diff options
Diffstat (limited to 'old/63814-0.txt')
| -rw-r--r-- | old/63814-0.txt | 1637 |
1 files changed, 0 insertions, 1637 deletions
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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for the eBooks, unless you receive -specific permission. If you do not charge anything for copies of this -eBook, complying with the rules is very easy. You may use this eBook -for nearly any purpose such as creation of derivative works, reports, -performances and research. They may be modified and printed and given -away--you may do practically ANYTHING in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country outside the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - 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. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm web site -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original "Plain -Vanilla ASCII" or other form. Any alternate format must include the -full Project Gutenberg-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from both the Project Gutenberg Literary Archive Foundation and The -Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm -trademark. Contact the Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |