to be prepared as +follows: succinic acid, two drachms; common salt, five grains; +mucilage of gum arabic, half a fluid drachm; distilled water, one fluid +drachm and a half. When the paper is nearly dry, it is to be brushed +over with a solution of nitrate of silver, containing a drachm of the +salt, to an ounce of distilled water. It is now ready for exposure in +the camera. To bring out the dormant picture it is necessary to wash +it with a mixture of a drachm of concentrated solution of the green +sulphate of iron and two drachms and a half of mucilage of gum arabic. +</P> + +<P> +Subsequently, however, it has been found that the sulphate of iron +produces upon all the salts of silver effects quite as beautiful as in +the succinate. On the iodide, bromide, acetate, and benzoate, the +effects are far more pleasing and striking. When pictures are +produced, or the dormant camera image brought out, by the agency of +sulphate of iron, it is remarkable how rapidly the effect takes place. +Engravings can be thus copied almost instantaneously, and camera views +obtained in one or two minutes on almost any preparation of silver. +The common sulphate of copper solution has the same property. +</P> + +<BR> + +<H3> +III. CHROMATYPE. +</H3> + +<P> +Many efforts have been made to render chromatic acid an active agent in +the production of photographs. M. Ponton used a paper saturated with +bichromate of potash, and this was one of the earliest photogenic +processes. M. Becquerel improved upon this process by sizing the paper +with starch previous to the application of the bichromate of potash +solution, which enabled him to convert the negative picture into a +positive one, by the use of a solution of iodine, which combined with +that portion of the starch on which the light had not acted. But by +neither of these processes could clear and distinct pictures be formed. +Mr. Hunt has, however, discovered a process which is so exceedingly +simple, and the resulting pictures of so pleasing a character, that, +although it is not sufficiently sensitive for use in the camera, it +will be found of the greatest value for copying botanical specimens, +engravings, or the like. +</P> + +<P> +The paper to be prepared is washed over with a solution of sulphate of +copper--about one drachm to an ounce of water--and partially dried; it +is then washed with a moderately strong solution of bichromate of +potash, and dried at a little distance from the fire. Paper thus +prepared may be kept any length of time, in a portfolio, and are always +ready for use. +</P> + +<P> +When exposed to the sunshine for a time, varying with the intensity of +the light, from five to fifteen or twenty minutes, the result is +generally a negative picture. It is now to be washed over with a +solution of nitrate of silver, which immediately produces a very +beautiful deep orange picture upon a light dim colored, or sometimes +perfectly white ground. This picture must be quickly fixed, by being +washed in pure water, and dried. With regard to the strength of the +solutions, it is a remarkable fact, that, if saturated solutions be +employed, a negative picture is first produced, but if the solutions be +three or four times their bulk of water, the first action of the sun's +rays darkens the picture, and then a very bleaching effect follows, +giving an exceedingly faint positive picture, which is brought out with +great delicacy by the silver solution. +</P> + +<P> +It is necessary that pure water should be used for the fixing, as the +presence of any muriate damages the picture, and here arises another +pleasing variation of the Chromatype. If the positive picture be +placed in a very weak solution of common salt the image slowly fades +out, leaving a faint negative outline. If it now be removed from the +saline solution, dried, and again exposed to sunshine, a positive +picture of a lilac color will be produced by a few minutes exposure. +Several other of the chromates may be used in this process, but none is +so successful as the chromate of copper. +</P> + +<BR> + +<H3> +IV. ANTHOTYPE. +</H3> + +<P> +The expressed juice, alcoholic, or watery infusion of flowers, or +vegetable substances, may be made the media of photogenic action. This +fact was first discovered by Sir John Herschel. We have already given +a few examples of this in the third chapter. +</P> + +<P> +Certain precautions are necessary in extracting the coloring matter of +flowers. The petals of fresh flowers are carefully selected, and +crushed to a pulp in a marble mortar, either alone or with the addition +of a little alcohol, and the juice expressed by squeezing the pulp in a +clean linen or cotton cloth. It is then to be spread upon paper with a +flat brush, and dried in the air without artificial heat. If alcohol +be not added, the application on paper must be performed immediately, +as the air (even in a few minutes), irrecoverably changes or destroys +their color. If alcohol be present this change is much retarded, and +in some cases is entirely prevented. +</P> + +<P> +Most flowers give out their coloring matter to alcohol or water. Some, +however, refuse to do so, and require the addition of alkalies, others +of acid, &c. Alcohol has, however, been found to enfeeble, and in many +cases to discharge altogether these colors; but they are, in most +cases, restored upon drying, when spread over paper. Papers tinged +with vegetable colors must always be kept in the dark, and perfectly +dry. +</P> + +<P> +The color of a flower is by no means always, or usually, that which its +expressed juice imparts to white paper. Sir John Herschel attributes +these changes to the escape of carbonic acid in some cases; to a +chemical alteration, depending upon the absorption of oxygen, in +others; and again in others, especially where the expressed juice +coagulates on standing, to a loss of vitality, or disorganization of +the molecules. To secure an eveness of tint on paper, the following +manipulation is recommended:--The paper should be moistened on the back +by sponging and blotting off. It should then be pinned on a board, the +moist side downwards, so that two of its edges (suppose the right-hand +and lower ones) shall project a little beyond those of the board. The +board then being inclined twenty or thirty degrees to the horizon, the +alcoholic tincture (mixed with a very little water, if the petals +themselves be not very juicy) is to be applied with a brush in strokes +from left to right, taking care not to go over the edges which rest on +the board; but to pass clearly over those that project; and observing +also to carry the tint from below upwards by quick sweeping strokes, +leaving no dry spaces between them, but keeping up a continuity of wet +spaces. When all is wet, cross them by another set of strokes from +above downwards, so managing the brush as to leave no floating liquid +on the paper. It must then be dried as quickly as possible over a +stove, or in a warm current of air, avoiding, however, such heat as may +injure the tint. +</P> + +<P> +In addition to the flowers already mentioned in my third chapter, the +following are among those experimented upon and found to give tolerable +good photographic sensitives. I can only enumerate them, referring the +student, for any further information he may desire on the subject, to +Mr. Hunt's work; although what I have said above is sufficient for all +practical purposes; and any one, with the ambition, can readily +experiment upon them, without further research, on any other flower he +may choose. +</P> + +<P> +Viola Odorata--or sweet sented violet, yields to alcohol a rich blue +color, which it imparts in high perfection to paper +</P> + +<P> +Senecio Splendens--or double purple groundsel, yields a beautiful color +to paper. +</P> + +<P> +The leaves of the laurel, common cabbage, and the grasses, are found +sufficiently sensitive. +</P> + +<P> +Common Merrigold yields an invaluable faecula, which appears identical +with that produced by the Wall-flower, and Cochorus japonica mentioned +before, and is very sensitive, but photographs procured upon it cannot +be preserved, the color is so fugitive. +</P> + +<P> +From an examination of the researches of Sir John Herschel on the +coloring matter of plants, it will be seen that the action of the sun's +rays is to destroy the color, effecting a sort of chromatic analysis, +in which two distinct elements of color are separated, by destroying +the one and leaving the other outstanding. The action is confined +within the visible spectrum, and thus a broad distinction is exhibited +between the action of the sun's rays on vegetable juices and on +argentine compounds, the latter being most sensibly affected by the +invisible rays beyond the violet. +</P> + +<P> +It may also be observed, that the rays effective in destroying a given +tint, are in a great many cases, those whose union produces a color +complementary to the tint destroyed, or, at least, one belonging to +that class of colors to which such complementary tint may be preferred. +For instance, yellows tending towards orange are destroyed with more +energy by the blue rays; blues by the red, orange and yellow rays; +purples and pinks by yellow and green rays. +</P> + +<BR> + +<H3> +V. AMPHITYPE. +</H3> + +<P> +This process is a discovery of Sir John Herschel and receives its name +from the fact that both negative and positive photographs can be +produced by one process. The positive pictures obtained by it have a +perfect resemblance to impressions of engravings with common printer's +ink. The process, although not yet fully carried out, promises to be +of vast utility. +</P> + +<P> +Paper proper for producing an amphitype picture may be prepared either +with the ferro-tartrate or the ferro-citrate of the protoxide, or the +peroxide of mercury, or of the protoxide of lead, by using creams of +these salts, or by successive applications of the nitrates of the +respective oxides, singly or in mixture, to the paper, alternating with +solutions of the ammonia-tartrate or the ammonia-citrate of iron, the +latter solution being last applied, and in more or less excess. I +purposely avoid stating proportions, as I have not yet been able to fix +upon any which certainly succeed. Paper so prepared and dried takes a +negative picture, in a time varying from half an hour to five or six +hours, according to the intensity of the light; and the impression +produced varies in apparent force from a faint and hardly perceptible +picture to one of the highest conceivable fulness and richness both of +tint and detail, the color being in this case a superb velvety brown. +This extreme richness of effect is not produced unless lead be present, +either in the ingredients used, or in the paper itself. It is not, as +I originally supposed, due to the presence of free tartaric acid. The +pictures in this state are not permanent. They fade in the dark, +though with very different degrees of rapidity, some (especially if +free tartaric or citric acid be present) in a few days, while others +remain for weeks unimpaired, and require whole years for their total +obliteration. But though entirely faded out in appearance, the picture +is only rendered dormant, and may be restored, changing its character +from negative to positive, and its colors from brown to black, (in the +shadows), by the following process:--A bath being prepared by pouring a +small quantity of solution of pernitrate of mercury into a large +quantity of water, and letting the subnitrated precipitates subside, +the picture may be immersed in it, (carefully and repeatedly clearing +off all air bubbles,) and allowed to remain till the picture (if any +where visible,) is entirely destroyed; or if faded, till it is judged +sufficient from previous experience; a term which is often marked by +the appearance of a feeble positive picture, of a bright yellow hue, on +the pale yellow ground of the paper. A long time (several weeks) is +often required for this, but heat accelerates the action, and it is +often completed in a few hours. In this state the picture is to be +very thoroughly rinsed and soaked in pure warm water, and then dried. +It is then to be well ironed with a smooth iron, heated so as barely +not to injure the paper, placing it, for greater security against +scorching, between clean smooth paper. If then the process have been +successful, a perfectly black positive picture is at once developed. +At first it most commonly happens that the whole picture is sooty or +dingy to such a degree that it is condemned as spoiled, but on keeping +it between the leaves of a book, especially in a moist atmosphere, by +extremely slow degrees this dinginess disappears, and the picture +disengages itself with continually increasing sharpness and clearness, +and acquires the exact effect of a copper-plate engraving on a paper +more or less tinted with a pale yellow. +</P> + +<P> +I ought to observe, that the best and most uniform specimens which I +have procured have been on paper previously washed with certain +preparations of uric acid, which is a very remarkable and powerful +photographic element. The intensity of the original negative picture +is no criterion of what may be expected in the positive. It is from +the production by one and the same action of light, of either a +positive or negative picture according to the subsequent manipulations, +that I have designated the process, thus generally sketched out, by the +term Amphitype,--a name suggested by Mr. Talbot, to whom I communicated +this singular result; and to this process or class of processes (which +I cannot doubt when pursued will lead to some very beautiful results,) +I propose to restrict the name in question, though it applies even more +appropriately to the following exceedingly curious and remarkable one, +in which silver is concerned: +</P> + +<P> +At the last meeting I announced a mode of producing, by means of a +solution of silver, in conjunction with ferro-tartaric acid, a dormant +picture brought into a forcible negative impression by the breath or +moist air. (See Cyanotype.) The solution then described, and which had +at that time been prepared some weeks, I may here incidentally remark, +has retained its limpidity and photogenic properties, quite unimpaired +during the whole year since elapsed, and is now as sensitive as +ever,--a property of no small value. Now, when a picture (for example +an impression from an engraving) is taken on paper washed with this +solution, it shows no sign of a picture on its back, whether that on +its face is developed or not; but if, while the actinic influence is +still fresh upon the face, (i.e., as soon as it is removed from the +light), the back be exposed for a very few seconds to the sunshine, and +then removed to a gloomy place, a positive picture, the exact +complement of the negative one on the other side, though wanting of +course in sharpness if the paper be thick, slowly and gradually makes +its appearance there, and in half an hour or an hour acquires a +considerable intensity. I ought to mention that the "ferro-tartaric +acid" in question is prepared by precipitating the ferro-tartrate of +ammonia (ammonia-tartrate of iron) by acetate of lead, and decomposing +the precipitate by dilute sulphuric acid. When lead is used in the +preparation of Amphitype paper, the parts upon which the light has +acted are found to be in a very high degree rendered water proof.--Sir +J. Herschel. +</P> + +<P> +This process is a new invention of our countryman, J. A. Whipple, Esq., +of Boston, and has been patented by M. A. Root, Esq., of Philadelphia. +It will be seen, however, from the previous pages of my work that Mr. +Root is mistaken in regard to his being the first improvement patented +in this country, although it is unquestionably the first by an +American. Of this improvement Mr. Root says: +</P> + +<BR> + +<H3> +VI. "CRAYON DAGUERREOTYPE." +</H3> + +<P> +"The improvement to which you refer is denominated "The Crayon +Daguerreotype." This invention made by Mr. J. A. Whipple, is the only +improvement in Daguerreotyping, I believe, for which Letters Patent for +the United States were ever issued. The pictures produced by this +process--which is of the simplest description imaginable--have the +appearance and effect of very fine "Crayon Drawings," from which the +improvement takes its name. Some of our most distinguished artists +have given it their unqualified admiration. Among them, our Mezzotinto +Engravers, especially John Sartain, Esq., who, from his rich +embellishments to most of the leading Magazines and Annuals of the +country, as well as from the celebrity of the superb Magazine which +bears his name, is so well known and so well qualified to judge of its +merits. As an auxiliary to the artist, in furnishing heads to the +Magazines, or other works, it is invaluable; the great object which it +accomplishes being to give a finer effect and more distinct expression +to all the features--the whole power of the instrument being directed +to, and confined to the head." +</P> + +<P> +"The late hour at which this subject has been brought to our notice +prevents so full a description as we would otherwise have been glad to +furnish. The New England States have been disposed of; negotiations +for any of the others can be made through M. A. Root, 140 Chestnut +street, Philadelphia." +</P> + +<P> +"A series of beautiful portraits are about being prepared by the +"Crayton Process" for the express purpose of being placed on the +exhibition at the "Art Union," when amateurs, artists, and the public +generally will have an opportunity of witnessing its effect. We are +especially gratified with this striking improvement, from the +advantages which it promises to the Daguerrean art." +</P> + +<P> +"It is admirably designed to excite a new interest on the subject +through the community, and in this way--and from its tendency to render +the art more generally useful, and to elevate and distinguish it--to +make it to all a matter of more general importance." +</P> + +<P CLASS="noindent"> +"Yours respectfully,<BR> +"M. A. ROOT." +</P> + +<P> +In our second edition, we hope--with Mr. Root's permission--to lay the +whole process before the public, although our artists must bear in mind +that Mr. Root's patent secures to him the exclusive right of its +application. +</P> + +<BR><BR><BR> + +<A NAME="chap11"></A> +<H3 ALIGN="center"> +CHAP. XI. +</H3> + +<H3 ALIGN="center"> +ON THE PROBABILITY OF PRODUCING COLORED PICTURES BY THE SOLAR +RADIATIONS--PHOTOGRAPHIC DEVIATIONS--LUNAR PICTURES--DRUMMOND LIGHT. +</H3> + +<P> +Having before noticed the fact that some advances had been made towards +taking Daguerreotypes in color, by means of solar rays, and expressed +the hope that the day was not far distant when this might be +accomplished, I here subjoin Mr. Hunt's remarks on this subject. +</P> + +<P> +Mr. Biot, in 1840, speaking of Mr. Fox Talbot's beautiful calotype +pictures, considers as an illusion "the hope to reconcile, not only the +intensity but the tints of the chemical impressions produced by +radiations, with the colors of the object from which these radiations +emanated." It is true that three years have passed away, and we have +not yet produced colored images; yet I am not inclined to consider the +hope as entirely illusive. +</P> + +<P> +It must be remembered that the color of bodies depends entirely upon +the arrangement of their molecules. We have numerous very beautiful +experiments in proof of this. The bi-niodide of mercury is a fine +scarlet when precipitated. If this precipitate is heated between +plates of glass, it is converted into crystals of a fine sulphur +yellow, which remain of that color if undisturbed, but which becomes +very speedily scarlet if touched with any pointed instrument. This +very curious optical phenomena has been investigated by Mr. Talbot and +by Mr. Warrington. Perfectly dry sulphate of copper is white; the +slightest moisture turns it blue. Muriate of cobalt is of a pale pink +color; a very slight heat, by removing a little moisture, changes it to +a green. These are a few instances selected from many which might be +given. +</P> + +<P> +If we receive a prismatic spectrum on some papers, we have evidence +that the molecular or chemical disturbance bears some relation to the +color of each ray, or, in other words, that colored light so modifies +the action of ENERGIA that the impression it makes is in proportion to +the color of the light it accompanies, and hence there results a +molecular arrangement capable of reflecting colors differently. Some +instances have been given in which the rays impressed correspond with +the colors of the luminous rays in a very remarkable manner.* One of +the most decided cases is that of the paper prepared with the fluoride +of soda and nitrate of silver. Sir John Herschel was, however, the +first to obtain any good specimens of photographically impressed +prismatic colorations. +</P> + +<P CLASS="footnote"> +* See Mr. Hunt's "Researches on Light." +</P> + +<P> +It was noticed by Daguerre that a red house gave a reddish image on his +iodized silver plate in the camera obscura; and Mr. Talbot observed, +very early in his researches, that the red of a colored print was +copied of a red color, on paper spread with the chloride of silver.** +</P> + +<P> +** In 1842, I had shown me a picture of a house in the Bowery, which +had been repaired a few days previous, and in the wall a red brick +left. This brick was brought out on the Daguerreotype plate of +precisely the same color as the brick itself. The same artist also +exhibited to me, the full length portrait of a gentleman who were a +pair of pantaloons having a blue striped figure. This blue stripe was +fully brought out, of the same color, in the picture.--AMER. ED. +</P> + +<P> +"In 1840 I communicated to Sir John Herschel some very curious results +obtained by the use of colored media, which he did me the honor of +publishing in one of his memoirs on the subject from which I again copy +it." +</P> + +<P> +"A paper prepared with muriate of barytes and nitrate of silver, +allowed to darken whilst wet in the sunshine to a chocolate color, was +placed under a frame containing a red, a yellow, a green, and a blue +glass. After a week's exposure to diffused light, it became red under +the red glass, a dirty yellow under the yellow glass, a dark green +under the green, and a light olive under the blue. +</P> + +<P> +"The above paper washed with a solution of salt of iodine, is very +sensitive to light, and gives a beautiful picture. A picture thus +taken was placed beneath the above glasses, and another beneath four +flat bottles containing colored fluids. In a few days, under the red +glass and fluid, the picture became a dark blue, under the yellow a +light blue, under the green it remained unchanged, whilst under the +blue it became a rose red, which in about three weeks changed into +green. Many other experiments of a similar nature have been tried +since that time with like results. +</P> + +<P> +"In the summer of 1843, when engaged in some experiments on papers +prepared according to the principles of Mr. Talbot's calotype, I had +placed in a camera obscura a paper prepared with the bromide of silver +and gallic acid. The camera embraced a picture of a clear blue sky, +stucco-fronted houses, and a green field. The paper was unavoidably +exposed for a longer period than was intended--about fifteen +minutes,--a very beautiful picture was impressed, which, when held +between the eye and the light, exhibited a curious order of colors. +The sky was of a crimson hue, the houses of a slaty blue, and the green +fields of a brick red tint. Surely these results appear to encourage +the hope, that we may eventually arrive at a process by which external +nature may be made to impress its images on prepared surfaces, in all +the beauty of their native coloration." +</P> + +<BR> + +<H3> +PHOTOGRAPHIC DEVIATIONS. +</H3> + +<P> +Before taking leave of the subject of photogenic drawing, I must +mention one or two facts, which may be of essential service to +operators. +</P> + +<P> +It has been observed by Daguerre, and others, in Europe, and probably +by some of our own artists, that the sun two hours after it has passed +the meridian, is much less effective in the photographic process, than +it is two hours previous to its having reached that point. This may +depend upon an absorptive power of the air, which may reasonably be +supposed to be more charged with vapor two hours before noon. The fuse +of the hygrometer may possibly establish the truth or falsity of this +supposition. The fact, however, of a better result being produced +before noon being established, persons wishing their portraits taken, +will see the advantage of obtaining an early sitting, if they wish good +pictures. On the other hand, if the supposition above mentioned prove +true, a too early sitting must be avoided. +</P> + +<P> +If we take a considerable thickness of a dense purple fluid, as, for +instance, a solution of the ammonia-sulphate of copper, we shall find +that the quantity of light is considerably diminished, at least +four-fifths of the luminous rays being absorbed, while the chemical +rays permeate it with the greatest facility, and sensitive preparations +are affected by its influence, notwithstanding the deficiency of light, +nearly as powerfully as if exposed to the undecomposed sunbeams. +</P> + +<P> +It was first imagined that under the brilliant sun and clear skies of +the south, photographic pictures would be produced with much greater +quickness than they could be in the atmosphere of Paris. It is found, +however, that a much longer time is required. Even in the clear and +beautiful light of the higher Alps, it has been proved that the +production of the photographic picture requires many minutes more, even +with the most sensitive preparations, than it does in London. It has +also been found that under the brilliant light of Mexico, twenty +minutes, and half an hour, are required to produce effects which in +England would occupy but a minute; and travellers engaged in copying +the antiquities of Yucatan have on several occasions abandoned the use +of the photographic camera, and taken to their sketch books. Dr. +Draper* has observed a similar difference between the chemical action +of light in New York and Virginia. This can be only explained by the +supposition that the intensity of the light and heat of these climes +interferes with the action of the ENERGIC rays on those sensitive +preparations which are employed. +</P> + +<P CLASS="footnote"> +* I would here take occasion to remark that our country man, Dr. +Draper, is very frequently quoted by Mr. Hunt in his "Researches." +</P> + +<BR> + +<H3> +LUNAR PICTURES--DRUMMOND LIGHT. +</H3> + +<P> +The Roman Astronomers state that they have procured Daguerreotype +impressions of the Nebula of the sword of Orion. Signor Rondini has a +secret method of receiving photographic images on lithographic stone; +on such a prepared stone they have succeeded in impressing an image of +the Nebula and its stars; "and from that stone they have been enabled +to take impressions on paper, unlimited in number, of singular beauty, +and of perfect precision." Experiments have, however, proved that "no +heating power exists in the moon's rays, and that lunar light will not +act chemically upon the iduret of silver." +</P> + +<P> +It was at one time supposed that terrestrial or artificial light +possessed no chemical rays, but this is incorrect--Mr. Brande +discovered that although the concentrated light of the moon, or the +light even of olefiant gas, however intense, had no effect on chloride +of silver, or on a mixture of chloride and hydrogen, yet the light +emitted by electerized charcoal blackens the salt. At the Royal +Polytechnic Institution pictures have been taken by means of sensitive +paper acted upon by the Drummond Light; but it must of course be +distinctly understood, that they are inferior to those taken by the +light of the sun, or diffused daylight. +</P> + +<P> +If our operators could manage to produce good pictures in this way they +would put money in their pockets, as many who cannot find time during +the day would resort to their rooms at night. I throw out the hint in +hopes some one will make the experiment. +</P> + +<P> +I have learned, since the above was written, that an operator in Boston +succeeded a short time since in procuring very good pictures by the aid +of the Drummond Light; but that the intensity of the light falling +directly upon the sitter's face caused great difficulty, and he +abandoned it. This may, probably, be remedied by interposing a screen +of very thin tissue paper tinged slightly of a bluish color. +</P> + +<BR><BR><BR> + +<A NAME="chap12"></A> +<H3 ALIGN="center"> +CHAP. XII. +</H3> + +<H3 ALIGN="center"> +ON COLORING DAGUERREOTYPES. +</H3> + +<P> +Nearly, if not quite all the various colors used in painting may be +made from the five primitive colors, black, white, blue, red and +yellow, but for the Daguerrean artist it would be the best policy to +obtain such as are required by their art already prepared. In a +majority of cases, the following will be found sufficient, viz. +</P> + +<P CLASS="noindent"> +Carmine.<BR> +Prussian Blue.<BR> +White.<BR> +Chrome Yellow, Gamboge, Yellow Ochre; or all three.*<BR> +*Gamboge is best for drapery; Ochre for the face.<BR> +Light Red.<BR> +Indigo.<BR> +Burnt Sienna.<BR> +Bistre, or Burnt Umber.<BR> +</P> + +<P> +If, in coloring any part of a lady's or gentleman's apparel, it is +found necessary to produce other tints and shades, the following +combinations may be used: +</P> + +<P> +Orange--Mix yellow with red, making it darker or lighter by using more +or less red. +</P> + +<P> +Purple--This is made with Prussian blue, or indigo and red. Carmine +and Prussian blue producing the richest color, which may be deepened in +the shadows by a slight addition of indigo or brown. +</P> + +<P> +Greens--Prussian blue and gamboge makes a very fine green, which may be +varied to suit the taste of the sitter or operator, by larger portions +of either, or by adding white, burnt sienna, indigo, and red, as the +case may require. These combinations, under different modifications, +give almost endless varieties of green. +</P> + +<P> +Brown--May be made of different shades of umber, carmine and lamp-black. +</P> + +<P> +Neutral tint--Is composed of indigo and lamp-black. +</P> + +<P> +Crimson--Mix carmine and white, deepening the shaded parts of the +picture with additional carmine. +</P> + +<P> +Flesh Color--The best representative of flesh color is light red, +brightened in the more glowing or warmer parts, with carmine, softened +off in the lighter portions with white, and shaded with purple and +burnt sienna. +</P> + +<P> +Lead Color--Mix indigo and white in proportions to suit. +</P> + +<P> +Scarlet--Carmine and light red. +</P> + +<P> +For Jewelry cups of gold and silver preparations accompany each box for +Daguerreotypists, or may be procured separately. +</P> + +<P> +The method of laying colors on Daguerreotypes is one of considerable +difficulty, inasmuch as they are used in the form of perfectly dry +impalpable powder. The author of this little work is now +experimenting, in order, if possible, to discover some more easy, +artistic and unexceptionable method. If successful, the result will be +published in a future edition. +</P> + +<P> +The rules we shall give for coloring Daguerreotypes depends, and are +founded, upon those observed in miniature painting, and are intended +more as hints to Daguerrean artists, in hopes of leading them to +attempt improvements, than as instructions wholly to be observed. +</P> + +<P> +The writer is confident that some compound or ingredient may yet be +discovered which, when mixed with the colors, will give a more +delicate, pleasing, and natural appearance to the picture than is +derived from the present mode of laying them on, which in his +estimation is more like plastering than coloring. +</P> + +<P> +IN COLORING DAGUERREOTYPES, the principal shades of the head are to be +made with bistre, mixed with burnt sienna, touching some places with a +mixture of carmine and indigo. The flesh tints are produced by the use +of light red, deepened towards the shaded parts with yellow ochre, blue +and carmine mixed with indigo, while the warmer, or more highly colored +parts have a slight excess of carmine or lake. Color the shades about +the mouth and neck with yellow ochre, blue, and a very little carmine, +heightening the color of the lips with carmine and light red, letting +the light red predominate on the upper, and the carmine on the lower +lip; the shades in the corner of the mouth being touched slightly with +burnt sienna, mixed with carmine. +</P> + +<P> +In coloring the eyes, the artist will of course be guided by nature, +observing a very delicate touch in laying on the colors, so as to +preserve as much transparency as possible. A slight touch of +blue--ultramarine would be best if it would adhere to the Daguerreotype +plate--in the whites of the eye near the iris, will produce a good +effect. +</P> + +<P> +In coloring the heads of men it will be necessary to use the darker +tints with more freedom, according to the complexion of the sitter. +For women, the warmer tints should predominate, and in order to give +that transparency so universal with the softer sex--and which gives so +much loveliness and beauty to the face--a little white may be +judiciously intermingled with the red tints about the lighter portions +of the face. +</P> + +<P> +In taking a picture of a lady with light or auburn hair, by the +Daguerrean process, much of the beauty of the face is destroyed, on +account of the imperfect manner in which light conveys the image of +light objects to the spectrum of the camera. This may be obviated in +some measure by proper coloring. To do this, touch the shaded parts +with burnt sienna and bistre, filling up the lighter portions with +yellow ochre, delicate touches of burnt sienna, and in those parts +which naturally have a bluish tint, add very delicate touches of +purple--so delicate in fact as hardly to be perceived. The roots of +the hair at the forehead should also be touched with blue, and the +eyebrows near the temples made of a pinkish tint. +</P> + +<P> +The chin of a woman is nearly of the same color as the cheeks in the +most glowing parts. In men it is stronger, and of a bluish tint, in +order to produce the effect given by the beard. +</P> + +<P> +In portraits of women--the middle tints on the side of the light, which +are perceived on the bosom and arms, are made of a slight mixture of +ochre, blue and lake, (or carmine), to which add, on the shaded sides, +ochre, bistre and purple, the latter in the darker parts. The tints of +the hands should be the same as the other parts of the flesh, the ends +of the fingers being a little pinkish and the nails of a violet hue. +If any portion of the fleshy parts is shaded by portions of the dress, +or by the position of the hand, this shade should be colored with umber +mixed with purple. +</P> + +<P> +TO COLOR THE DRAPERY.--Violet Velvet--Use purple made of Prussian blue +and carmine, touching up the shaded parts with indigo blue. +</P> + +<P> +Green Velvet--Mix Prussian blue and red-orpiment, shade with purple, +and touch up the lights with a little white. +</P> + +<P> +Red Velvet--Mix a very little brown with carmine, shading with purple, +marking the lights in the strongest parts with pure carmine, and touch +the most brilliant slightly with white. +</P> + +<P> +White Feathers--May be improved by delicately touching the shaded parts +with a little blue mixed with white. White muslin, linen, lace, satin, +silk, etc., may also be colored in the same way, being careful not to +lay the color on too heavily. +</P> + +<P> +FURS--Red Furs may be imitated by using light red and a little +masticot, shaded with umber. Gray Furs--black and white mixed and +shaded with bistre. Sable--white shaded lightly with yellow ochre. +</P> + +<P> +These few directions are quite sufficient for the art, and it is quite +unnecessary for me to pursue the subject further. I would, however, +remark that the Daguerreotypists would find it greatly to their +advantage to visit the studies of our best artists, our public +galleries of paintings, and statuary, and wherever else they can obtain +a sight of fine paintings, and study the various styles of coloring, +attitudes, folds of drapery and other points of the art. In coloring +Daguerreotypes, artists will find the magnifying glass of much +advantage in detecting any imperfections in the plate or in the image, +which may be remedied by the brush. In selecting brushes choose those +most susceptible of a fine point, which may be ascertained by wetting +them between the lips, or in a glass of water. +</P> + +<BR><BR><BR> + +<A NAME="chap13"></A> +<H3 ALIGN="center"> +CHAP. XIII. +</H3> + +<H3 ALIGN="center"> +THE PHOTOGRAPHOMETER. +</H3> + +<P> +The last number (for March, 1849) of the London Art-Journal, gives the +following description of a recent improvement in Photographic +Manipulation, and as I am desirous of furnishing everything new in the +art, I stop the press to add it, entire, to my work. +</P> + +<P> +"Since the photographic power of the solar rays bears no direct +relation to their luminous influence, it becomes a question of +considerable importance to those who practice the beautiful art of +photography, to have the means of readily measuring the ever changing +activity of this force. Several plans more or less successful, have +been devised by Sir John Herschel, Messrs. Jordan, Shaw and Hunt. The +instrument, however, which is now brought forward by Mr. Claudet, who +is well known as one of our most successful Daguerreotypists, appears +admirably suited to all those purposes which the practical man +requires. The great difficulty which continually annoys the +photographic amateur and artist, is the determination of the +sensibility of each tablet employed, relatively to the amount of +radiation, luminous and chemical, with which he is working. With the +photographometer of Mr. Claudet this is easily ascertained. The +following woodcuts and concise description will sufficiently indicate +this useful and simple apparatus. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_30.GIF" ALT="Fig. 30 (HIPHO_30.GIF)" BORDER=""> +</CENTER> + +<P> +"For an instrument of this kind it is important in the first place to +have a motion always uniform, without complicated or expensive +mechanism. This is obtained by means founded upon the principle of the +fall of bodies sliding down an inclined plane. The sensitive surface +is exposed to the light by the rapid and uniform passage of a metal +plate, A, B, (Fig. 31,) having openings of different length, which +follow a geometric progression. It is evident that the exposure to +light will be the same for each experiment, because the plate furnished +with the proportional openings falls always with the same rapidity, the +height of the fall being constant, and the angle of the inclined plane +the same. Each opening of this moveable plate allows the light to pass +during the same space of time, and the effect upon the sensitive +surface indicates exactly the intensity of the chemical rays. The +rapidity of the fall may be augmented or diminished by altering the +inclination of the plane by means of a graduated arc, C, D, (Fig. 30,) +furnished with a screw, E, by which it may be fixed at any angle. The +same result may be obtained by modifying the height of the fall or the +weight of the moveable plate. The photogenic surface, whether it be +the Daguerreotype plate, the Talbotype paper, or any other preparation +sensitive to light, is placed near the bottom of the inclined plane, F. +It is covered by a thin plate of metal, pierced with circular holes, +which correspond to the openings of the moveable plate at the moment of +the passage of the latter, during which the sensitive surface receives +the light wherever the circular holes leave it exposed. +</P> + +<CENTER> +<IMG SRC="images/HIPHO_31.GIF" ALT="Fig. 31 (HIPHO_31.GIF)" BORDER=""> +</CENTER> + +<P> +"The part of the apparatus which contains the sensitive surface is an +independent frame, and it slides from a dark box into an opening on the +side of the inclined plane. +</P> + +<P> +"A covering of black cloth impermeable to light is, attached to the +sides of the moveable plate, enveloping the whole inclined plane, +rolling freely over two rollers, R, R, placed the one at the upper and +the other at the lower part of the inclined plane. This cloth prevents +the light striking the sensitive surface before and after the passage +of the moveable plate. +</P> + +<P> +"It will be seen that this apparatus enables the experimentalist to +ascertain with great precision the exact length of time which is +required to produce a given amount of actinic change upon any sensitive +photographic surface, whether on metal or paper. Although at present +some calculation is necessary to determine the difference between the +time which is necessary for exposure in direct radiation, and to the +action of the secondary radiations of the camera obscura; this is, +however, a very simple matter, and it appears to us exceedingly easy to +adapt an instrument of this description to the camera itself. +</P> + +<P> +"By this instrument Mr. Claudet has already determined many very +important points. Among others, he has proved that on the most +sensitive Daguerreotype plate an exposure of .0001 part of a second is +sufficient to produce a decided effect. +</P> + +<P> +"Regarding photography as an auxiliary aid to the artist of no mean +value, we are pleased to record a description of an instrument which, +without being complicated, promises to be exceedingly useful. In this +opinion we are not singular; at a recent meeting of the Photographic +Club, to which this instrument was exhibited, it was with much real +satisfaction that we learned that several of our most eminent artists +were now eager and most successful students in Photography. The +beautiful productions of the more prominent members of this club +excited the admiration of all, particularly the copies of architectural +beauties, and small bits of landscape, by Messrs. Cundell and Owen. We +think that now the artist sees the advantage he may derive from the aid +of science, that both will gain by the union." +</P> + +<P> +I hope the above description will induce our townsman, Mr. Roach, to +successfully produce an instrument that will meet the wants of our +artists in that part of the Daguerrean process referred to. +</P> + +<BR><BR> + +<P CLASS="finis"> +FINIS. +</P> + +<BR><BR> + +<A NAME="index"></A> +<H3 ALIGN="center"> +INDEX. +</H3> + +<BR> + +<PRE> +Accelerating Liquids. 65 +Amphitype. 116 +Anthotype. 113 +Apparatus. Daguerreotype. 43 + Calotype 97 + Photogenic 87 +Application of Photogenic Drawing. 95 +Applying the Sensitive. 64 + +Bringing out the Picture. 71 +Bromine Box. 51 + Chloride of 68 + Roach's Tripple Compound of 67 + water. 65 +Bromide of Iodine. 67 + of Lime. 68 + Paper. 91 + of silver. 35 +Brushes. 88 +Buff Sticks. 60 + +Calotype process. 97 + paper. Exposure in Camera of 100 + Pictures. Bringing out ib. + Fixing 101 +Camera. Description of the 43 + Stand. 49 + Woodbridge's ib. + Calotype. 50 + Voigtlander 45 +Chloride of Bromine. 68 + of Gold. 36 + to make a solution of 75 + of Iodine. 66 + of Silver. 31 +Chromatype. 112 +Chrysotype. 106 +Cleaning and Polishing the plate. 61 +Coating Boxes. 51 +Color Boxes. 53 +Colored Daguerreotypes on Copper. 77 +Coloring the Picture. 76 + Daguerreotypes. 129 +Concave Mirrors. 19 +Convex Mirrors 19 +Corchorus Japonica. 37 +Crayon Daguerreotypes. 120 +Cyanotype 109 + +Daguerreotype Apparatus. 43 + Process. 61 + Plates. 62 +Daguerreotypes. Crayon 77 + on paper 81 +Dedication. iii +Definitions of terms used in optics, 15 +Different methods of preparing photogenic paper. 89 +Directions for use of Galvanic Battery. 58 +Distilled water 88 +Drummond light. 128 +Dry Sensitive. 68 +Drying apparatus. 72 + +Effects of light on bodies 25 +Energiatype 111 +Etching Daguerreotypes. 83 + +Fifth operation. Fixing the picture. 61 +First operation. Cleaning the plate 61 +Fluoric acid. 69 +Fourth operation-Bringing out the picture. 71 +Funnels. 53 + +Galvanic Battery. 57 + Solution for use of 58 +Gilding stand. 53 + the picture. 74 +Gold. Chloride of 36 + To make solution of 75 + Hyposulphite; or Salt of 74 + Preparation of. 36 +Gurney's Sensitive. 67 + +Head Rests. 57 +Hints and Suggestions. 39 +History of Photography. 3 +Hungarian Liquid. 69 +Hygrometers. 55 +Hyposulphite of Gold. 74 + of Soda. 28 + +Instantaneous pictures by means of Galvanism. 77 +Introduction. i +Iodine, Dry 64 + Chloride of 66 + Bromide of 67 + Box. 51 +Iodide of silver. 32 +Ioduret of silver. 33 +Iodize the Plate. To 64 +Iodized Paper for Calotypes. To prepare 98 + To prepare for the Camera ib. + +Lamps, Spirit 53 +Light. Theory on 14 + Motion of 16 + Reflection of 17 + Refraction of 20 + on bodies. Effects of 25 + Prismatic analysis of 22 +Lime, Bromide of 68 +Lunar Pictures. 127 + +Mead's Accelerator. 68 +Mercury Bath 50 + +Nitrate of Silver. 89 + +Oxide of Silver. 29 +On coloring Daguerreotypes 129 +On the probability of Producing colored Photographs. 123 + +Paper. blotting; or bibulous, 88 + Daguerreotypes. 81 + preparation of 89 + suitable for Photographs. 87 + Photogenic drawing on ib +Photographic principle, the 22 +Photographic process on paper. 92 + drawing. Application of 95 + To fix the 93 + deviations. 126 +Photographometer, The 135 +Plate Support. 59 + Blocks. 50 + Vice. 51 +Poppy, The Red 37 +Porcelain dishes. 59 +Positive Calotype 104 +Preface. v +Preparation of Iodized Paper. 98 + of Gold. 36 +Prismatic Spectrum. 22 + Analysis of Light. ib + +Reflection of Light. 17 +Refraction of Light. 20 +Roach's Tripple Compound of Bromine. 67 + +Sand Clock. 70 +Sealing paper. To make 77 +Second operation. 94 +Sensitive. ib +Silver. Bromide of 35 + Chloride of 31 + Iodide of 32 + Ioduret of 33 + Nitrate of 89 + Oxide of 28 + Solution of Chloride of 59 +Sixth operation. 74 +Soda Hyposulphite of 72 +Solar and Stellar Light. 21 +Still for purifying water, 54 +Submitting the Plate to the action of Light 69 +Synopsis of Mr. Hunt's Treatise on Light, 29 + +Talbotype Camera. 50 +Theory on Light. 14 +Third operation. 69 + +Wall Flower. 37 +</PRE> + +<BR><BR><BR><BR> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The History and Practice of the Art of +Photography, by Henry H. 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