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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..55bd490 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63814 (https://www.gutenberg.org/ebooks/63814) diff --git a/old/63814-0.txt b/old/63814-0.txt deleted file mode 100644 index 0d792a9..0000000 --- a/old/63814-0.txt +++ /dev/null @@ -1,1637 +0,0 @@ -The Project Gutenberg EBook of The Dry Collodion Process, by Charles Long - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Dry Collodion Process - -Author: Charles Long - -Release Date: November 20, 2020 [EBook #63814] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DRY COLLODION PROCESS *** - - - - -Produced by Tom Cosmas from images kindly made available -from The Internet Archive. All materials are placed in the -Public Domain. - - - - - - - - -Transcriber Note - -Text emphasis is denoted as _Italics_ and =Bold=. - - - - - THE DRY COLLODION PROCESS. - - - BY - - CHARLES A. LONG. - - - THIRD EDITION. - - PUBLISHED BY BLAND & LONG, OPTICIANS, - - AND - - PHOTOGRAPHIC INSTRUMENT MAKERS TO HER MAJESTY, - - [Illustration] - - BY APPOINTMENT. - - 153, FLEET STREET, LONDON. - - - ENTERED AT STATIONERS' HALL, - - _Price 1s. Per Post 1s. 1d._ - - 1858. - - - H. SILVERLOCK, PRINTER, - WARDROBE TERRACE, DOCTORS' COMMONS, LONDON, E.C. - - - - - -PREFACE TO FIRST EDITION. - - -The following pages shall be devoted to the description of -a process on Dry Collodion, which I believe to be at once simple and -effective. The experiments connected with the perfection of this -process have occupied my leisure time for the space of two years -or more, and have been conducted with all the care of which I was -master. The constant repetition of them enables me to say, that -whoever will follow diligently the process step by step, as detailed -in this Pamphlet, must succeed in producing pictures in every way -such as could be required by the most exacting critic. - -The process is simple, clean, and expeditious; and the resulting -Negatives possess the exquisite softness of Albumen, the brilliancy -of the wet Collodion, and the fine artistic texture of the Paper -process. - -To disarm criticism, and to make peace with my fellow labourers in -the art, I wish it to be understood that I do not claim the use of -Collodion, of Gelatine, of Metagelatine, or of any of the Chemicals -used in the process--most of these have been employed by others in -various ways; I merely reserve to myself the pleasure of placing -in the hands of Photographers a definite and simple plan by which -pictures may be taken on Dry Collodion. - - CHARLES A. LONG. - - _June 20, 1857._ - - - - -PREFACE TO SECOND EDITION. - - -In issuing a second edition of the Dry Collodion process, -I would take occasion to remark, that after some months' practical -working, it has not been found necessary to make any material -alteration in the process; success has usually attended the adoption -of it, and in those cases where good pictures have not resulted, the -failure has always been traced to the use of a Collodion not suited -to the process. - -I cannot allow this opportunity to pass, without thanking those -gentlemen whose opinions possess weight in matters photographic, for -the very candid manner in which they have tested the capabilities of -my process, and for the very flattering testimony they have borne to -its efficiency, simplicity, and certainty. - - CHARLES A. LONG. - - 153, Fleet Street, - - _September 1857_. - - - - -PREFACE TO THIRD EDITION. - - -The process described in the following pages has now been -in use for twelve months, and I have much satisfaction in stating -that it has, in almost every instance where it has been adopted and -carried out with care and attention, yielded results which leave -scarcely anything to be desired. - -The present Edition might more properly be termed a reprint, as the -alterations in the text do not extend to more than a few matters of -detail, which experience has shewn to be desirable, the principles of -the process remaining undisturbed. - - CHARLES A. LONG. - - 153, Fleet Street, - - _June 1858_. - - - - -OPINIONS OF THE PRESS. - - -_From the Athenæum._ - -We have not merely examined the description given by Mr. Long of his -dry collodion process, but we have witnessed the results obtained by -following carefully his directions. It appears to us that, by it, a -collodion plate may be prepared at home, wrapped in paper, and packed -in portmanteau; that we may journey to Rome or Venice, then place -our plate in the camera obscura, and allow it for a few minutes to -receive the luminous image; remove it in a dark room; re-pack it -and trouble ourselves no more about it until our return to England; -when, in the room in which it was prepared, we may witness the magic -process of development, and rejoice that we have, without much -labour, secured a picture of the Coliseum or of the Bridge of Sighs. - - -_From the Journal of the Cambrian Archæological Association._ - -New Photographic Process.--Mr. Long, of the firm of -Bland and Long, Opticians, Fleet Street, has recently put forth a -valuable pamphlet, in the form of an essay on the dry collodion -process. By means of this, plates prepared weeks beforehand may -be exposed to objects, and then kept for weeks afterwards before -they are developed, as he has proved it himself on the Continent. -The advantage of this process to travellers, and especially to -archæologists, is immense; because hitherto the main drawback upon -photography has been the trouble and expense of carrying chemicals, -tents, &c. &c., besides the camera, with its lenses, to the scene of -operation. Now, however, it will be sufficient to carry merely the -camera, with a suitable supply of plates prepared according to this -process. The observer can then, by merely exposing his plates, with -the proper precautions, _bag_ any number of views per diem, and on -his return home can develop them--or have them developed--at leisure. -If this process succeeds, it will have the effect of splitting -photography into two distinct branches--the _æsthetic_, and the -_practical_. The former will fall to the share of the intelligent -observer, the traveller, the man of taste, who will go and search -for objects, combine them, or use them, under the most favourable -æsthetic circumstances, and then will carry them home to be handed -over to the man of practice. Once in his hands, nothing will remain -but to manipulate the plates according to the rules of photographic -science, by means of all the best appliances that a well fitted -laboratory can furnish. One branch will feed the other. One will be -the department of observation, of search, of taste, of beauty; the -other will be that of calm scientific development, of improvement, -of preservation. One man will be like the artist who paints; the -other like the artist who engraves. One will be like the author, the -man who writes; the other like the printer, the man who perpetuates. -We recommend members to enquire carefully about this new process; -because if it becomes firmly established, any archæologist moving -about the Country may get views of churches, castles, cromlechs, -meini-hirion, seals, &c. &c., _usque ad satietatum_--we had almost -said _ad nauseam_; but that word can never be connected with -archæology! The upshot of this is,--"Read Mr. Long's pamphlet, and -set up a portable camera with his prepared plates, as we intend doing -ourselves!" - - -_From the Liverpool and Manchester Photographic Journal._ - -We must advise all who are interested in dry processes to obtain Mr. -Long's clearly written pamphlet. (Leader, July 15th, 1857.) - - -_Extract from Proceedings of Charlton Photographic Society, October -8th, 1857. Paper by Mr. Hooper,--On the results of his experience in -the practice of several Preservative Processes._ - -I commenced experimenting on the process of Mr. Long. The success I -have met with from the first has convinced me that that process will -ere long be generally adopted: the plates being easily and quickly -prepared, and keeping well, is a great advantage. - - -_Extract from Letter from G. R. Smith, Esq., to the Editor of the -London Photographic Journal, Sept 21, 1857._ - -My tour of a fortnight's duration having ended, I returned to London, -and began developing (the dry plates). To my great delight, I found -all Mr. Long had said in favour of his process fully realized. -Picture after picture (I took twenty-eight) came out with great -beauty, and so far as the process is concerned, I have not had a -single failure. - - -_Mr. Long's Dry Collodion Process._ - -_Letter from Robert Hunt, Esq., F.R.S., to the Editor of the London -Photographic Journal, October, 1857._ - - 6, Green's Row, Chelsea. - -Sir,--It is due to Mr. Long that I should state what my experience -has been with his dry collodion plates, and I feel much satisfaction -in doing so, being enabled fully to confirm all that Mr. Smith has -said respecting the dry plates prepared as he has described (Photo. -Journ. Sept. 21). On the 26th of August, Mr. Long, at my request, -furnished me with some of his dry collodion plates. Absence from -London, and the press of official engagements, prevented my trying -any experiments with those plates until the 30th of September. -Although the weather was very unfavourable, the result was superior -to my expectations. On the 7th of October, at four in the afternoon, -when the sky was covered with clouds and the weather stormy, I -exposed a plate in the camera obscura for ten minutes to the dark -brick building, Chelsea Hospital. I enclose you a positive print from -the result of this experiment. When we remember that the sensitive -plate had been kept by me for a period of _forty-two days_, and then -exposed under very unfavourable circumstances, I think you will admit -that the result is satisfactory. I should not content myself with -this trial, but that I am again compelled to leave London for a long -period, and I shall have no other opportunity of testing these plates -for this year. I feel convinced that the traveller might with perfect -safety use plates which have been prepared for a month, and thus -relieve himself from much labour and frequent annoyance, by the use -of Mr. Long's process. - - Robert Hunt. - - -_From the Illustrated London News, January 9, 1858._ - -It is but a few years since, when we heard with surprise, and -some incredulity, that light could be made to delineate images of -external objects upon chemically prepared tablets placed in the -camera obscura,--now photography stares us in the face at every -corner,--that which was wonderful has become familiar,--that which -was mysterious is singularly common. - -In cities, we see glass houses, on at least one roof in every -street,--in villages, caravans, with Brown and Jones, photographers, -are regularly found,--on the hills we discover the tent, and in the -valleys the camera,--by the river-side there is the mysterious head -hidden in the dark curtains of a dark box,--and upon the sea-shore -the tripod-stand is securely fixed in the sands, and a biped is -evidently focusing for the next fine ocean wave,--the sketcher has -fled to his own especial solitudes, and the photographer has usurped -his place. - -It has been said of the most recent photographic processes, as was -well said of the octo-syllabic verse, that it possesses "unfortunate -facilities." This is true in many respects of the positive collodion -process, by which the myriads of sad reflections on humanity are -perpetrated. Not so, however, is it with the negative process, by -which alone we can multiply the beautiful things which the solar -pencil traces with such fidelity. The labour attendant upon a -photographic tour is great, and real enthusiasm alone carries the -amateur forward. The camera obscura and the stand are a burden, and -with the tent and chemical box, they become a real load. Then there -is the uncertainty attendant upon the processes. We deal with the -nicest chemical adjustments. The balance is arranged with caution for -a certain set of conditions,--alter but one of these, and all goes -wrong. We leave home in the morning, we work in the dark all day, and -we return jaded at night, to find we have obtained--nothing. - -Sensitive as the collodion process is, and charming as are the -results, when all goes on successfully, it has not hitherto been -a process which can be practised out of doors, without many -extraordinary, expensive, and troublesome appliances. - -It is, therefore, with very much satisfaction that we have watched -the progress of the so-called "dry collodion processes." Nearly -all the processes that have been published,--the "gelatine,"--the -"oxymel,"--the "glycerine," and others,--have much that is excellent -in them; but it appears to us that a dry collodion process devised by -Mr. Long, of which he has recently published a description, is more -simple and effective than any other. We have seen beautiful pictures -obtained in Belgium upon plates prepared in England, and which plates -were brought to this country again before the pictures were developed. - -Any man may, previously to starting on his journey, prepare, or -purchase prepared, a stock of glass plates. Armed with these and his -camera, he may proceed to - - "Where the bleak Swiss their stormy mansion tread. - And force a churlish soil for scanty bread;" - -or to that - - "------sea Cybele fresh from ocean - Rising with her tiara of proud towers,"-- - -and, resting on his way, he may adjust his camera and his plate, and -in the few minutes which, under any circumstances, he would spend in -observation, he secures a picture for future study,--a photograph to -give him pleasure in the quiet of his home. - -Mr. Long has published a little treatise, with which we head this -article, and by following out the simple directions which he gives, -all may succeed in obtaining the important desideratum,--a parcel -of highly sensitive plates, which can be packed in paper and stowed -away in a portmanteau, to be drawn out as occasion may require, to -be returned again to the same package (without having any of the -annoyances attendant upon a box of liquid chemicals), and a plate -which can be kept with its dormant picture quite uninjured until the -photographer, on his arrival home, at his perfect leisure, in his own -operating room, can develop the photograph which he has obtained. - -Such are the facilities offered by this improvement, that we may -expect almost every traveller will avail himself of it, and thus -secure for his own portfolio, and the portfolios of his friends, -views of scenes hallowed by their historical association,--of ruins -rendered sacred from the sacred memories which still wrap them in -their shadows, as the mantling ivy clothes their crumbling walls. - - - - - THE - - =DRY COLLODION PROCESS.= - - -Before describing in detail the manipulations of the process -on Dry Collodion plates, it will be necessary to say a few words -on the materials and apparatus to be employed, and also to give an -account of the means of preparing the various solutions used in the -process. First, - - -THE COLLODION. - -This being the principal material we have to use, we must exercise -great care in the selection of a sample that possesses all the -characteristics which fit it for a dry process. We must reject all -samples that possess great tenacity and contractile power: the -Collodion must not be too thick, and it must flow evenly over the -plate, and not set in ridges. The best condition for the Iodized -Collodion is that known as _powdery_, that is, being spread on the -plate and partially dry, it cannot be removed as a film, but crumbles -up on being pressed by the finger in its passage across the plate; in -fact, such a condition as would arise from using gun cotton prepared -with acids at a high temperature. - -The following formula will be found to answer most admirably: - - Gun Cotton 60 grains. - Absolute Alcohol 5 ounces. - Sulphuric Æther, sp. gr. ·730 15 ounces. - -The cotton is to be shaken up with the mixture of alcohol and æther, -and when dissolved, the bottle containing it must be stood aside, in -order that any undissolved particles of cotton may subside. The clear -liquid may then be decanted into a clean bottle for use. - -It will be as well to test the quality of the Collodion thus prepared -before coating any number of plates with it, for, although the above -proportions are very excellent, some little latitude must be allowed -for the different degrees of solubility of the various samples of -cotton used from time to time. The film, when spread, on the glass -plate and partially dry, should not be capable of being removed in -the form of a skin, but should give before the finger and crumble up -on its being rubbed across the plate. - -Should any difficulty, however, occur, it would be better to obtain -a sample of the Collodion made by an experienced hand, in order that -a fair trial may be given to the process. If the Collodion be too -contractile it will give rise to blisters in the film, and will wash -off the plate during development. - -The Iodizing Solution that I have found to give the best -results in this process is made in the manner following:-- - - Absolute Alcohol 8 ounces. - Iodide of Cadmium 64 grains. - Iodide of Ammonium 64 grains. - -The iodides are to be dissolved by agitation in the alcohol, and the -resulting solution is to be carefully filtered, and preserved in a -well stoppered bottle. - -The Iodized Collodion consists of-- - - Iodizing Solution 2 drams } - } 1 ounce - Plain Collodion 6 drams } - -The Collodion should always be iodized at least twelve hours before -it is required; this interval allows any insoluble matters either -from the iodizing solution or from the Collodion itself to fall to -the bottom, and enables the operator to pour off the clear solution -into a perfectly clean bottle for use. - -Next in importance to the Iodized Collodion comes - - -THE PRESERVATIVE SOLUTION. - -Some care is required in the preparation of this solution, in order -that it may be clear and bright when finished, and not contain -particles that would be deposited in its passage over the Collodion -film when being used. The chief precaution to be observed is _not to -allow it to boil too rapidly, and not to conduct the operation over -too fierce a fire;_ attention to this will prevent many failures, -and ensure a solution in every way suited for the process. - -Take one ounce of the best transparent gelatine, and throw it into -a pipkin in which has been previously placed one pint of distilled -water; set this on a slow fire, or over a lamp, until the gelatine -is completely melted; then weigh out half ounce of pure citric acid -and dissolve it in two ounces of distilled water; add this to the -solution of gelatine, stirring it during the addition with a glass -rod. The solution in the pipkin is now to be gently boiled for about -half an hour: remove it from the fire, and add sufficient distilled -water to make up the bulk of liquid to one pint. When quite cold, the -liquid in the pipkin is to be filtered through two thicknesses of -pure white blotting paper into a bottle perfectly dry and clean. We -now add to every pint of filtered preservative solution, two ounces -of alcohol of the specific gravity of ·840. - -The solution thus prepared is ready for use, and should be of a pale -amber colour, without any signs of insoluble particles floating in -it; should any appear after it has been prepared for some days, a -second filtration will remove them, and render the liquid again -bright and clear. - -It will be found better to prepare this solution only in the quantity -indicated above, unless the consumption be large, for, although it -will keep good for a month or more, my experience points to the fact, -that the most successful results follow the use of Preservative -Solution freshly prepared. - - -THE NITRATE OF SILVER BATH. - -The bath for rendering the plates sensitive does not differ from that -recommended for taking negatives with wet Collodion. The formula for -its preparation may not be out of place, however, and may assist -those whose knowledge of the matter is not perfect. - - Nitrate of Silver (fused) 1¼ ounces. - Distilled Water 1 pint. - Iodide of Cadmium 3 grains. - -Dissolve the nitrate of silver in half the water and then add the -iodide of cadmium; thoroughly agitate the mixture for five or ten -minutes, then add ½ ounce of alcohol, sp. gr. ·840, and fill up -with the remaining half of the distilled water; further agitation, -and subsequent filtration through two thicknesses of white bibulous -paper, will put us in possession of a negative bath. The nitrate of -silver being fused, and consequently, pure and neutral, and as it is -essential to obtain clean pictures that the bath should be slightly -acid in its reaction, we find it necessary to add 5 or 6 minims or -drops of pure glacial acetic acid to a bath of 20 ounces, in order -that the above condition may obtain. - - -THE DEVELOPING SOLUTION - -Is very simple in its nature, being merely a saturated solution -of gallic acid in distilled water, to which has been added a small -proportion of alcohol of sp. gr. ·840. - -The exact formula is as follows:-- - - Distilled Water 1 pint. - Alcohol sp. gr. ·840 1 ounce. - Gallic Acid ½ ounce. - -The gallic acid will not be entirely dissolved, but that left at the -bottom of the bottle will ensure the solution being saturated; it is -better not to filter the developing solution until it is required -for use, as it is preferable to allow it to stand over an excess of -gallic acid, than for it to be withdrawn after a slight agitation -with the crystals; it is a great error to suppose that we obtain a -saturated solution of gallic acid by merely agitating the crystals -with water for a few moments. - -The developing solution prepared as above directed will keep good and -in working order for some weeks, but when it becomes of a dark color, -it would be safer to reject it and prepare a fresh quantity than to -run the risk of a failure from an impure and imperfect developing -agent. - - -NITRATE OF SILVER SOLUTION, - -For adding to the gallic acid during development, is composed of - - Fused Nitrate of Silver 30 grains. - Distilled Water 1 ounce. - - -THE FIXING SOLUTION - -Consists of a solution of hyposulphite of soda in water, (filtered,) -in the following proportion:-- - - Hyposulphite of Soda in crystals 8 ounces. - Rain or Filtered Water 1 pint. - -The Apparatus, &c. required in the Dry Collodion process is -of the most simple kind, and consist of the following items - - Glass plates. - Pneumatic plate holders. - Plate holder, for cleaning the plates. - Glass or porcelain dishes. - Glass or gutta percha dipping bath and dipper. - Silver hook, for lifting plates. - Levelling stand. - Measures, 1, 2, and 4 ounce. - Glass funnels. - Wash leather. - Some clean cloths and broad camel's hair brush. - Cotton wool. - Bibulous paper. - [A] The Chemicals are-- - Nitrate of silver (fused.) - Glacial acetic acid. - Iodized Collodion (dry.) - Gelatine. - Citric Acid. - Alcohol. - Sulphuric æther. - Gallic acid. - Hyposulphite of soda. - Iodide of cadmium. - Benzoin varnish. - -[A] The dry Collodion and the various solutions, ready for use, may -be obtained of the Publishers. - -In the above List we presume that the operator is in possession of a -suitable camera and lens, and the usual adjuncts of camera tripod, -&c. &c. These should all be of the best kind, otherwise it will be -impossible to obtain good results. - -[Illustration] - - -=THE MANIPULATION.= - -The process of obtaining a picture on Dry Collodion plates is in -itself a most simple and easy matter, but there are one or two -precautions that appear necessary to ensure success that cannot be -lightly neglected. In the first place, it is absolutely certain, -that if we want a clean and bright picture, we must have a plate -perfectly free from all extraneous matters, such as soap, grease, -&c. Various plans for cleaning the glass plate have been proposed, -all more or less successful, but in most of them there is one great -fault, namely, that of using a powder, as tripoli, rotten-stone, -&c. to rub off the dirt with. Now we find that in practice this -will not answer, from the almost impossibility of getting rid of -the floating particles of the powder when the plate is rendered -slightly electrical by rubbing, and as each of these particles if -it become enveloped in the Collodion film, would produce a spot on -the finished picture, we find it necessary to search in another -direction for a detergent for the glass plate to which this objection -would not apply. One soon presents itself in the form of _old waste -Collodion_--this spread on the glass plate and rubbed off again -with cotton wool, makes the best and most perfect cleanser hitherto -proposed, without any of the objections usually appended to other -materials used for the same purpose. - -The next precaution necessary to be observed is, that all the -solutions should be perfectly bright and clear; they should be -absolutely free from floating particles of any kind. This is -essential, as it is impossible to obtain clean pictures without -attention to it; the floating bodies in the solution settle on the -plate, and form so many nuclei, around which, in the development of -the picture, the silver is deposited in an opaque mass, forming spots -and blemishes on the surface of the plate. - -There is one precaution that cannot be dispensed with, and that -is, to be sure that the chemicals employed are of absolute purity; -without this, success is very problematical, and vexation and disgust -the sure reward of its neglect. - -The process may for convenience be divided into the following -stages:-- - - 1.--Cleaning the plate. - 2.--Coating it with Collodion. - 3.--Rendering the plate sensitive. - 4.--Applying the Preservative solution. - 5.--Exposure in the camera. - 6.--Development of the picture. - 7.--Fixing the developed image. - 8.--Varnishing the finished negative. - -CLEANING THE PLATE. - -[Illustration: _Fig. 1._] - -The glass plate is first to be thoroughly washed with an abundance -of water, and dried on clean cloths; it is then to be placed in the -plate holder (_Fig. 1_), and have poured over its upper side a -small quantity of old Collodion. Now take a tuft of cotton wool and -rub the Collodion all over the plate, giving the hand a circular -motion at the time: keep rubbing until the Collodion is very nearly -dry, then turn the plate in the holder and repeat the same treatment -with the opposite side; then lean the plate thus treated against a -wall, while another, or any number are put through this stage. When -a sufficient number have been so far cleaned, the plate holder is -to be carefully wiped, and the first plate--the edges of which have -also been carefully wiped with a _clean_ cloth--is to be replaced, -and treated with a smart rubbing with a wash leather, the operator -at intervals gently breathing on the plate. Both sides of the plate -being cleaned in this way, it may be removed, after again wiping the -edges carefully, to the plate box, to await the subsequent steps of -the process. Plates cleaned in this manner should look perfectly -transparent, and free from any marks of the cloth or leather, and -when breathed upon should condense the moisture of the breath in -one uniform degree over the whole surface. If patches of uneven -condensation appear, a repetition of the process must be had recourse -to. - -The plate being clean, we proceed to the next step, - - -COATING THE PLATE. - -Lay a piece of clean blotting paper on the table, larger than the -plate we are about to use; place the clean plate on this, and -then bring the pneumatic plate holder to bear on the centre of the -glass, making sure that it has laid hold firmly. We then raise the -plate with the left hand, and bring the surface upwards which was -previously on the blotting paper; it will no doubt be found that -small particles of dust have attached themselves to the plate, these -must be removed by a broad and soft camel's hair brush, kept for this -purpose only. - -[Illustration: _Fig. 2._] - -The Collodion is then to be poured on, as shown in the diagram (_Fig. -2_), and the superfluous quantity returned to the bottle from one of -the corners of the plate. It does not matter which of the corners is -used for this purpose, that which is most convenient to the operator -assuming the preference. If the Collodion should have a tendency to -set in ridges across the plate, a rocking motion, while the delivery -corner is in the mouth of the bottle, may be given to it, still -keeping the plate in a vertical plane. This will restore the film to -perfect evenness and freedom from irregularity of any sort. The plate -should be held in the vertical position for a few moments before -being placed on the dipper to undergo the next operation of - - -RENDERING THE PLATE SENSITIVE. - -[Illustration: _Fig. 3._] - -The plate being placed, coated side outwards, on the dipper, is to -be plunged without hesitation into the nitrate of silver bath (_Fig. -3_). This must be done without stopping, otherwise a line across the -plate will indicate, on development, the position of the plate in -the bath at the time this stoppage took place; so that if we were to -immerse the plate by a series of jerks, we should have as a result, -so many bands of unequal development in the finished picture; showing -the importance of plunging the plate into the bath without any -stoppage during its descent. - -[Illustration: _Fig. 4._] - -When the plate has rested for half a minute in the bath, it may be -withdrawn, and quickly re-immersed. This washing must be continued -at intervals, until the greasy appearance goes off, generally for -the space of two minutes, when the plate is to be taken out of the -bath and placed with its lower edge on a pad of blotting paper, in a -position as shown in the cut (_Fig. 4._) A fragment of blotting paper -is then to be used to absorb the moisture from the back of the plate, -and a pneumatic plate holder--which should only be used for this -purpose--is applied to it to form a support while - - -APPLYING THE PRESERVATIVE SOLUTION. - -[Illustration: _Fig. 5._] - -Taking the plate in the left hand by means of the pneumatic holder, -incline it as shown in the diagram (_Fig. 5_); then having poured -into a perfectly clean measure rather more of the preservative -solution than is necessary to cover the plate twice,[B] pour half of -it along the upper edge (A B) in such a manner, that a wave of the -solution may flow uniformly from one end of the plate to the other; -allow this to flow off into the waste pan or sink, and then bring the -plate to the horizontal position, and pour on the remainder of the -preservative solution, eight times at least, allowing it to flow -back into the measure from each corner in succession, in order that -the whole plate may be brought uniformly under its influence. The -plate is to be again placed on a piece of clean blotting paper (as -shown at _Fig. 4_), and its back once more wiped with a fragment of -blotting or papier Joseph, in order to remove any of the preservative -solution that may have run from the surface to the underside in the -previous operation. The plate thus preserved is to be reared on a -piece of blotting paper with its face against the wall until dry, and -is then to be stowed away in a plate box, perfectly light-tight to -await the - -[B] A plate, 9 inches by 7, takes about 1 ounce of solution. - - -EXPOSURE IN THE CAMERA. - -Collodion plates preserved as above directed, will keep perfectly -good and sensitive for 12 months at least; and from the appearance of -the developed image on a plate that has been kept that time, I see -at present no reason why, if preserved from the damp, they would not -keep indefinitely. In my experiments, I have never found the least -difference in sensitiveness, whether the plate be used within a few -hours of the time of its preparation, or has been kept for months; -until, however, we have had more experience in the matter, it would -be safer not to rely on plates more than 12 months old. - -The time of exposure in the camera, of course varies in this process, -under the same circumstances as it does with the wet Collodion; but -I have found as a general rule, that it is better to give the plate -a full exposure than to fall into the opposite extreme: that is to -say, it is preferable to expose the plate sufficient time for the -deepest shadows to make an impression than to close the dark slide -at an earlier period, the mode of development allowing considerable -latitude in this particular. With a 3-inch single lens, 16-inch -focus, with a ½-inch stop, the usual time for a bright landscape -will be about 5 minutes; this of course is merely an approximation -to the time of exposure, the exact time can only be arrived at by -experience. I do not think I can do better than follow the plan -adopted in my "Practical Photography," of giving instances of -under and over exposure, as a means of educating the tyro in the -appearances that result from these conditions of the plate. - -If the exposure has been of too short duration, the image will come -out under the developing solution with difficulty; and after a -continued immersion in it will only present the high lights, the deep -shadows not being represented, or, if so, in so faint a manner as to -be useless in the picture. - -An over exposed plate, when treated with the developing solution, -will almost immediately give indications of the picture; and in a -few minutes, the whole of the picture, _deep shadows and all_, will -come put in unnatural force; on looking through the picture thus -produced, we shall observe a great flatness in it, there is a want -of contrast between the various parts, and although by continuing -the development we might obtain a tolerably intense negative, the -resulting picture would be flat, meagre, and unsatisfactory: on the -contrary, a plate that has been exposed for the correct time, will -comport itself very differently under development from the foregoing. - -The sky and high lights will first appear, then the half tones, and -lastly, the parts of the picture that were in deep shadow will show -themselves; this effect should take place in about five minutes from -the time of immersion in the developing bath: a picture that comes -out sooner than this, is, as a general rule, over exposed; and one -that is much after the five minutes before it makes its appearance, -may be considered as under exposed. - -We trust that the above instances may be of service in indicating the -average time required for an exposure of the plate, but we must ask -the reader not to take the figures given as actual values, but merely -as very close approximations to the truth. We will imagine the plate -to have been properly exposed, and proceed to - - -THE DEVELOPMENT OF THE PICTURE. - -It is not necessary that the picture should be developed immediately -after exposure in the camera; any time that is convenient to the -operator may intervene between the processes, provided the aggregate -time before and after exposure does not exceed the limits of keeping -power of the plate. - -The development of the picture may be conducted in two ways, either -by immersing the plate in baths or dishes, or by placing it on the -levelling stand and treating it with the solutions, in their proper -order, as detailed below. Each plan possesses certain advantages, but -it is of little consequence which one is followed. Perhaps there is -less danger of the film washing off if the plate be treated on the -levelling stand, and on the other side with large plates it is more -difficult to cover them evenly with the developing solution than it -is simply to immerse them in a pan of solution. We say to the reader, -try both ways, and make your own selection. - -The plate upon being removed from the camera is placed face upwards -in a porcelain or glass dish of a convenient size (not too large), -and sufficient distilled water is to be poured over it to cover -the surface thoroughly--this is for the purpose of softening the -preservative solution, and must be allowed to remain on the plate -for five minutes; the plate is then to be lifted in and out of the -water by means of the silver hook. This done, remove the plate to -a perfectly clean dish, and pour carefully over it the developing -solution, composed of - - Saturated Solution of Gallic Acid (p. 10) 8 ounces. - Solution of Nitrate of Silver (p. 10) 2 drams. - THOROUGHLY MIXED. - -In a few minutes the picture will begin to make its appearance, -and will gradually unfold its details under the influence of the -developer, until the whole of them are apparent; on raising the -plate, however, when this stage of development is reached, and -viewing it by transmitted light, the picture will appear weak -and poor; we must now remove the plate from the bath, and add 2 -drams more of the nitrate silver solution, and having thoroughly -mixed it with the gallic acid already in the dish, we return the -partially developed plate, which in the course of a few minutes -will have acquired a great amount of intensity,--the exact degree -can be regulated by the time of immersion: when the picture appears -sufficiently intense, it is to be removed from the developing dish, -and a gentle stream of water is poured over it, in order to remove -any adhering developing solution, and stop all further reducing -action on it. - -During the whole time of the development, the gallic acid should -remain quite clear; it will become slightly discoloured before the -end of the development, but it ought not at any time to become muddy, -or it will deposit a sort of sandy sediment on the surface of the -plate, which cannot be removed by subsequent washing. - -The usual time occupied in the development of a successful picture -is from 20 to 30 minutes, it might be developed much quicker by -using pyrogallic acid, but at present I give the preference to the -developer I have described, as I believe it to be more certain, and -more under the control of the operator than the pyrogallic acid; and -further, as it is not necessary to watch the development all the time -it is going on, there can be very little saving of time in the more -rapid method of bringing out the latent picture. - -The picture being washed free from the adhering developing solution, -is to be placed on the levelling stand, and subjected to the seventh -part of the process-- - - -FIXING THE DEVELOPED IMAGE. - -This is accomplished by pouring over the surface of the plate -sufficient solution of hyposulphite of soda (p. 15) to thoroughly -cover it, this will dissolve out the unaltered iodide of silver, and -give us a clear and bright picture, in which the deep shadows should -be as transparent as the glass itself, and the high lights as dense -as a piece of metal, the intermediate tones assuming their proper -positions according to the intensity of the light that was concerned -in their formation. - -When the whole of the yellow iodide of silver is removed, the fixing -solution may be thrown off, and the plate must be treated with an -abundance of water; too much cannot well be given at this stage, as -the hyposulphite adheres with great tenacity to the plate, even -after a good washing. The back of the plate must be washed as well -as the front, for I have found that a neglect of this precaution has -ruined many a fine negative; the hyposulphite remaining at the back -finding its way by capillary attraction to the surface, and once -there, its destructive qualities are sure, sooner or later, to render -themselves evident. - -The picture being thoroughly washed, and either dried spontaneously -or by the fire, has only to be covered with a film of varnish. And -now comes the last operation, of - - -VARNISHING THE FINISHED NEGATIVE. - -Benzoin varnish is the best coating that can be given to a Collodion -negative. It resists the action of pieces of grit; it does not crack; -and, above all, it does not, like amber varnish, split off the -picture on the slightest friction. - -The application of this varnish is a very simple matter. The negative -is to be again placed on a pneumatic plate holder, and the varnish is -to be poured on to the surface in precisely the same manner as the -Collodion was at the commencement of the process, the superfluous -quantity being returned to the bottle: in a few moments the varnish -will be quite dry and hard, and the plate may be handled with perfect -safety. - -I may mention, as a precaution, in varnishing the plate, that it -is better to perform that operation in a still atmosphere; as the -solvent of the gum being chloroform and very volatile, if it were -conducted in a current of air, there might be some difficulty in -obtaining an even coating to the picture. - -In concluding this description of a process, which is at once simple -and certain, I would ask the patient attention of those who may do me -the honor of repeating my experiments. I have endeavoured to render -the details of the process as intelligible as possible, and if I have -succeeded in advancing the art of Photography only one step by so -doing, I consider that it is an ample return for hours and days spent -in anxious thought and laborious experiment. - - - FINIS. - - - SPECIAL LIST OF REQUISITES - - FOR THE - - =DRY COLLODION PROCESS,= - - SUPPLIED BY - - Messrs, BLAND & LONG, - - Opticians, & Photographic Instrument Makers - - TO THE QUEEN, - - =153, FLEET STREET, LONDON.= - - * * * * * - - BLAND & LONG'S - - =IODIZED DRY COLLODION.= - -This preparation will keep for an indefinite period, and can be -exported to any climate, without risk of deterioration. - -_Half-pints, 10s.; Pints, 18s._ - - * * * * * - - BLAND & LONG'S - - =PRESERVATIVE SOLUTION,= - - READY FOR USE.--_1s. per pint._ - - - BLAND & LONG'S - - =BENZOIN VARNISH,= - - FOR PROTECTING THE FINISHED NEGATIVE. - - _1s. per oz._ - -This varnish does not require the plate to be warmed; but dries -instantly, leaving a perfectly hard transparent coating on the -picture. - - * * * * * - - =NITRATE OF SILVER BATH,= - - FOR BLAND & LONG'S DRY COLLODION, - - Ready for immediate use.--_7s. 6d. per pint._ - - * * * * * - - =PURE CHEMICALS.= - - _s._ _d._ - - Fused Nitrate of Silver, absolutely pure 4 6 per oz. - Glacial Acetic Acid 1 0 " - Pure Gelatine 0 6 " - Pure Citric Acid 0 6 " - Gallic Acid, pure 1 6 " - Iodide of Cadmium 3 0 " - Hyposulphite of Soda 1 0 per lb. - Pure Sulphuric Æther 0 6 per oz. - Absolute Alcohol 0 6 " - - * * * * * - - FOR THE PRICES OF APPARATUS - - SEE - - =BLAND & LONG'S= - - Illustrated Catalogue of Photographic Apparatus - - _Sent free by post, on application._ - - - SENSITIVE - - =DRY COLLODION PLATES,= - - READY FOR EXPOSURE IN THE CAMERA. - - (=LONG'S PROCESS.=) - - * * * * * - -Messrs. Bland & Long are now prepared to supply these -plates, carefully secured in sealed cases, with full directions for -exposure and development, of all sizes and in any quantity, at the -following prices:-- - - Per Doz. | Per Doz. - s. d. | £. s. d. - 4¼ × 3¼ 5 0 | 7 × 6 0 14 0 - 5 × 4 6 6 | 8½ × 6½ 0 18 0 - 5½ × 3⅜  6 0 | 9 × 7 1 1 0 - 6¼ × 3⅜  8 6 | 10 × 8 1 6 0 - 6½ × 4¾ 8 6 | 11 × 9 1 13 6 - 6¾ × 3¼ 8 9 | 12 × 10 2 0 0 - 6 × 5 8 6 | 15 × 12 4 0 0 - -LARGER OR OTHER SIZES TO ORDER. - -The advantages of a certain and simple Dry Collodion Process are so -obvious to those who have practised Photography in the open air, that -we feel it is merely necessary to introduce the above list to their -notice with as few remarks as possible. - -We would, however, mention a few particulars connected with the -process for the information of those who have not hitherto practised -the Dry Collodion process, as detailed by Mr. Long. - -The plates as prepared for sale, are hermetically sealed in an -envelope perfectly impervious to air and moisture, they can therefore -be exported to any climate without risk of deterioration. - -Plates prepared by Mr. Long's process will keep sensitive for almost -an indefinite period, and can be developed at any time without -regard to the date of exposure; this, it will be seen, is of immense -advantage to the tourist, as he can delay the development of the -whole of his plates until his return. - -To those Photographers whose inclinations or want of leisure will not -admit of their carrying through the first preparation of the plate, -these Dry Sensitive Plates will be found invaluable, enabling their -whole energy to be directed to the more careful selection of subject. - -The plates being dry, there is no danger of dust settling on their -surfaces; this point will be appreciated by every Photographer. - -The development of the pictures can be conducted in any room whence -the light can be excluded--as the process is simple and clean--three -dishes being the only requisites in point of apparatus. - -To Officers, Engineers, and Architects, these Dry Plates offer -a desideratum of no small value, as they are _always ready for -use_, occupy very little room in travelling, and can be used under -circumstances which would preclude the adoption of any process that -had to be carried out on the spot. - - * * * * * - - - BLAND & LONG, - - Photographic Instrument Makers to the Queen - - 153, FLEET STREET, LONDON. - - - THE - - =DRY COLLODION PROCESSES.= - - * * * * * - - Messrs. BLAND & LONG have invented the following - simple means of - - =CHANGING THE DRY COLLODION PLATES= - - while working in the fields. The plan has been in use - for some time, and answers perfectly. - - * * * * * - - _Price according to size._ - - _Adapted to Stereoscopic Camera, 15s._ - - * * * * * - -[Illustration] - - -DESCRIPTION AND DIRECTIONS FOR USE. - -No matter what process we employ to retain the sensitiveness of our -plates, it is most objectionable that the glasses should be made to -slide by their gravity from the plate-box to the slide; for if we -employ either honey, glycerine, or oxymel as preservative agents, the -chances are considerably in favor of an amount of dust settling on -the surface, the dust being in a great part formed by the attrition -of the roughened edges of the plate against the plate-box. Another -inconvenience attending the use of a box when the plate has to slide, -is the danger that exists under that arrangement of ripping the film -from the edges of the plate by the friction against the groove in the -box which holds it. These may appear very trivial matters, but they -are nevertheless great drawbacks to successful operations. - -We may mention that the plan we are about to describe is equally -applicable to all Cameras of moderate size. We will, however, take -our description from the form of apparatus adapted to a double lens -Stereoscopic Camera. - -The Camera (A) is furnished at its back with two wires (B). On these -wires slides the plate-box (C), which has previously been fitted at -its sides with two sockets (D). Just inside the back of the Camera -box is a spring (E), and on the top of the Camera is a button (F), -which secures the dark slide in its place. - -We now slide the box of prepared plates (C) on to the wires (B), the -lid of the box opening from the Camera; we then stretch over the -whole affair, the black light proof covering (G); this completes the -arrangement, and now for the mode of operating. - -The opaque covering is furnished at its side with two elastic rings. -Into these thrust the hands, so that the rings may firmly encompass -the wrist. Then open the plate-box, and throw the lid quite back. -Next unbutton the door of the dark slide, and raise it until the -spring (E) flies underneath it, and retains it in a horizontal -position. This we will presume to be done with the right hand; the -left hand being engaged as soon as the door is opened, in holding -the plate that is already in the back in its place. The right hand -being now at liberty, comes to the assistance of the left, and the -plate that has undergone exposure is safely transferred to the vacant -groove in the plate-box. This accomplished, the next plate is to -be placed in the back, and the same operations gone through in the -inverse order, the left holding the plate in its place, while the -right releases the door from the influence of the spring (E), and -re-buttons it, leaving the plate quite safe in the dark slide. - -When we require to focus for a fresh picture, it is only necessary -to remove the dark covering from that part of the Camera where the -ground glass is placed. The picture can be seen without removing the -plate-box or the whole of the covering. - -It is obvious that there is no limit to the number of glasses that -can be taken to the field of operations. In this way, several boxes -holding a dozen each, can be strapped together and placed on the -Camera, one by one, as occasion or opportunity may direct. - - * * * * * - - H. Silverlock, Printer, Doctors' Commons. - - - =PRACTICAL PHOTOGRAPHY,= - - ON GLASS AND PAPER, - - A Manual, - - CONTAINING SIMPLE DIRECTIONS FOR THE PRODUCTION OF - - =PORTRAITS, VIEWS, &c. BY THE AGENCY OF LIGHT,= - - INCLUDING THE - - =Collodion, Albumen, Calotype, Waxed Paper, and Positive Paper - Processes.= - - By CHARLES A LONG. - - _Fourth Edition, price 1s.; per Post, 1s. 2d._ - - * * * * * - - =ILLUSTRATED PHOTOGRAPHIC CATALOGUE,= - - FREE BY POST. - - * * * * * - - =SPECTACLES:= - - WHEN TO WEAR AND HOW TO USE THEM. - - ADDRESSED TO - - =THOSE WHO VALUE THEIR SIGHT.= - - By CHARLES A. LONG, - - THIRD EDITION. POST FREE, SIXPENCE. - - * * * * * - - ALSO, - - A DESCRIPTIVE AND GENERAL CATALOGUE - - OF - - =SCIENTIFIC & EDUCATIONAL INSTRUMENTS= - - AND - - CHEMICAL PREPARATIONS, - - Manufactured and Sold by BLAND & LONG, - - =OPTICIANS, PHILOSOPHICAL, PHOTOGRAPHICAL, AND CHEMICAL INSTRUMENT - MAKERS,= - - AND OPERATIVE CHEMISTS. - - _Free by Post._ - - PUBLISHED BY BLAND & LONG, Opticians, - - Philosophical and Photographical Instrument Makers - to the Queen, - - 163, FLEET STREET. - - - * * * * * - - -Transcriber Note - -Minor typos corrected. Images moved to prevent splitting paragraphs. - - - - - - - -End of Project Gutenberg's The Dry Collodion Process, by Charles Long - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DRY COLLODION PROCESS *** - -***** This file should be named 63814-0.txt or 63814-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/8/1/63814/ - -Produced by Tom Cosmas from images kindly made available -from The Internet Archive. All materials are placed in the -Public Domain. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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Long, a Project Gutenberg eBook. - </title> - <link rel="cover" href="images/epub_cover.jpg" /> - <style type="text/css"> - -body {margin-left: 10%; margin-right: 10%;} - -p {margin-top: .75em; text-align: justify; - margin-bottom: .75em; text-indent: 1.5em;} - -hr {width: 33%; margin-top: 1em; margin-bottom: 1em; - margin-left: auto; margin-right: auto; clear: both;} - -hr.chap {width: 65%; margin-top: 2em;} -hr.tb {width: 45%;} -hr.r10 {width: 10%; margin-top: 1em; margin-bottom: 1em;} - -table {margin-left: auto; margin-right: auto; border-collapse: collapse;} - -.pagenum {position: absolute; right: 3.5%; font-style: normal; /* prevent italics, etc. */ - font-size: small; text-align: right; color: #808080;} /* page numbers */ -.bdl {border-left: solid #000 1px;} - -.smcap {font-variant: small-caps;} -.vsmall {font-size: 0.6em;} -.smaller {font-size: 0.8em;} -.gesperrt {letter-spacing: 0.25em;} -.tdc {text-align: center; margin:0 auto; text-indent: 0;} -.tdl {text-align: left;} -.tdr {text-align: right;} -.tdr2 {text-align: right; padding-right:2em;} -.p0 {text-indent: 0;} -.p4 {text-indent: 0; margin-left: 4em;} -h1, h2, h3, .caption2, .caption3, .caption4 {font-weight: bold; text-align: center; text-indent:0;} -h1 {font-size:2.00em; margin-top: 1.5em;} -h2, .caption2 {font-size:1.50em; margin-top: 1.0em;} -.caption3 {font-size:1.25em; margin-top: 0.5em;} -.caption4 {font-size:1.15em; margin-top: 0.5em;} -.caption3nb {font-size:1.25em; text-align: center; text-indent:0; margin-top: 1.0em;} -.caption4nb {font-size:1.15em; text-align: center; text-indent:0; margin-top: 1.0em;} -.pmt4 {margin-top: 4em;} -.pmb4 {margin-bottom: 1em;} -.pmt1 {margin-top: 1em;} -.pmb1 {margin-bottom: 2em;} -.vsmallnb {font-size: 0.5em; font-weight: normal;} - -/* Images */ - -.fig_center {margin: auto; text-align: center;} - -.fig_caption {margin-bottom: 1em; margin-left: 2em; - text-indent: -2em; text-align: center;} - -.antiqua {font-family: "Old English Text MT", "Germany", "Fraktur BT", "Cooper Black", "Lucida Calligraphy"} - -/* Transcriber's notes */ -.transnotes {background-color: #e6e6fa; color: black; padding:1.5em; - margin-bottom:5em;} - -/* Footnotes */ -.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} -.footnote .label {position: absolute; right: 84%; text-align: right;} -.fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} - -/* Poetry */ -.poem {display: inline-block; margin-left: 4em;} -.poem br {display: none;} -.poem .stanza {margin: 0.25em auto;} -/* large inline blocks don't split well on paged devices */ -@media handheld, print { .poem {display: block;} } - -.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} -.poem span.i1 {display: block; margin-left: 1em; padding-left: 3em; text-indent: -3em;} - - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Dry Collodion Process, by Charles Long - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Dry Collodion Process - -Author: Charles Long - -Release Date: November 20, 2020 [EBook #63814] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DRY COLLODION PROCESS *** - - - - -Produced by Tom Cosmas from images kindly made available -from The Internet Archive. All materials are placed in the -Public Domain. - - - - - - -</pre> - - - - - - -<div class="fig_center" style="width: 256px;"> -<img src="images/cover.png" width="256" height="431" alt="The Dry Collodion Process, by Charles A. Long" /> -</div> - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> - - - -<h1><span class="vsmallnb">THE</span><br /> -DRY COLLODION -PROCESS.</h1> - - -<p class="tdc">BY</p> - -<h2>CHARLES A. LONG.</h2> - -<hr class="tb" /> - -<p class="caption4">THIRD EDITION.</p> - -<hr class="tb" /> - -<p class="caption3nb">PUBLISHED BY BLAND & LONG, OPTICIANS,</p> - -<p class="tdc">AND</p> - -<p class="caption4">PHOTOGRAPHIC INSTRUMENT MAKERS TO HER MAJESTY,</p> - -<div class="fig_center" style="width: 247px;"> -<img src="images/title_logo.png" width="247" height="169" alt="" /> -</div> - -<p class="caption4">BY APPOINTMENT.</p> - -<p class="caption3nb">153, FLEET STREET, LONDON.</p> - -<hr class="r10" /> - -<p class="caption3nb">ENTERED AT STATIONERS' HALL,</p> - -<p class="tdc"><i>Price 1s. Per Post 1s. 1d.</i></p> - -<p class="pmb4 caption3nb">1858.</p> - - - -<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> - - -<p class="pmt4 pmb4 tdc"> -H. SILVERLOCK, PRINTER,<br /> -WARDROBE TERRACE, DOCTORS' COMMONS, LONDON, E.C.<br /> -</p> - -<p><span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span></p> - - - - -<hr class="chap" /> -<h2><a name="PREFACE_TO_FIRST_EDITION" id="PREFACE_TO_FIRST_EDITION">PREFACE TO FIRST EDITION.</a></h2> - - -<p><span class="smcap">The</span> following pages shall be devoted to the description -of a process on Dry Collodion, which I believe to be at -once simple and effective. The experiments connected -with the perfection of this process have occupied my -leisure time for the space of two years or more, and -have been conducted with all the care of which I was -master. The constant repetition of them enables me to -say, that whoever will follow diligently the process step -by step, as detailed in this Pamphlet, must succeed -in producing pictures in every way such as could be -required by the most exacting critic.</p> - -<p>The process is simple, clean, and expeditious; and -the resulting Negatives possess the exquisite softness -of Albumen, the brilliancy of the wet Collodion, and -the fine artistic texture of the Paper process.</p> - -<p>To disarm criticism, and to make peace with my -fellow labourers in the art, I wish it to be understood -that I do not claim the use of Collodion, of -Gelatine, of Metagelatine, or of any of the Chemicals -used in the process—most of these have been employed -by others in various ways; I merely reserve -to myself the pleasure of placing in the hands of -Photographers a definite and simple plan by which -pictures may be taken on Dry Collodion.</p> - -<p class="tdr2">CHARLES A. LONG.</p> - -<p class="p0"><i>June 20, 1857.</i></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span></p> - - - - -<h2><a name="PREFACE_TO_SECOND_EDITION" id="PREFACE_TO_SECOND_EDITION">PREFACE TO SECOND EDITION.</a></h2> - - -<p><span class="smcap">In</span> issuing a second edition of the Dry Collodion -process, I would take occasion to remark, that after -some months' practical working, it has not been found -necessary to make any material alteration in the -process; success has usually attended the adoption of -it, and in those cases where good pictures have not -resulted, the failure has always been traced to the -use of a Collodion not suited to the process.</p> - -<p>I cannot allow this opportunity to pass, without -thanking those gentlemen whose opinions possess -weight in matters photographic, for the very candid -manner in which they have tested the capabilities of -my process, and for the very flattering testimony -they have borne to its efficiency, simplicity, and -certainty.</p> - -<p class="tdr2">CHARLES A. LONG.</p> - -<p class="p0">153, Fleet Street,<br /> - <i>September 1857</i>.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> - - - - -<h2><a name="PREFACE_TO_THIRD_EDITION" id="PREFACE_TO_THIRD_EDITION">PREFACE TO THIRD EDITION.</a></h2> - - -<p><span class="smcap">The</span> process described in the following pages has now -been in use for twelve months, and I have much -satisfaction in stating that it has, in almost every -instance where it has been adopted and carried out -with care and attention, yielded results which leave -scarcely anything to be desired.</p> - -<p>The present Edition might more properly be termed -a reprint, as the alterations in the text do not extend -to more than a few matters of detail, which experience -has shewn to be desirable, the principles of the -process remaining undisturbed.</p> - -<p class="tdr2">CHARLES A. LONG.</p> - -<p class="p0">153, <span class="smcap">Fleet Street</span>,<br /> - <i>June 1858</i>.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> - - - - -<h2><a name="OPINIONS_OF_THE_PRESS" id="OPINIONS_OF_THE_PRESS">OPINIONS OF THE PRESS.</a></h2> - - -<p class="tdc"><i>From the Athenæum.</i></p> - -<p>We have not merely examined the description given by Mr. Long of his -dry collodion process, but we have witnessed the results obtained by following -carefully his directions. It appears to us that, by it, a collodion plate may -be prepared at home, wrapped in paper, and packed in portmanteau; that we -may journey to Rome or Venice, then place our plate in the camera obscura, -and allow it for a few minutes to receive the luminous image; remove it in a -dark room; re-pack it and trouble ourselves no more about it until our return -to England; when, in the room in which it was prepared, we may witness the -magic process of development, and rejoice that we have, without much -labour, secured a picture of the Coliseum or of the Bridge of Sighs.</p> - - -<p class="tdc"><i>From the Journal of the Cambrian Archæological Association.</i></p> - -<p><span class="smcap">New Photographic Process.</span>—Mr. Long, of the firm of Bland and -Long, Opticians, Fleet Street, has recently put forth a valuable pamphlet, -in the form of an essay on the dry collodion process. By means of this, -plates prepared weeks beforehand may be exposed to objects, and then -kept for weeks afterwards before they are developed, as he has proved it -himself on the Continent. The advantage of this process to travellers, and -especially to archæologists, is immense; because hitherto the main drawback -upon photography has been the trouble and expense of carrying chemicals, -tents, &c. &c., besides the camera, with its lenses, to the scene of operation. -Now, however, it will be sufficient to carry merely the camera, with a suitable -supply of plates prepared according to this process. The observer can then, -by merely exposing his plates, with the proper precautions, <i>bag</i> any number -of views per diem, and on his return home can develop them—or have them -developed—at leisure. If this process succeeds, it will have the effect of -splitting photography into two distinct branches—the <i>æsthetic</i>, and the -<i>practical</i>. The former will fall to the share of the intelligent observer, the -traveller, the man of taste, who will go and search for objects, combine them, -or use them, under the most favourable æsthetic circumstances, and then -will carry them home to be handed over to the man of practice. Once in his -hands, nothing will remain but to manipulate the plates according to the rules -of photographic science, by means of all the best appliances that a well fitted -laboratory can furnish. One branch will feed the other. One will be the -department of observation, of search, of taste, of beauty; the other will be -that of calm scientific development, of improvement, of preservation. One -man will be like the artist who paints; the other like the artist who -engraves. One will be like the author, the man who writes; the other like -the printer, the man who perpetuates. We recommend members to enquire -carefully about this new process; because if it becomes firmly established, -any archæologist moving about the Country may get views of churches, -castles, cromlechs, meini-hirion, seals, &c. &c., <i>usque ad satietatum</i>—we -had almost said <i>ad nauseam</i>; but that word can never be connected with -archæology! The upshot of this is,—"Read Mr. Long's pamphlet, and -set up a portable camera with his prepared plates, as we intend doing -ourselves!"</p> - - -<p class="tdc"><i>From the Liverpool and Manchester Photographic Journal.</i></p> - -<p>We must advise all who are interested in dry processes to obtain Mr. Long's -clearly written pamphlet. (Leader, July 15th, 1857.)</p> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span></p> - - -<p class="tdc"><i>Extract from Proceedings of Charlton Photographic Society, October 8th, -1857. Paper by Mr. Hooper,—On the results of his experience in the -practice of several Preservative Processes.</i></p> - -<p>I commenced experimenting on the process of Mr. Long. The success I -have met with from the first has convinced me that that process will ere long -be generally adopted: the plates being easily and quickly prepared, and -keeping well, is a great advantage.</p> - - -<p class="tdc"><i>Extract from Letter from G. R. Smith, Esq., to the Editor of the -London Photographic Journal, Sept 21, 1857.</i></p> - -<p>My tour of a fortnight's duration having ended, I returned to London, and -began developing (the dry plates). To my great delight, I found all Mr. Long -had said in favour of his process fully realized. Picture after picture (I took -twenty-eight) came out with great beauty, and so far as the process is concerned, -I have not had a single failure.</p> - - -<p class="tdc"><i>Mr. Long's Dry Collodion Process.</i></p> - -<p class="tdc"><i>Letter from Robert Hunt, Esq., F.R.S., to the Editor of the London -Photographic Journal, October, 1857.</i></p> - -<p class="tdr2">6, Green's Row, Chelsea.</p> - -<p>Sir,—It is due to Mr. Long that I should state what my experience has -been with his dry collodion plates, and I feel much satisfaction in doing so, -being enabled fully to confirm all that Mr. Smith has said respecting the dry -plates prepared as he has described (Photo. Journ. Sept. 21). On the -26th of August, Mr. Long, at my request, furnished me with some of his dry -collodion plates. Absence from London, and the press of official engagements, -prevented my trying any experiments with those plates until the -30th of September. Although the weather was very unfavourable, the -result was superior to my expectations. On the 7th of October, at four in -the afternoon, when the sky was covered with clouds and the weather -stormy, I exposed a plate in the camera obscura for ten minutes to the dark -brick building, Chelsea Hospital. I enclose you a positive print from the -result of this experiment. When we remember that the sensitive plate had -been kept by me for a period of <i>forty-two days</i>, and then exposed under very -unfavourable circumstances, I think you will admit that the result is satisfactory. -I should not content myself with this trial, but that I am again -compelled to leave London for a long period, and I shall have no other -opportunity of testing these plates for this year. I feel convinced that the -traveller might with perfect safety use plates which have been prepared for a -month, and thus relieve himself from much labour and frequent annoyance, -by the use of Mr. Long's process.</p> - -<p class="tdr2"><span class="smcap">Robert Hunt.</span></p> - - -<p class="tdc"><i>From the Illustrated London News, January 9, 1858.</i></p> - -<p>It is but a few years since, when we heard with surprise, and some -incredulity, that light could be made to delineate images of external objects -upon chemically prepared tablets placed in the camera obscura,—now -photography stares us in the face at every corner,—that which was wonderful -has become familiar,—that which was mysterious is singularly common.</p> - -<p>In cities, we see glass houses, on at least one roof in every street,—in -villages, caravans, with Brown and Jones, photographers, are regularly found,—on -the hills we discover the tent, and in the valleys the camera,—by the -river-side there is the mysterious head hidden in the dark curtains of a dark -box,—and upon the sea-shore the tripod-stand is securely fixed in the sands, -<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -and a biped is evidently focusing for the next fine ocean wave,—the sketcher -has fled to his own especial solitudes, and the photographer has usurped his -place.</p> - -<p>It has been said of the most recent photographic processes, as was well said -of the octo-syllabic verse, that it possesses "unfortunate facilities." This is -true in many respects of the positive collodion process, by which the myriads -of sad reflections on humanity are perpetrated. Not so, however, is it with -the negative process, by which alone we can multiply the beautiful things -which the solar pencil traces with such fidelity. The labour attendant upon -a photographic tour is great, and real enthusiasm alone carries the amateur -forward. The camera obscura and the stand are a burden, and with the tent -and chemical box, they become a real load. Then there is the uncertainty -attendant upon the processes. We deal with the nicest chemical adjustments. -The balance is arranged with caution for a certain set of conditions,—alter -but one of these, and all goes wrong. We leave home in the morning, we -work in the dark all day, and we return jaded at night, to find we have -obtained—nothing.</p> - -<p>Sensitive as the collodion process is, and charming as are the results, when -all goes on successfully, it has not hitherto been a process which can be -practised out of doors, without many extraordinary, expensive, and troublesome -appliances.</p> - -<p>It is, therefore, with very much satisfaction that we have watched the -progress of the so-called "dry collodion processes." Nearly all the processes -that have been published,—the "gelatine,"—the "oxymel,"—the "glycerine," -and others,—have much that is excellent in them; but it appears to us that -a dry collodion process devised by Mr. Long, of which he has recently -published a description, is more simple and effective than any other. We -have seen beautiful pictures obtained in Belgium upon plates prepared in -England, and which plates were brought to this country again before the -pictures were developed.</p> - -<p>Any man may, previously to starting on his journey, prepare, or purchase -prepared, a stock of glass plates. Armed with these and his camera, he may -proceed to</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"Where the bleak Swiss their stormy mansion tread.<br /></span> -<span class="i1">And force a churlish soil for scanty bread;"<br /></span> -</div></div> - -<p class="p0">or to that</p> - -<div class="poem"><div class="stanza"> -<span class="i0">"———sea Cybele fresh from ocean<br /></span> -<span class="i0">Rising with her tiara of proud towers,"—<br /></span> -</div></div> - -<p>and, resting on his way, he may adjust his camera and his plate, and in the -few minutes which, under any circumstances, he would spend in observation, -he secures a picture for future study,—a photograph to give him pleasure in -the quiet of his home.</p> - -<p>Mr. Long has published a little treatise, with which we head this article, -and by following out the simple directions which he gives, all may succeed in -obtaining the important desideratum,—a parcel of highly sensitive plates, -which can be packed in paper and stowed away in a portmanteau, to be drawn -out as occasion may require, to be returned again to the same package -(without having any of the annoyances attendant upon a box of liquid -chemicals), and a plate which can be kept with its dormant picture quite -uninjured until the photographer, on his arrival home, at his perfect leisure, -in his own operating room, can develop the photograph which he has obtained.</p> - -<p>Such are the facilities offered by this improvement, that we may expect -almost every traveller will avail himself of it, and thus secure for his own -portfolio, and the portfolios of his friends, views of scenes hallowed by their -historical association,—of ruins rendered sacred from the sacred memories -which still wrap them in their shadows, as the mantling ivy clothes their -crumbling walls.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span></p> - - - - -<h2><span class="vsmallnb">THE</span><br /> - -DRY COLLODION PROCESS.</h2> - -<hr class="tb" /> - -<p><span class="smcap">Before</span> describing in detail the manipulations of the -process on Dry Collodion plates, it will be necessary -to say a few words on the materials and apparatus -to be employed, and also to give an account of the -means of preparing the various solutions used in the -process. First,</p> - - -<h3>THE COLLODION.</h3> - -<p>This being the principal material we have to use, -we must exercise great care in the selection of a -sample that possesses all the characteristics which fit -it for a dry process. We must reject all samples -that possess great tenacity and contractile power: the -Collodion must not be too thick, and it must flow -evenly over the plate, and not set in ridges. The -best condition for the Iodized Collodion is that known -as <i>powdery</i>, that is, being spread on the plate and -partially dry, it cannot be removed as a film, but -crumbles up on being pressed by the finger in its -passage across the plate; in fact, such a condition as -<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span> -would arise from using gun cotton prepared with -acids at a high temperature.</p> - -<p>The following formula will be found to answer -most admirably:</p> - -<table summary="data"> -<tr> - <td class="tdl">Gun Cotton</td> - <td class="tdr">60</td> - <td class="tdl">grains.</td> -</tr> -<tr> - <td class="tdl">Absolute Alcohol</td> - <td class="tdr">5</td> - <td class="tdl">ounces.</td> -</tr> -<tr> - <td class="tdl">Sulphuric Æther, sp. gr. ·730 </td> - <td class="tdr">15</td> - <td class="tdl">ounces.</td> -</tr> -</table> - -<p>The cotton is to be shaken up with the mixture of -alcohol and æther, and when dissolved, the bottle -containing it must be stood aside, in order that any -undissolved particles of cotton may subside. The -clear liquid may then be decanted into a clean bottle -for use.</p> - -<p>It will be as well to test the quality of the Collodion -thus prepared before coating any number of plates -with it, for, although the above proportions are very -excellent, some little latitude must be allowed for -the different degrees of solubility of the various -samples of cotton used from time to time. The film, -when spread, on the glass plate and partially dry, -should not be capable of being removed in the form -of a skin, but should give before the finger and -crumble up on its being rubbed across the plate.</p> - -<p>Should any difficulty, however, occur, it would be -better to obtain a sample of the Collodion made by -an experienced hand, in order that a fair trial may -be given to the process. If the Collodion be too -contractile it will give rise to blisters in the film, and -will wash off the plate during development.</p> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span></p> - -<p>The <span class="smcap">Iodizing</span> Solution that I have found to give -the best results in this process is made in the manner -following:—</p> - -<table summary="data"> -<tr> - <td class="tdl">Absolute Alcohol</td> - <td class="tdr">8</td> - <td class="tdl">ounces.</td> -</tr> -<tr> - <td class="tdl">Iodide of Cadmium</td> - <td class="tdr">64</td> - <td class="tdl">grains.</td> -</tr> -<tr> - <td class="tdl">Iodide of Ammonium</td> - <td class="tdr">64</td> - <td class="tdl">grains.</td> -</tr> -</table> - -<p>The iodides are to be dissolved by agitation in the -alcohol, and the resulting solution is to be carefully -filtered, and preserved in a well stoppered bottle.</p> - -<p>The <span class="smcap">Iodized Collodion</span> consists of—</p> - -<table summary="data"> -<tr> - <td class="tdl">Iodizing Solution</td> - <td class="tdr">2 drams</td> - <td class="tdr" rowspan="2"><span style="font-size: 1.8em;">}</span></td> - <td class="tdr" rowspan="2">1 ounce</td> -</tr> -<tr> - <td class="tdl">Plain Collodion</td> - <td class="tdr">6 drams</td> -</tr> -</table> - -<p>The Collodion should always be iodized at least -twelve hours before it is required; this interval -allows any insoluble matters either from the iodizing -solution or from the Collodion itself to fall to the -bottom, and enables the operator to pour off the -clear solution into a perfectly clean bottle for use.</p> - -<p>Next in importance to the Iodized Collodion comes</p> - - -<h3>THE PRESERVATIVE SOLUTION.</h3> - -<p>Some care is required in the preparation of this -solution, in order that it may be clear and bright -when finished, and not contain particles that would -be deposited in its passage over the Collodion film -when being used. The chief precaution to be observed -is <i>not to allow it to boil too rapidly, and not to -conduct the operation over too fierce a fire;</i> attention -<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -to this will prevent many failures, and ensure a -solution in every way suited for the process.</p> - -<p>Take one ounce of the best transparent gelatine, and -throw it into a pipkin in which has been previously -placed one pint of distilled water; set this on a slow -fire, or over a lamp, until the gelatine is completely -melted; then weigh out half ounce of pure citric -acid and dissolve it in two ounces of distilled water; -add this to the solution of gelatine, stirring it during -the addition with a glass rod. The solution in the -pipkin is now to be gently boiled for about half an -hour: remove it from the fire, and add sufficient -distilled water to make up the bulk of liquid to -one pint. When quite cold, the liquid in the pipkin -is to be filtered through two thicknesses of pure -white blotting paper into a bottle perfectly dry and -clean. We now add to every pint of filtered -preservative solution, two ounces of alcohol of the -specific gravity of ·840.</p> - -<p>The solution thus prepared is ready for use, and -should be of a pale amber colour, without any signs of -insoluble particles floating in it; should any appear -after it has been prepared for some days, a second -filtration will remove them, and render the liquid again -bright and clear.</p> - -<p>It will be found better to prepare this solution only -in the quantity indicated above, unless the consumption -be large, for, although it will keep good for a month -or more, my experience points to the fact, that the -<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -most successful results follow the use of Preservative -Solution freshly prepared.</p> - - -<h3>THE NITRATE OF SILVER BATH.</h3> - -<p>The bath for rendering the plates sensitive does not -differ from that recommended for taking negatives with -wet Collodion. The formula for its preparation may -not be out of place, however, and may assist those -whose knowledge of the matter is not perfect.</p> - -<table summary="data"> -<tr> - <td class="tdl">Nitrate of Silver (fused)</td> - <td class="tdr">1¼</td> - <td class="tdl">ounces.</td> -</tr> -<tr> - <td class="tdl">Distilled Water</td> - <td class="tdr">1</td> - <td class="tdl">pint.</td> -</tr> -<tr> - <td class="tdl">Iodide of Cadmium</td> - <td class="tdr">3</td> - <td class="tdl">grains.</td> -</tr> -</table> - -<p>Dissolve the nitrate of silver in half the water and -then add the iodide of cadmium; thoroughly agitate -the mixture for five or ten minutes, then add ½ ounce -of alcohol, sp. gr. ·840, and fill up with the remaining -half of the distilled water; further agitation, and -subsequent filtration through two thicknesses of white -bibulous paper, will put us in possession of a negative -bath. The nitrate of silver being fused, and consequently, -pure and neutral, and as it is essential to -obtain clean pictures that the bath should be slightly -acid in its reaction, we find it necessary to add 5 or 6 -minims or drops of pure glacial acetic acid to a bath -of 20 ounces, in order that the above condition may -obtain.</p> - - -<h3>THE DEVELOPING SOLUTION</h3> - -<p>Is very simple in its nature, being merely a saturated -<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -solution of gallic acid in distilled water, to which -has been added a small proportion of alcohol of -sp. gr. ·840.</p> - -<p>The exact formula is as follows:—</p> - -<table summary="data"> -<tr> - <td class="tdl">Distilled Water</td> - <td class="tdr">1</td> - <td class="tdl">pint.</td> -</tr> -<tr> - <td class="tdl">Alcohol sp. gr. ·840 </td> - <td class="tdr">1</td> - <td class="tdl">ounce.</td> -</tr> -<tr> - <td class="tdl">Gallic Acid</td> - <td class="tdr">½</td> - <td class="tdl">ounce.</td> -</tr> -</table> - -<p>The gallic acid will not be entirely dissolved, but -that left at the bottom of the bottle will ensure the -solution being saturated; it is better not to filter the -developing solution until it is required for use, as it -is preferable to allow it to stand over an excess of -gallic acid, than for it to be withdrawn after a slight -agitation with the crystals; it is a great error to suppose -that we obtain a saturated solution of gallic acid by -merely agitating the crystals with water for a few -moments.</p> - -<p>The developing solution prepared as above directed -will keep good and in working order for some weeks, -but when it becomes of a dark color, it would be safer -to reject it and prepare a fresh quantity than to run -the risk of a failure from an impure and imperfect -developing agent.</p> - - -<h3>NITRATE OF SILVER SOLUTION,</h3> - -<p>For adding to the gallic acid during development, is -composed of</p> - -<table summary="data"> -<tr> - <td class="tdl">Fused Nitrate of Silver </td> - <td class="tdr">30</td> - <td class="tdl">grains.</td> -</tr> -<tr> - <td class="tdl">Distilled Water</td> - <td class="tdr">1</td> - <td class="tdl">ounce.</td> -</tr> -</table> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span></p> - - -<h3>THE FIXING SOLUTION</h3> - -<p>Consists of a solution of hyposulphite of soda in water, -(filtered,) in the following proportion:—</p> - -<table summary="data"> -<tr> - <td class="tdl">Hyposulphite of Soda in crystals </td> - <td class="tdr">8</td> - <td class="tdl">ounces.</td> -</tr> -<tr> - <td class="tdl">Rain or Filtered Water</td> - <td class="tdr">1</td> - <td class="tdl">pint.</td> -</tr> -</table> - -<p>The <span class="smcap">Apparatus</span>, &c. required in the Dry Collodion -process is of the most simple kind, and consist of the -following items</p> - -<p class="p4"> -<span style="margin-left: 2em;">Glass plates.</span><br /> -<span style="margin-left: 2em;">Pneumatic plate holders.</span><br /> -<span style="margin-left: 2em;">Plate holder, for cleaning the plates.</span><br /> -<span style="margin-left: 2em;">Glass or porcelain dishes.</span><br /> -<span style="margin-left: 2em;">Glass or gutta percha dipping bath and dipper.</span><br /> -<span style="margin-left: 2em;">Silver hook, for lifting plates.</span><br /> -<span style="margin-left: 2em;">Levelling stand.</span><br /> -<span style="margin-left: 2em;">Measures, 1, 2, and 4 ounce.</span><br /> -<span style="margin-left: 2em;">Glass funnels.</span><br /> -<span style="margin-left: 2em;">Wash leather.</span><br /> -<span style="margin-left: 2em;">Some clean cloths and broad camel's hair brush.</span><br /> -<span style="margin-left: 2em;">Cotton wool.</span><br /> -<span style="margin-left: 2em;">Bibulous paper.</span><br /> -<a name="FNanchor_1" id="FNanchor_1"></a><a href="#Footnote_1" class="fnanchor">[A]</a> The Chemicals are—<br /> -<span style="margin-left: 2em;">Nitrate of silver (fused.)</span><br /> -<span style="margin-left: 2em;">Glacial acetic acid.</span><br /> -<span style="margin-left: 2em;">Iodized Collodion (dry.)</span><br /> -<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span><span style="margin-left: 2em;">Gelatine.</span><br /> -<span style="margin-left: 2em;">Citric Acid.</span><br /> -<span style="margin-left: 2em;">Alcohol.</span><br /> -<span style="margin-left: 2em;">Sulphuric æther.</span><br /> -<span style="margin-left: 2em;">Gallic acid.</span><br /> -<span style="margin-left: 2em;">Hyposulphite of soda.</span><br /> -<span style="margin-left: 2em;">Iodide of cadmium.</span><br /> -<span style="margin-left: 2em;">Benzoin varnish.</span><br /> -</p> - -<div class="footnote"> - -<p><a name="Footnote_1" id="Footnote_1"></a><a href="#FNanchor_1"><span class="label">[A]</span></a> The dry Collodion and the various solutions, ready for use, -may be obtained of the Publishers.</p></div> - -<p>In the above List we presume that the operator is -in possession of a suitable camera and lens, and the -usual adjuncts of camera tripod, &c. &c. These -should all be of the best kind, otherwise it will be -impossible to obtain good results.</p> - -<div class="fig_center" style="width: 151px;"> -<img src="images/deco_bar.png" width="151" height="20" alt="deco bar" /> -</div> - - -<p class="caption2"><b>THE MANIPULATION.</b></p> - -<hr class="tb" /> - -<p>The process of obtaining a picture on Dry Collodion -plates is in itself a most simple and easy matter, but -there are one or two precautions that appear necessary -to ensure success that cannot be lightly neglected. -In the first place, it is absolutely certain, that if we -want a clean and bright picture, we must have a plate -perfectly free from all extraneous matters, such as -soap, grease, &c. Various plans for cleaning the -glass plate have been proposed, all more or less -successful, but in most of them there is one great fault, -namely, that of using a powder, as tripoli, rotten-stone, -&c. to rub off the dirt with. Now we find that in -<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -practice this will not answer, from the almost impossibility -of getting rid of the floating particles of the -powder when the plate is rendered slightly electrical -by rubbing, and as each of these particles if it become -enveloped in the Collodion film, would produce a spot -on the finished picture, we find it necessary to search -in another direction for a detergent for the glass plate -to which this objection would not apply. One soon -presents itself in the form of <i>old waste Collodion</i>—this -spread on the glass plate and rubbed off again -with cotton wool, makes the best and most perfect -cleanser hitherto proposed, without any of the objections -usually appended to other materials used for -the same purpose.</p> - -<p>The next precaution necessary to be observed is, -that all the solutions should be perfectly bright and -clear; they should be absolutely free from floating -particles of any kind. This is essential, as it is -impossible to obtain clean pictures without attention -to it; the floating bodies in the solution settle on the -plate, and form so many nuclei, around which, in the -development of the picture, the silver is deposited in -an opaque mass, forming spots and blemishes on the -surface of the plate.</p> - -<p>There is one precaution that cannot be dispensed -with, and that is, to be sure that the chemicals -employed are of absolute purity; without this, success -is very problematical, and vexation and disgust the -sure reward of its neglect.</p> - -<p><span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span></p> - -<p>The process may for convenience be divided into -the following stages:—</p> - -<p class="p4"> -1.—Cleaning the plate.<br /> -2.—Coating it with Collodion.<br /> -3.—Rendering the plate sensitive.<br /> -4.—Applying the Preservative solution.<br /> -5.—Exposure in the camera.<br /> -6.—Development of the picture.<br /> -7.—Fixing the developed image.<br /> -8.—Varnishing the finished negative.<br /> -</p> - -<h3>CLEANING THE PLATE.</h3> - -<div id="Fig_1" class="fig_center" style="width: 427px;"> -<img src="images/fig1.png" width="427" height="314" alt="" /> -<div class="fig_caption"><i>Fig. 1.</i></div> -</div> - -<p>The glass plate is first to be thoroughly washed -with an abundance of water, and dried on clean -cloths; it is then to be placed in the plate holder -(<a href="#Fig_1"><i>Fig. 1</i></a>), and have poured over its upper side a -<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -small quantity of old Collodion. Now take a tuft of -cotton wool and rub the Collodion all over the plate, -giving the hand a circular motion at the time: keep -rubbing until the Collodion is very nearly dry, then -turn the plate in the holder and repeat the same -treatment with the opposite side; then lean the plate -thus treated against a wall, while another, or any -number are put through this stage. When a sufficient -number have been so far cleaned, the plate holder -is to be carefully wiped, and the first plate—the -edges of which have also been carefully wiped with -a <i>clean</i> cloth—is to be replaced, and treated with a -smart rubbing with a wash leather, the operator at -intervals gently breathing on the plate. Both sides -of the plate being cleaned in this way, it may be -removed, after again wiping the edges carefully, to -the plate box, to await the subsequent steps of the -process. Plates cleaned in this manner should look -perfectly transparent, and free from any marks of the -cloth or leather, and when breathed upon should -condense the moisture of the breath in one uniform -degree over the whole surface. If patches of uneven -condensation appear, a repetition of the process must -be had recourse to.</p> - -<p>The plate being clean, we proceed to the next step,</p> - - -<h3>COATING THE PLATE.</h3> - -<p>Lay a piece of clean blotting paper on the table, -larger than the plate we are about to use; place the -<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -clean plate on this, and then bring the pneumatic -plate holder to bear on the centre of the glass, -making sure that it has laid hold firmly. We then -raise the plate with the left hand, and bring the -surface upwards which was previously on the blotting -paper; it will no doubt be found that small particles -of dust have attached themselves to the plate, these -must be removed by a broad and soft camel's hair -brush, kept for this purpose only.</p> - -<div id="Fig_2" class="fig_center" style="width: 472px;"> -<img src="images/fig2.png" width="472" height="365" alt="" /> -<div class="fig_caption"><i>Fig. 2.</i></div> -</div> - -<p>The Collodion is then to be poured on, as shown -in the diagram (<a href="#Fig_2"><i>Fig. 2</i></a>), and the superfluous quantity -returned to the bottle from one of the corners of the -plate. It does not matter which of the corners is -used for this purpose, that which is most convenient -<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span> -to the operator assuming the preference. If the -Collodion should have a tendency to set in ridges -across the plate, a rocking motion, while the delivery -corner is in the mouth of the bottle, may be given -to it, still keeping the plate in a vertical plane. -This will restore the film to perfect evenness and -freedom from irregularity of any sort. The plate -should be held in the vertical position for a few -moments before being placed on the dipper to undergo -the next operation of</p> - - -<h3>RENDERING THE PLATE SENSITIVE.</h3> - -<div id="Fig_3" class="fig_center" style="width: 208px;"> -<img src="images/fig3.png" width="208" height="219" alt="" /> -<div class="fig_caption"><i>Fig. 3.</i></div> -</div> - -<p>The plate being placed, coated side outwards, on -the dipper, is to be plunged without hesitation into -the nitrate of silver bath (<a href="#Fig_3"><i>Fig. 3</i></a>). This must be -done without stopping, otherwise a line across the -plate will indicate, on development, the position of the -plate in the bath at the time this stoppage took -place; so that if we were to immerse the plate by a -<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -series of jerks, we should have as a result, so many -bands of unequal development in the finished picture; -showing the importance of plunging the plate into -the bath without any stoppage during its descent.</p> - -<div id="Fig_4" class="fig_center" style="width: 492px;"> -<img src="images/fig4.png" width="492" height="303" alt="" /> -<div class="fig_caption"><i>Fig. 4.</i></div> -</div> - -<p>When the plate has rested for half a minute in -the bath, it may be withdrawn, and quickly re-immersed. -This washing must be continued at -intervals, until the greasy appearance goes off, generally -for the space of two minutes, when the plate -is to be taken out of the bath and placed with its -lower edge on a pad of blotting paper, in a position -as shown in the cut (<a href="#Fig_4"><i>Fig. 4.</i></a>) A fragment of -blotting paper is then to be used to absorb the -moisture from the back of the plate, and a pneumatic -plate holder—which should only be used for this -purpose—is applied to it to form a support while</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - - -<h3>APPLYING THE PRESERVATIVE SOLUTION.</h3> - -<div id="Fig_5" class="fig_center" style="width: 420px;"> -<img src="images/fig5.png" width="420" height="337" alt="" /> -<div class="fig_caption"><i>Fig. 5.</i></div> -</div> - -<p>Taking the plate in the left hand by means of the -pneumatic holder, incline it as shown in the diagram -(<a href="#Fig_5"><i>Fig. 5</i></a>); then having poured into a perfectly clean -measure rather more of the preservative solution than -is necessary to cover the plate twice,<a name="FNanchor_2" id="FNanchor_2"></a><a href="#Footnote_2" class="fnanchor">[B]</a> pour half of it -along the upper edge (A B) in such a manner, that a -wave of the solution may flow uniformly from one end -of the plate to the other; allow this to flow off into the -waste pan or sink, and then bring the plate to the -horizontal position, and pour on the remainder of -the preservative solution, eight times at least, allowing -<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span> -it to flow back into the measure from each corner -in succession, in order that the whole plate may be -brought uniformly under its influence. The plate is to -be again placed on a piece of clean blotting paper (as -shown at <a href="#Fig_4"><i>Fig. 4</i></a>), and its back once more wiped with -a fragment of blotting or papier Joseph, in order to -remove any of the preservative solution that may -have run from the surface to the underside in the -previous operation. The plate thus preserved is to -be reared on a piece of blotting paper with its face -against the wall until dry, and is then to be stowed -away in a plate box, perfectly light-tight to await the</p> - -<div class="footnote"> - -<p><a name="Footnote_2" id="Footnote_2"></a><a href="#FNanchor_2"><span class="label">[B]</span></a> A plate, 9 inches by 7, takes about 1 ounce of solution.</p></div> - - -<h3>EXPOSURE IN THE CAMERA.</h3> - -<p>Collodion plates preserved as above directed, will -keep perfectly good and sensitive for 12 months at least; -and from the appearance of the developed image on -a plate that has been kept that time, I see at present -no reason why, if preserved from the damp, they would -not keep indefinitely. In my experiments, I have -never found the least difference in sensitiveness, -whether the plate be used within a few hours of the -time of its preparation, or has been kept for months; -until, however, we have had more experience in the -matter, it would be safer not to rely on plates more -than 12 months old.</p> - -<p>The time of exposure in the camera, of course varies -in this process, under the same circumstances as it does -with the wet Collodion; but I have found as a general -<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span> -rule, that it is better to give the plate a full exposure -than to fall into the opposite extreme: that is to say, -it is preferable to expose the plate sufficient time for -the deepest shadows to make an impression than to -close the dark slide at an earlier period, the mode of -development allowing considerable latitude in this -particular. With a 3-inch single lens, 16-inch focus, -with a ½-inch stop, the usual time for a bright -landscape will be about 5 minutes; this of course is -merely an approximation to the time of exposure, -the exact time can only be arrived at by experience. -I do not think I can do better than follow the -plan adopted in my "Practical Photography," of -giving instances of under and over exposure, as a -means of educating the tyro in the appearances -that result from these conditions of the plate.</p> - -<p>If the exposure has been of too short duration, -the image will come out under the developing -solution with difficulty; and after a continued immersion -in it will only present the high lights, the -deep shadows not being represented, or, if so, in so -faint a manner as to be useless in the picture.</p> - -<p>An over exposed plate, when treated with the -developing solution, will almost immediately give -indications of the picture; and in a few minutes, -the whole of the picture, <i>deep shadows and all</i>, will -come put in unnatural force; on looking through -the picture thus produced, we shall observe a great -flatness in it, there is a want of contrast between the -<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -various parts, and although by continuing the development -we might obtain a tolerably intense -negative, the resulting picture would be flat, meagre, -and unsatisfactory: on the contrary, a plate that has -been exposed for the correct time, will comport -itself very differently under development from the -foregoing.</p> - -<p>The sky and high lights will first appear, then -the half tones, and lastly, the parts of the picture -that were in deep shadow will show themselves; -this effect should take place in about five minutes -from the time of immersion in the developing bath: -a picture that comes out sooner than this, is, as a -general rule, over exposed; and one that is much -after the five minutes before it makes its appearance, -may be considered as under exposed.</p> - -<p>We trust that the above instances may be of service -in indicating the average time required for an exposure -of the plate, but we must ask the reader not to take -the figures given as actual values, but merely as very -close approximations to the truth. We will imagine -the plate to have been properly exposed, and -proceed to</p> - - -<h3>THE DEVELOPMENT OF THE PICTURE.</h3> - -<p>It is not necessary that the picture should be -developed immediately after exposure in the camera; -any time that is convenient to the operator may -intervene between the processes, provided the aggregate -<span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span> -time before and after exposure does not exceed -the limits of keeping power of the plate.</p> - -<p>The development of the picture may be conducted -in two ways, either by immersing the plate in baths or -dishes, or by placing it on the levelling stand and -treating it with the solutions, in their proper order, as -detailed below. Each plan possesses certain advantages, -but it is of little consequence which one is -followed. Perhaps there is less danger of the film -washing off if the plate be treated on the levelling -stand, and on the other side with large plates it is more -difficult to cover them evenly with the developing -solution than it is simply to immerse them in a pan of -solution. We say to the reader, try both ways, and -make your own selection.</p> - -<p>The plate upon being removed from the camera is -placed face upwards in a porcelain or glass dish of a -convenient size (not too large), and sufficient distilled -water is to be poured over it to cover the surface -thoroughly—this is for the purpose of softening the -preservative solution, and must be allowed to remain -on the plate for five minutes; the plate is then to be -lifted in and out of the water by means of the silver -hook. This done, remove the plate to a perfectly -clean dish, and pour carefully over it the developing -solution, composed of</p> - -<table summary="data"> -<tr> - <td class="tdl">Saturated Solution of Gallic Acid (<a href="#Page_10">p. 10</a>)</td> - <td class="tdr">8</td> - <td class="tdl">ounces.</td> -</tr> -<tr> - <td class="tdl">Solution of Nitrate of Silver (<a href="#Page_10">p. 10</a>)</td> - <td class="tdr">2</td> - <td class="tdl">drams.</td> -</tr> -<tr> - <td class="tdc" colspan="3"><span class="smcap">THOROUGHLY MIXED.</span></td> -</tr> -</table> - -<p><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span></p> - -<p>In a few minutes the picture will begin to make -its appearance, and will gradually unfold its details -under the influence of the developer, until the whole -of them are apparent; on raising the plate, however, -when this stage of development is reached, and -viewing it by transmitted light, the picture will -appear weak and poor; we must now remove the -plate from the bath, and add 2 drams more of the -nitrate silver solution, and having thoroughly mixed it -with the gallic acid already in the dish, we return the -partially developed plate, which in the course of a few -minutes will have acquired a great amount of intensity,—the -exact degree can be regulated by the time of -immersion: when the picture appears sufficiently intense, -it is to be removed from the developing dish, and -a gentle stream of water is poured over it, in order to -remove any adhering developing solution, and stop all -further reducing action on it.</p> - -<p>During the whole time of the development, the -gallic acid should remain quite clear; it will become -slightly discoloured before the end of the development, -but it ought not at any time to become muddy, -or it will deposit a sort of sandy sediment on the -surface of the plate, which cannot be removed by -subsequent washing.</p> - -<p>The usual time occupied in the development of -a successful picture is from 20 to 30 minutes, it -might be developed much quicker by using pyrogallic -acid, but at present I give the preference to the -<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -developer I have described, as I believe it to be -more certain, and more under the control of the -operator than the pyrogallic acid; and further, -as it is not necessary to watch the development -all the time it is going on, there can be very little -saving of time in the more rapid method of bringing -out the latent picture.</p> - -<p>The picture being washed free from the adhering -developing solution, is to be placed on the levelling -stand, and subjected to the seventh part of the -process—</p> - - -<h3>FIXING THE DEVELOPED IMAGE.</h3> - -<p>This is accomplished by pouring over the surface -of the plate sufficient solution of hyposulphite of -soda (p. 15) to thoroughly cover it, this will dissolve -out the unaltered iodide of silver, and give us a clear -and bright picture, in which the deep shadows should -be as transparent as the glass itself, and the high -lights as dense as a piece of metal, the intermediate -tones assuming their proper positions according to -the intensity of the light that was concerned in their -formation.</p> - -<p>When the whole of the yellow iodide of silver is -removed, the fixing solution may be thrown off, and -the plate must be treated with an abundance of water; -too much cannot well be given at this stage, as the -hyposulphite adheres with great tenacity to the plate, -<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -even after a good washing. The back of the plate -must be washed as well as the front, for I have -found that a neglect of this precaution has ruined -many a fine negative; the hyposulphite remaining at -the back finding its way by capillary attraction to -the surface, and once there, its destructive qualities -are sure, sooner or later, to render themselves -evident.</p> - -<p>The picture being thoroughly washed, and either -dried spontaneously or by the fire, has only to be -covered with a film of varnish. And now comes the -last operation, of</p> - - -<h3>VARNISHING THE FINISHED NEGATIVE.</h3> - -<p>Benzoin varnish is the best coating that can be -given to a Collodion negative. It resists the action -of pieces of grit; it does not crack; and, above all, -it does not, like amber varnish, split off the picture -on the slightest friction.</p> - -<p>The application of this varnish is a very simple -matter. The negative is to be again placed on a -pneumatic plate holder, and the varnish is to be -poured on to the surface in precisely the same manner -as the Collodion was at the commencement of the -process, the superfluous quantity being returned to -the bottle: in a few moments the varnish will be -quite dry and hard, and the plate may be handled -with perfect safety.</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>I may mention, as a precaution, in varnishing the -plate, that it is better to perform that operation in a -still atmosphere; as the solvent of the gum being -chloroform and very volatile, if it were conducted in -a current of air, there might be some difficulty in -obtaining an even coating to the picture.</p> - -<p>In concluding this description of a process, which -is at once simple and certain, I would ask the -patient attention of those who may do me the honor -of repeating my experiments. I have endeavoured -to render the details of the process as intelligible -as possible, and if I have succeeded in advancing -the art of Photography only one step by so doing, -I consider that it is an ample return for hours -and days spent in anxious thought and laborious -experiment.</p> - - -<p class="caption3nb">FINIS.</p> - -<hr class="chap" /> - -<hr class="tb" /> - -<hr class="r10" /> - - - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - - -<p class="caption4">SPECIAL LIST OF REQUISITES</p> - -<p class="tdc">FOR THE</p> - -<p class="caption2"><b>DRY COLLODION PROCESS,</b></p> - -<p class="tdc">SUPPLIED BY</p> - -<p class="caption3nb"><span class="smcap">Messrs, BLAND & LONG</span>,</p> - -<p class="caption4nb"><span class="antiqua">Opticians, & Photographic Instrument Makers</span></p> - -<p class="tdc">TO THE QUEEN,</p> - -<p class="caption4"><b>153, FLEET STREET, LONDON.</b></p> - -<hr class="tb" /> - -<p class="tdc">BLAND & LONG'S</p> - -<p class="caption3"><b>IODIZED DRY COLLODION.</b></p> - -<p>This preparation will keep for an indefinite period, -and can be exported to any climate, without risk of -deterioration.</p> - -<p class="tdc"><i>Half-pints, 10s.; Pints, 18s.</i></p> - -<hr class="tb" /> - -<p class="tdc">BLAND & LONG'S</p> - -<p class="caption4">PRESERVATIVE SOLUTION,></p> - -<p class="tdc">READY FOR USE.—<i>1s. per pint.</i></p> - -<p><span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span></p> - - -<p class="tdc">BLAND & LONG'S</p> - -<p class="caption3">BENZOIN VARNISH,</p> - -<p class="tdc">FOR PROTECTING THE FINISHED NEGATIVE.</p> - -<p class="tdc"><i>1s. per oz.</i></p> - -<p>This varnish does not require the plate to be -warmed; but dries instantly, leaving a perfectly hard -transparent coating on the picture.</p> - -<hr class="tb" /> - -<p class="caption3">NITRATE OF SILVER BATH,</p> - -<p class="caption4">FOR BLAND & LONG'S DRY COLLODION,</p> - -<p class="tdc"><span class="smcap">Ready for immediate use.</span>—<i>7s. 6d. per pint.</i></p> - -<hr class="tb" /> - -<p class="caption3">PURE CHEMICALS.</p> - -<table summary="data"> -<tr> - <td></td> - <td class="tdc"><i>s.</i></td> - <td class="tdc"><i>d.</i></td> - <td></td> -</tr> -<tr> - <td class="tdl">Fused Nitrate of Silver, absolutely pure</td> - <td class="tdr">4</td> - <td class="tdr">6</td> - <td class="tdl">per oz.</td> -</tr> -<tr> - <td class="tdl">Glacial Acetic Acid</td> - <td class="tdr">1</td> - <td class="tdr">0</td> - <td class="tdc">"</td> -</tr> -<tr> - <td class="tdl">Pure Gelatine</td> - <td class="tdr">0</td> - <td class="tdr">6</td> - <td class="tdc">"</td> -</tr> -<tr> - <td class="tdl">Pure Citric Acid</td> - <td class="tdr">0</td> - <td class="tdr">6</td> - <td class="tdc">"</td> -</tr> -<tr> - <td class="tdl">Gallic Acid, pure</td> - <td class="tdr">1</td> - <td class="tdr">6</td> - <td class="tdc">"</td> -</tr> -<tr> - <td class="tdl">Iodide of Cadmium</td> - <td class="tdr">3</td> - <td class="tdr">0</td> - <td class="tdc">"</td> -</tr> -<tr> - <td class="tdl">Hyposulphite of Soda</td> - <td class="tdr">1</td> - <td class="tdr">0</td> - <td class="tdl">per lb.</td> -</tr> -<tr> - <td class="tdl">Pure Sulphuric Æther</td> - <td class="tdr">0</td> - <td class="tdr">6</td> - <td class="tdl">per oz.</td> -</tr> -<tr> - <td class="tdl">Absolute Alcohol</td> - <td class="tdr">0</td> - <td class="tdr">6</td> - <td class="tdc">"</td> -</tr> -</table> - -<hr class="tb" /> - -<p>FOR THE PRICES OF APPARATUS</p> - -<p>SEE</p> - -<p><b>BLAND & LONG'S</b></p> - -<p><span class="antiqua">Illustrated Catalogue of Photographic Apparatus</span></p> - -<p><i>Sent free by post, on application.</i></p> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p> - - -<p>SENSITIVE</p> - -<p><b>DRY COLLODION -PLATES,</b></p> - -<p>READY FOR EXPOSURE IN THE CAMERA.</p> - -<p>(<b>LONG'S PROCESS.</b>)</p> - -<hr class="tb" /> - -<p>Messrs. <span class="smcap">Bland & Long</span> are now prepared to supply these -plates, carefully secured in sealed cases, with full directions -for exposure and development, of all sizes and in any quantity, -at the following prices:—</p> - -<table summary="data"> -<tr> - <td> -<table summary="table"> -<tr> - <td colspan="3"></td> - <td class="tdr" colspan="2">Per Doz.</td> -</tr> -<tr> - <td colspan="3"></td> - <td class="tdr">s.</td> - <td class="tdr">d.</td> -</tr> -<tr> - <td class="tdl">4¼</td> - <td> × </td> - <td class="tdl">3¼</td> - <td class="tdr">5</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">5</td> - <td class="tdc">×</td> - <td class="tdl">4</td> - <td class="tdr">6</td> - <td class="tdr">6</td> -</tr> -<tr> - <td class="tdl">5½</td> - <td class="tdc">×</td> - <td class="tdl">3⅜</td> - <td class="tdr">6</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">6¼</td> - <td class="tdc">×</td> - <td class="tdl">3⅜</td> - <td class="tdr">8</td> - <td class="tdr">6</td> -</tr> -<tr> - <td class="tdl">6½</td> - <td class="tdc">×</td> - <td class="tdl">4¾</td> - <td class="tdr">8</td> - <td class="tdr">6</td> -</tr> -<tr> - <td class="tdl">6¾</td> - <td class="tdc">×</td> - <td class="tdl">3¼</td> - <td class="tdr">8</td> - <td class="tdr">9</td> -</tr> -<tr> - <td class="tdl">6</td> - <td class="tdc">×</td> - <td class="tdl">5</td> - <td class="tdr">8</td> - <td class="tdr">6</td> -</tr> -</table> - </td> - <td> </td> - <td class="bdl"> </td> - <td> -<table summary="table"> -<tr> - <td colspan="3"></td> - <td class="tdr" colspan="3">Per Doz.</td> -</tr> -<tr> - <td colspan="3"></td> - <td class="tdr">£.</td> - <td class="tdr">s.</td> - <td class="tdr">d.</td> -</tr> -<tr> - <td class="tdl">7</td> - <td> × </td> - <td class="tdl">6</td> - <td class="tdr">0</td> - <td class="tdr">14</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">8½</td> - <td class="tdc">×</td> - <td class="tdl">6½</td> - <td class="tdr">0</td> - <td class="tdr">1</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">9</td> - <td class="tdc">×</td> - <td class="tdl">7</td> - <td class="tdr">1</td> - <td class="tdr">1</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">10</td> - <td class="tdc">×</td> - <td class="tdl">8</td> - <td class="tdr">1</td> - <td class="tdr">6</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">11</td> - <td class="tdc">×</td> - <td class="tdl">9</td> - <td class="tdr">1</td> - <td class="tdr">13</td> - <td class="tdr">6</td> -</tr> -<tr> - <td class="tdl">12</td> - <td class="tdc">×</td> - <td class="tdl">10</td> - <td class="tdr">2</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -<tr> - <td class="tdl">15</td> - <td class="tdc">×</td> - <td class="tdl">12</td> - <td class="tdr">4</td> - <td class="tdr">0</td> - <td class="tdr">0</td> -</tr> -</table> - </td> -</tr> -</table> - - -<p>LARGER OR OTHER SIZES TO ORDER.</p> - -<p>The advantages of a certain and simple Dry Collodion -Process are so obvious to those who have practised Photography -in the open air, that we feel it is merely necessary -to introduce the above list to their notice with as few -remarks as possible.</p> - -<p>We would, however, mention a few particulars connected -with the process for the information of those who have not -hitherto practised the Dry Collodion process, as detailed -by Mr. Long.</p> - -<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p>The plates as prepared for sale, are hermetically sealed -in an envelope perfectly impervious to air and moisture, -they can therefore be exported to any climate without risk -of deterioration.</p> - -<p>Plates prepared by Mr. Long's process will keep sensitive -for almost an indefinite period, and can be developed at -any time without regard to the date of exposure; this, it -will be seen, is of immense advantage to the tourist, as -he can delay the development of the whole of his plates -until his return.</p> - -<p>To those Photographers whose inclinations or want of -leisure will not admit of their carrying through the first -preparation of the plate, these Dry Sensitive Plates will be -found invaluable, enabling their whole energy to be directed -to the more careful selection of subject.</p> - -<p>The plates being dry, there is no danger of dust settling -on their surfaces; this point will be appreciated by every -Photographer.</p> - -<p>The development of the pictures can be conducted in -any room whence the light can be excluded—as the process -is simple and clean—three dishes being the only requisites -in point of apparatus.</p> - -<p>To Officers, Engineers, and Architects, these Dry Plates -offer a desideratum of no small value, as they are <i>always -ready for use</i>, occupy very little room in travelling, and can -be used under circumstances which would preclude the -adoption of any process that had to be carried out on the -spot.</p> - -<hr class="tb" /> - - -<p class="caption2">BLAND & LONG,</p> - -<p class="caption3nb"><span class="antiqua">Photographic Instrument Makers to the Queen</span></p> - -<p class="caption3nb">153, FLEET STREET, LONDON.</p> - -<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> - - -<p class="tdc">THE</p> - -<p class="caption3">DRY COLLODION PROCESSES.</p> - -<hr class="tb" /> - -<p class="tdc">Messrs. BLAND & LONG have invented the following<br /> -simple means of</p> - -<p class="caption3">CHANGING THE DRY COLLODION PLATES</p> - -<p class="tdc">while working in the fields. The plan has been in use<br /> -for some time, and answers perfectly.</p> - -<hr class="tb" /> - -<p class="tdc"><i>Price according to size.</i><br /> -<br /> -<i>Adapted to Stereoscopic Camera, 15s.</i><br /> -</p> - -<hr class="tb" /> - -<div class="fig_center" style="width: 519px; padding-bottom: 2em;"> -<img src="images/page36.png" width="519" height="432" alt="Plate Changing Chamber" /> -</div> - -<p><span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span></p> - - -<p class="caption3">DESCRIPTION AND DIRECTIONS FOR USE.</p> - -<hr class="r10" /> - -<p>No matter what process we employ to retain the sensitiveness -of our plates, it is most objectionable that the glasses -should be made to slide by their gravity from the plate-box -to the slide; for if we employ either honey, glycerine, or -oxymel as preservative agents, the chances are considerably -in favor of an amount of dust settling on the surface, the -dust being in a great part formed by the attrition of the -roughened edges of the plate against the plate-box. Another -inconvenience attending the use of a box when the plate has -to slide, is the danger that exists under that arrangement of -ripping the film from the edges of the plate by the friction -against the groove in the box which holds it. These may -appear very trivial matters, but they are nevertheless great -drawbacks to successful operations.</p> - -<p>We may mention that the plan we are about to describe -is equally applicable to all Cameras of moderate size. We -will, however, take our description from the form of apparatus -adapted to a double lens Stereoscopic Camera.</p> - -<p>The Camera (A) is furnished at its back with two wires (B). -On these wires slides the plate-box (C), which has previously -been fitted at its sides with two sockets (D). Just inside -the back of the Camera box is a spring (E), and on the top -of the Camera is a button (F), which secures the dark slide -in its place.</p> - -<p>We now slide the box of prepared plates (C) on to the -wires (B), the lid of the box opening from the Camera; we -<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -then stretch over the whole affair, the black light proof -covering (G); this completes the arrangement, and now for -the mode of operating.</p> - -<p>The opaque covering is furnished at its side with two -elastic rings. Into these thrust the hands, so that the rings -may firmly encompass the wrist. Then open the plate-box, -and throw the lid quite back. Next unbutton the door of -the dark slide, and raise it until the spring (E) flies underneath -it, and retains it in a horizontal position. This we will presume -to be done with the right hand; the left hand being -engaged as soon as the door is opened, in holding the plate -that is already in the back in its place. The right hand -being now at liberty, comes to the assistance of the left, and -the plate that has undergone exposure is safely transferred to -the vacant groove in the plate-box. This accomplished, the -next plate is to be placed in the back, and the same operations -gone through in the inverse order, the left holding the plate -in its place, while the right releases the door from the influence -of the spring (E), and re-buttons it, leaving the plate -quite safe in the dark slide.</p> - -<p>When we require to focus for a fresh picture, it is only -necessary to remove the dark covering from that part of the -Camera where the ground glass is placed. The picture can -be seen without removing the plate-box or the whole of the -covering.</p> - -<p>It is obvious that there is no limit to the number of glasses -that can be taken to the field of operations. In this way, -several boxes holding a dozen each, can be strapped together -and placed on the Camera, one by one, as occasion or opportunity -may direct.</p> - -<hr class="tb" /> - -<p class="tdc"><span class="smcap">H. Silverlock, Printer, Doctors' Commons.</span></p> - -<hr class="chap" /> - - -<p><span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span></p> - - -<p class="caption3">PRACTICAL PHOTOGRAPHY,</p> - -<p class="tdc gesperrt">ON GLASS AND PAPER,</p> - -<p class="pmt1 tdc"><span class="antiqua">A Manual,</span></p> - -<p class="tdc vsmall">CONTAINING SIMPLE DIRECTIONS FOR THE PRODUCTION OF</p> - -<p class="tdc"><b>PORTRAITS, VIEWS, &c. BY THE AGENCY OF LIGHT,</b></p> - -<p class="pmt1 tdc vsmall">INCLUDING THE</p> - -<p class="tdc"><b>Collodion, Albumen, Calotype, Waxed Paper, and Positive Paper -Processes.</b></p> - -<p class="tdc pmt1 pmb1"><span class="smcap">By CHARLES A LONG.</span></p> - -<p class="tdc smaller"><i>Fourth Edition, price 1s.; per Post, 1s. 2d.</i></p> - -<hr class="tb" /> - -<p class="caption3">ILLUSTRATED PHOTOGRAPHIC CATALOGUE,</p> - -<p class="tdc smaller">FREE BY POST.</p> - -<hr class="tb" /> - -<p class="caption3">SPECTACLES:</p> - -<p class="tdc">WHEN TO WEAR AND HOW TO USE THEM.</p> - -<p class="tdc vsmall">ADDRESSED TO</p> - -<p class="tdc"><b>THOSE WHO VALUE THEIR SIGHT.</b></p> - -<p class="tdc"><span class="smcap">By CHARLES A. LONG,</span></p> - -<p class="tdc smaller">THIRD EDITION. POST FREE, SIXPENCE.</p> - -<hr class="tb" /> - -<p class="tdc vsmall">ALSO,</p> - -<p class="tdc">A DESCRIPTIVE AND GENERAL CATALOGUE</p> - -<p class="tdc vsmall">OF</p> - -<p class="caption3">SCIENTIFIC & EDUCATIONAL INSTRUMENTS</p> - -<p class="tdc smaller">AND</p> - -<p class="tdc">CHEMICAL PREPARATIONS,</p> - -<p class="tdc"><span class="smcap">Manufactured and Sold by BLAND & LONG,</span></p> - -<p class="caption4">OPTICIANS, PHILOSOPHICAL, PHOTOGRAPHICAL, AND CHEMICAL INSTRUMENT MAKERS,</p> - -<p class="tdc">AND OPERATIVE CHEMISTS.</p> - -<p class="pmt1 pmb1 tdc smaller"><i>Free by Post.</i></p> - -<p class="tdc">PUBLISHED BY BLAND & LONG, Opticians,</p> - -<p class="tdc"><span class="antiqua">Philosophical and Photographical Instrument Makers to the Queen,</span></p> - -<p class="tdc">163, FLEET STREET.</p> - - -<hr class="tb" /> - - -<div class="transnotes"> -<p class="caption3">Transcriber Note</p> - -<p>Minor typos corrected. Images moved to prevent splitting paragraphs.</p> - -</div> - - - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's The Dry Collodion Process, by Charles Long - -*** END OF THIS PROJECT GUTENBERG EBOOK THE DRY COLLODION PROCESS *** - -***** This file should be named 63814-h.htm or 63814-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/3/8/1/63814/ - -Produced by Tom Cosmas from images kindly made available -from The Internet Archive. All materials are placed in the -Public Domain. - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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