/ y . OH THE C PHOTOGRAPH AMBROTTPE MANUAL: ty A PRACTICAL TREATISE ON THE ART OF TAKING POSITIVE AND NEGATIVE PHOTOGRAPHS ON PAPER AND GLASS, COMMONLY KNOWN AS PHOTOGRAPHY, IN ALL ITS BRANCIIES; OONTAINIVQ ALL THE VARIOUS RECIPE3 PRACTISED BY THE MOST SUC- CESSFUL OPERATORS IN THE UNITED STATES. BY N. G. BURGESS, PBAOTIOAl. PHOTOGRAPHER, AND MANUFACTURER OF OHKMICAL8 FOE THE ART. FIFTn EDITION. NEW YORK: WILEY & HALSTED, 351 BROADWAY LONDON : TEUBNEE & go 1859- NH 4fc$ *\> ^ Entered according to Act of Congress, in the year 1858, By NATUAN G. liUitGESS, Tn tbe Clerk's Office of the District Court of the United States for the Southern District of New York. BB K. C. VALENTINE, SlERBOTYPER ANT) Kl.r.CTKOTYrr.H, 91, 83, ami 85 Ceutre-streel, Nl-.W YoiiK. THE GETTY CENTER LFDMRy PREFACE. The publication of the Ambrotype Manual, by the author of this work, a short time since, and the great demand for the same, has induced him to enlarge that work by the addition of the prac- tice of Photography in all its branches. It may not be inappropriate at the present time to refer to the progress of this wonderful art, since its first advent in 1839, and to note its tendencies and its effects, to trace its leading features and results up to its present high posi- tion in the scientific world ; and, finally, to mark out the commanding results which it is destined yet to achieve in its onward progress to per- fection. The Photographic Art was ushered into the world on the day when the immortal Daguerre, in 1839, announced his sublime discovery to the Hfl PREFACE. French savans, and it has steadily progressed from that day to the present time. It lias made many strides towards perfection, and has astonished all with its accomplishments. In the short space of eighteen years, what has it not done ? From the small and almost imperceptible im- pression upon the silver plate first exhibited by Daguerre, which could only be seen at a certain angle of light, and that very dimly, and of a blue- ish cold tone, to the magnificent jmotograph of the size of life, with all the perfect delineations of light and shade, what a wonderful advance ! And these great improvements have been so gradual, that few, if any, could mark the changes. Yet all will acknowledge, that the art is just now begin- ning to attest its true worth, for we now begin to receive the homage of all true lovers of art. The day has dawned in which the photographer can command even the service of the artist, whose highest pride should be to copy nature in all her works. For now we can exhibit true works of art drawn with the pencilings of the sun's rays, and drawn with such an unerring correctness that it were sacrilege to touch it with the hand of the artist. It defies the artist's skill. It fairly out- PREFACE. vies the creations of a Raphael or a Rubens in portraiture, and in the other certain works of the pencil. The Photographic Art has become of such im- portance in this country, that many persons have embarked large amounts of capital in the manu- facture of materials for the use of the photographic artist. The inducement has been fully warranted from the fact that all these persons who have in- vested in this branch of commerce have been fully rewarded. In view of these facts, it is thought proper and necessary to embody in this edition of the work a set of full and complete practical formulae for the production of all kinds of Photographs on paper, as well as those on glass, known as Am- brotypes. The aim will be to give only such known receipts as have been in actual practice by the author and others, and to explain them in the plainest and most explicit manner possible, in order that the least practised operator may reap the benefit from the perusal of the work, as those of more mature experience. The practice of the art of taking Photographs on paper has been attended with very diverse results in the United States, owing in a great degree to 1* c PREFACE. i the fact that most persons who have embarked in it have heretofore been Daguerreian artists. They imagined that it only required the necessary skill and experience of a Daguerreian artist to ren- der them good Photographers. But this has been soon found to be a fallacy. There are many who are skilful in the process known as the Daguerreo- type, who can produce specimens of that art which would do credit to the profession, who nevertheless utterly fail in this higher branch of Photography. The reason is obvious. They have vainly imagined that only the same care was necessary in the paper process that was demanded in the manipulation of the silver plate. But how soon have their hopes of success been blasted ! Where the ordinary care bestowed upon a Daguerreotype would produce satisfactory results, the same care upon a Photo- graph on paper would produce a worthless picture. Hence we see the necessity of looking into a higher range of art for the perfection of this branch. And as Ave approach near the goal of perfection in this sublime art, so much the more does it de- mand of its votaries greater sacrifices on the altar of patience and perseverance, more nearly resem- bling the long and weary road of the successful painter, who rises in his profession through many TREFACE. years of patient toil, with his pencil and his pallet, to the highest eminence. And the day may not be far distant when only those who have been for many long and weary years followers of the Photographic Art, shall be- come masters of their profession. It is well, therefore, to fully comprehend the greatness of the task one assumes who embarks in this profession. And to become a perfect master of it, will require all the known resources of his perseverance. Therefore such aids as may be found in the experience of others, will be given here, and it is trusted may be found of essential service to those who may purchase the work and follow the art as a profession. To the amateurs this work will no doubt be ac- ceptable as a practical treatise, leading them into the more intricate fields of practice not found in scientific works on kindred subjects. Fortunately for this beautiful art, the number of amateurs is increasing in the United States, and we trust they may continue to augment until the num- ber shall equal those of England and other Euro- pean countries. For like all beautiful arts, the tempting field of pleasurable labor here opened, is beckoning onwards a host of fellow-laborers, which PREFACE. will render the task of ultimate success of very easy accomplishment ; and it is trusted they will emulate those artists in England who have so will- ingly opened their stores of knowledge to the pho- tographic world, so that all may reap the "benefit of their valued experience. C ONTENTS. Preface 3 Introduction 9 CHAPTER I. History and Progress of the Photographic Art — Its Introduction into the United States — The Discovery or Uses of the various Chemicals — Positive Photographs on Glass 19 CHAPTER II. Theory of the Photographic Process — Negative and Positive Pic- tures — Negatives on Paper and on Glass — Positives on Glass — Theory of the Positive and the Negative Process 30 NEGATIVE PROCESS. CHAPTER I. On the Practice of the Negative Process through all its details — The Manipulations — Cleaning the Plate — Coating with Collodion —Drying the same — Time in the Camera — Developing — Re-devel- oping for Intensity — Varnishing the Negative— Frames or Shelves for Negatives — General Remarks on the Manipulation of the Negative Prooess— Arrangement of tlio Light — Use of the Ca- mera, &C, &c 39 10 CONTENTS. CHAPTER II. The Nitrate of Silver Bath for Negatives — Preparation of the same- Formation of the Iodide of Silver for the Nitrate Bath— On the practice of the Negative Bath — Observations on the use of the Negative Bath — On the Intensity of the Negative — Color of the Negative, &c., &c 43 CHAPTER III. On Photographic Printing — Salting Solutions — Salting the Paper- Silvering the Paper with Ammonia Nitrate of Silver — Plain Silver Solution — To prepare the Albumen for Paper Positives — Silvering Albumen Paper — On the practice of printing Negatives — Toning or fixing the Print — Washing the Positive Prints — Drying the Pictures — Varnishing and Mounting the Prints 56 CHAPTER IV. To copy Daguerreotypes and other Pictures into Photographs — On Enlarging Pictures — To enlarge Pictures from Daguerreotypes, Ambrotypes, or Photographs ; and to produce Photographs from them — To make Life-size Photographs on Paper — Iron Photo- graphs, or Instantaneous Printing — On taking Stereoscope Pic- tures, Photographic Views, &c, &c 69 CHAPTER V. On tbe Preparation of Negative Collodions — The Formulae for Neg- ative Collodions — Mixing various Collodions — Dissolving the Io- dides — Double Iodide Collodions — The celebrated German Pro- cess complete — The Negative Developing Solutions — Re-develop- ing Process — Bichloride of Mercury as a Re-developer — Fixing Solution — The Toning Baths — The Ammonia Nitrate of Silver Solution 81 CHAPTER VI. Details of the various Recipes in the Photographic Process — Quick Method of Silvering and Printing Paper — Best Method of Salting Paper — Test for good Collodion or Gun-Cotton — Varnish for Posi- tives on Paper — Instantaneous Printing Process — New Method of CONTENTS, 11 varnishing Positives — To restore Prints that have changed color — Cleaning Glass Plates — To varnish Negatives — Dextrine Paste tor mounting Photographs — Gum-Arabio and Gelatine — To restore Silver from Old Solutions — To remove Water from Collodion, and to purify it — Test of Hyposulphite of Silver in Positive Prints — Printing various Backgrounds 97 CHAPTER VII. Hints and Suggestions in regard to the Negative Process — Imper- fections peculiar to Negatives — How to avoid them — Cautions in taking Negatives — Hints and Suggestions in regard to printing Positives on Paper — Cautions in regard to them — Imperfections found in Positives — How to avoid them Ill AMBROTYPE PROCESS. CHAPTER VIII. The Camera — Plate-holders necessary for the Camera — Preparing the Glasses — Plate-blocks for holding the Glasses- — Cleaning Sub- stances — Cleaning the Glasses — Cleaning old Glasses — Removing the Varnish — Holding Glasses after they are cleaned — Glasses used a number of times — Quality of Glasses necessary for Am- brotypes 125 CHAPTER IX. Apparatus for Ambrotypes — Chemicals used— Substances for finish- in? the Picture — Preparation of the Nitrate Bath — To Iodize the Bath — Filtering Process — -Adding Acid — -Neutralizing the Bath — Full Directions for keeping the Bath in order — Renewal of the Nitrate of Silver 131 CHAPTER X. The Developing Solutions — Manner of Compounding them — -Various Formulae for Developing Solutions — Test of Acetic Acid — The Fixing Solutions — Cyanide of Potassium— Hyposulphite of Soda —Adding Chloride of Silver 141 12 CONTENTS. CHAPTER XI. On the Practice of the Art in all its Details, from the Cleaning of the Plate to the Application of the Fixing Solution — Drying the Picture 145 CHAPTER XII. Varnishing the Picture — Single Glass Process— Stereoscopic Am- brotype — Treble Glass Process — The Double Glass Process — Cut- ting's Patent — The Patent-leather Process 151 CHAPTER XIII. The Manufacture of Gun-Cotton — Test of the Acids employed — Washing and Drying the Gun-Cotton — Preparation of the Collo- dion — Its Nature and Properties — Ether and Alcohol — To Iodize Collodion for Ambrotypcs — Method of preserving Collodion, and keeping it ready for use— Tests of good Collodion — To remove the color from Collodion 157 CHAPTER XIV. Coloring Ambrotypes— Colors employed — Ambrotypcs for Lockets — Taking Views — Copying Daguerreotypes by the Ambrotype Process — Copying Engravings, Statuary, Machinery, &e 166 CHAPTER XV. On the manner of Arranging the Light — The Falling of the same on the Drapery — Use of a Diaphragm — Light on the Eyes — Using Screens — Backgrounds — Reflectors — Diaphragm — Time in the Ca- mera — Over-exposure, and Under-developing — Taking Children's Portraits 174 CHAPTER XVI. Alcoholic Solutions for preparing Collodion — -Iodide of Silver Solu- tion — Bromide of Silver Solution — Bromo-Iodide of Silver Solu- tion—Saturated Solution of Iodide of Potassium in Alcohol — <>f Bromide of Potassium — To make Hydro-bromic Acid 179 CONTENTS. 13 CHAPTER XVII. Preparation of the Varnishes — White Copal Varnish — Gum-demar Varnish — Black Asphaltum Varnish — White Varnish of Shellac and Copal — Thickened Varnish for Cementing Glasses, in place of Canada Balsam — Gum-shellac Varnish for Plate-holders — -Ap- plying the Varnishes 189 CHAPTER XVIII. Causes of Failure in the Practice of the Art — Fogging the Pictures — To detect the Fogging of Plates — Black and White Specks on the Plates — Transparent and Opaque Spots — Impurity of Chemi- cals — Spots or Streaks on the Glass Plates -. 194 CHAPTER XIX. Cautions with regard to using the various Chemical Suhstances in making Gun-Cotton — Use of Ether and Alcohol — Use of Cyanide of Potassium — Nitrate of Silver — Cleaning the Hands — Solution for cleaning the Hands — Hints on the various Processes connected with Positives and Negatives — To render Collodion highly Sensi- tive — The Lampratype Process 202 CHAPTER XX. Vocahulary of Photographic Chemicals — Acetic Acid — Alcohol — Ammonia — Bromine — Bromide of Potassium — Carbonate of Soda — Cyanide of Potassium- — Chloride of Gold — Hyposulphite of Gold- — Hyposulphite of Soda — Iodine — Iodide of Ammonia — Iodide of Potassium — Iodide of Silver — Protosulphate of Iron — Litmus— Nitric Acid— Nitrate of Potash— Nitrate of Silver— Sul- phuric Acid— Properties of Ether — Properties of Water 211 Weights and Measures 233 5 INTRODUCTION TO THE AMBEOTYPE MANUAL. The Photographic Art, as known and practised at the present time, is capable of a great variety of modifications. Among these are positive pictures on glass, which, on account of their imperish- ability, are denominated Ambrotypes — a name given to them by Mr. Cutting, a successful artist of Boston. They are said to be impervious either to air or water. It is by this name that all positive pictures on glass are known in this country. They are attract- ing the attention of the Daguerreian artists from the peculiarity of their appearance, and the new phenomena of their production, differing so widely from the Daguerreotype process. A desire has been often expressed that a work written by a practical operator, and of a practical 16 INTRODUCTION. nature, might be within the reach of those who wish either to begin the study of the art at the outset, or to modify and improve the practice in which they may be already engaged. "With a view to meet this want, the present work has been undertaken. It is designed to present the results of a long practical experience, and of a uniform series of experiments in all the details of the art, together with receipts by the most skilful and successful operators of the present day. Ambrotypes being positive photographs on glass, it will necessarily require some knowledge of photography to fully understand the so-called ambrotype process. In this manual will be found such practical hints on the various processes (divested, as much as pos- sible, of technical expressions, which may tend to mislead the inexperienced artist), as, with a little practice under the supervision of one who has some knowledge of manipulating, will enable any person to master the art. The patented process known as " Cutting's Pa- tent" has tended in some measure to retard the efforts of many who were desirous to work by this process. At present, however, certain investiga- INTRODUCTION. tions are being made so as to undeceive the public on tliis point, and we can see the good results of a removal of this drawback to the successful prac- tice of this beautiful art. There are various other methods of sealing the ambrotypes which will answer as well as those indicated in the patented process, if not better, which no one need be de- terred from adopting. In this work will be found detailed the many various processes which have been adopted by skilful artists. The whole operation from the first cleaning of the glass plate to the final sealing of the picture will be elucidated and explained in such a clear and satisfactory manner, as that it may be hoped that the amateur may make great proficiency in his practice after the perusal of the work. The process, however, is capable of such a va- riety of changes, all tending to the same result, and liable, also, to a slight variation, without due care, that many, perhaps, who may adopt the practice will meet with difficulties where none were expected. But perseverance, which accom- plishes great deeds in all things, will at length re- ward the industrious student in this almost magic field of science. We believe that the clay is not 2* IS INTRODUCTION. far distant when ambrotypes will be classed among tlie most beautiful creations of the Photographic Art, and command the wonder and regard of the picture-loving public. The art is capable of much greater variety of effects than the lung-practised Daguerreotype. Here we may seal a "picture with or without color- ing, and make the same picture appear to be colored on viewing it on one side, and uncolored on viewing it on the other side — in truth, viewing two sides of the face with only one portrait. Added to which is the great reduction of the time in the camera, by which moving objects and views may be taken without reversing, and likenesses of young children can be indelibly fixed on the glass tablet. For the production of groups, this process offers many facilities not possessed by any other, from the fact that the ordinary iron head-rests may be dispensed with, if desirable, and an easy, graceful, and natural position attained. These and other considerations render the Am- brotype in many respects superior to other photo- graphic processes, and it will deservedly command the attention of all artists who wish to excel in this profession. PHOTOGRAPHY. CHAPTER I. HISTOET AND PROGRESS OF THE PHOTOGRAPHIC ART ITS INTRODUCTION INTO THE UNITED STATES THE DISCOVERY OR USES OF THE VARIOUS CHEMI- CALS POSITIVE PHOTOGRAPHS ON GLASS. The history and progress of an art so peculiarly distinct from all other arts, demands from its vo- taries a certain knowledge of its early stages, its introduction to the world, and its authors who brought it into being. The names of many of those w T ho have been in- strumental in perfecting it, are fast passing away, and it seems befitting that, if only as a tribute of respect to their memories, some mention at least should be made of their noble achievements in this field of science — especially their long and weari- some researches and labors in perfecting this won- derful work. To H. Daguerre, of France, whose name is so 20 PROGRESS OF riTOTOGRAPHY. identified with the Photographic Art, from the fact of/its being associated with all those impressions on the metallic plate, is the world not only indebted for the first sublime idea, but also the first success- ful result. Although Mr. Fox Talbot, of England, who was prosecuting experiments at the same time with Daguerre, claims priority of discovery, yet the world would have slumbered in ignorance had not M. Daguerre so clearly demonstrated that light falling upon a certain substance known by chemists as iodide of silver, would impress thereon whatever image was presented for its magic work, and reproduce its own image with all the fidelity of an artist's skill. The details of M. Daguerre's process, as given to the world in June, 1839, were, of course, very imperfect; yet the principle was thereby estab- lished, and has been so successfully carried out by his successors, that he is fully entitled to the credit, and deservedly stands pre-eminent in the ranks as the original discoverer or inventor of this beautiful art. All the photographic processes since made known and practised, owe their origin, if not di- rectly, at least indirectly, to the fact of his original discovery. TEOGKESS OF rilOTOGKAPHY. 21 Pictures on paper, glass, &c, are in fact only modifications of his great achievement. They in- volve a change in the nature of the mere materials used, and do not in any degree affect the original fact that light must be brought to act upon the substance known as iodide of silver to produce the required result. The researches of Wedgewood and Sir Hum- phrey Davy, in 1802, are familiar to most scien- tific readers. These individuals were cognizant of the fact that light acting upon certain salts of silver affected its color. They engaged in these experiments in order to fix the image in the camera obscura at that early day ; yet owing to the imper- fect state of chemical science, and the fact that iodine itself was not discovered at that time, they finally abandoned it, and left the field for such in- dustrious and worthy investigators as Daguerre and Niepce, who successfully prosecuted their re- searches, beginning in 1814, and finally announ- cing their successful result in June, 1839. The world was astounded to be told that the seeming evanescent image that had flitted so beau- tifully before the vision of a dreamer's mind in the camera obscura for so many long years, had been caught and impressed indelibly upon a tangible 22 PROGRESS OF rHOTOGKAPHT. substance ; that the long wished-for aspirations of an artist's soul had been realized ; that now it was possible to transform the living pictures which Portia, two hundred years before, had exhibited to the gazing world as wonders of his genius; that they could all be imperishably impressed, and be made to retain their beauty for ages. Philosophers in science prosecuted their re- searches, and finally made additional discoveries. We find Sir John Herschel as among the foremost in the ranks. Hunt, Archer, and Mr. Fox Talbot himself, made great progress soon after it was an- nounced that Daguerre had finally perfected his discovery. Mr. Talbot, however, was unwilling the world itself should profit by his discovery, and he forth- with commissioned agents to all parts of the world to secure patents wherever they could be obtained. "With what success he met in their sale may be known from the fact that no one now claims any interest whatever in them. Mr. Talbot has seen proper of late to withdraw all claims to a patent by his process, and for the reason, no doubt, that it has been so immeasurably superseded by new and more useful improvements. A patent for any portion of this process is almost fox talbot's patent. 23 conceded to be a misnomer. Certain it is that one always militates against the successful practice of it ; and had M. Daguerre claimed one all over the world, his name would not have attained its present fame. Mr. Talbot has been very justly censured in England for his long persistency in the claims to his patent. Many litigations were the conse- quences of it, in all of which Mr. Talbot was not declared the victor, but he always brought upon himself the deserved censure of the photographers in Europe. M. Daguerre himself, very reluctantly, however, yielded to the wishes of some of his friends, and secured a patent in England, by taking advantage of a peculiarity in the patent laws of that country, yet it has been said he often regretted it. Wherever any patent has been secured for any peculiar detail of the Photographic Art, it has always tended to bring discredit on its projectors, and render them odious in the eyes of the frater- nity, as grasping and over-reaching in their endea- vors to gain a few dollars and cents out of this beautiful process, which seems to belong to a higher race of discoveries than most others, partaking almost of the things spiritual. 24 DAGUEKRE S PENSION. France awarded M. Daguerre a pension for life, as well as one to M. Niepce, junior, the father, who was the original co-laborer with Daguerre, having died in 1833. This pension was small, yet it evinced a noble and generous spirit in the French government, and an example that is wor- thy of emulation in other countries. The process on silver plates soon made rapid strides towards perfection, and in a few years we find the art capable of producing specimens of great beauty. The discovery of the use of chloride of iodine, and bromine, and finally the gilding pro- cess of Mr. Fizeau, resulted successfully in com- pleting the whole process so perfectly, that few, if any, material improvements have been made since. This led others to investigate and essay experi- ments on various substances instead of the silver plate, that being an expensive article ; and, more- over, as the daguerreotype could only be seen with distinctness in a certain position, or angle of light, while paper offered such unequal surfaces, a natu- ral desire was expressed to find some other sub- stance to remedy these defects. This first led Sir John Herschel to adopt glass as the readiest means of obviating the difficulties. This was in the year 1844, and he obtained his results by precipitating herschel's process. 25 iodine and bromine, and chloride of silver upon glass. With this he produced some good nega- tives, which could be converted into excellent positives. Herschel describes his process as follows : " The glass plate so prepared receives in the camera a distinct negative image, which appears either in a natural position, or reversed, as you look at it in front or behind. If a solution of hyposulphite of soda is spread cautiously over the surface, and the latter is afterwards rinsed with water, the picture vanishes, but as soon as the plate is dry, it comes again to light, when it looks similar in appearance to a daguerreotype, more especially if it is placed on a dark ground, or blackened over the lamp, whereby, indeed, the negative is made positive." Here, then, we have the first germ of a positive picture on glass. Herschel himself was searching after a negative picture whereby to produce a positive on paper, nor did it occur to him to pro duce a positive on glass. Had he done so, then the far-famed Ambrotypes, or positive photographs on glass, would have been of an earlier creation than those of 1850 in England. We see here the actual beginning of this art as far back as 1844. 26 DISCOVERY OF GUN-COTTON. The next improvement was made by Niepce de St. Yictor, of France, in 1848, which consisted in the use of albumen (the white of an egg), contain- ing iodine and a small portion of water. This was used for coating glass plates, and was practised with good success. It was found to possess only a small degree of sensitiveness. Yet it has been since used for taking views, having a further com- bination of bromine, with excellent results. M. Le Grey, of Paris, was the first to suggest the use of waxed paper. This process, with albumen, gives highly satisfactory pictures, and is only excelled by the use of collodion. It was in 1850 that tha* substance first was known as the great desideratum of the Photographic Art, and from its discovery and foundation has been laid a superstructure which commands so much admiration in the scien- tific world. Had not Professor Schonbein, of Basle, Switzer- land, in 1846, made that curious, and at that time almost useless, discovery of gun-cotton, we should have groped our way in darkness in search of a substance that would render all our labors so sure of success. The use of gun-cotton as an explosive material instead of gunpowder, was by some predicted FIRST USE OF COLLODION. 27 when its discovery was first made known ; but it was soon found to be useless as an explosive agent, when happily a new element of its nature was de- veloped in the fact of its solubility in ether or alcohol. This produced the substance known as collodion, from a Greek word signifying "to stick." Its similarity to albumen soon caused it to be used instead of that substance, when lo ! a servant was obtained for the photographic artist at once so use- ful and willing that he has ever since, and prob- ably ever will, be subject to his rule. Collodion was first used in 1850, several claim- ing the origin of the discovery. Amongst the number may be mentioned Messrs. Archer, Fry, and Diamond, of London, together with Le Grey, of Paris, and De La Motte. The latter asserts that M. Simon, an apothecary of Berlin, suggested its properties to him in the spring of 1850. After collodion had been established as a photo- graphic agent of such vast utility, it w T as soon found that positive pictures could be taken on glass with greater facility than those on the silver plate, and we find that many were sold in 1851 in that manner in England ; yet they did not com- mand much attention, owing to their peculiar na- ture — being taken with a thin film, and a weak 28 ME. CUTTING'S PATENT. nitrate bath, they did not possess that strength which those of the present day exhibit. The use of collodion was employed mainly with a view to produce good negatives on glass, in order to obtain from them satisfactory positives on paper. It was not until positive pictures on glass were taken in this country, that they elicited any praise from the artist ; and we find Mr. Cutting, of Boston, running with railroad speed towards the Patent Office in Washington, and securing the ex- clusive privilege of sealing two glasses, with one of them blackened, in order to render the pic- ture apparent — the examiners at Washington not dreaming of the capital joke which was being played on them, for it is well known that these positives cannot be seen without the black varnish. The necessity of the second glass blackened has since been entirely obviated by applying the var- nish directly to the picture, and at the same time rendering the picture more durable, by entirely excluding from it the air or dust. Since that patent w r as obtained, there have been many improvements made in the preparation of the chemicals, and their use, all of which have en- tirely superseded those of Mr. Cutting's, whose chemicals, strange to say, were also patented. DAGUEKEE AND HIS FOLLOW KRS. 20 The name of Ambrotype was also given them, and they are now so well known by it, that it is presumed they will be ever after called by that newly-coined word, which of itself is perhaps as suggestive and appropriate as any. Thus we see the progress of photographs on glass has resulted in establishing an entirely new name for pictures which owe their origin to the immortal Daguerre. And although many of the followers of the great master in the art claim originality in many of the details of this art, and they are indeed entitled to much praise, yet had Daguerre and Niepce never lived, this art might not yet have had an existence. But Daguerre de- veloped and perfected an art which will be prac tised as long as the sun shall shine. 3* CHAPTER II. THEORY OF THE PHOTOGRAPHIC PROCESS NEGATIVE AND POSITIVE PICTURES NEGATIVES ON PAPER AND ON GLASS POSITIVES ON GLASS THEORY OF the PosrrrvE and the negative process. The photographic process is one of the latest arts introduced to the world which partakes, in some degree, of the arts of design, and from its nature is really superior, in point of attractive fea- tures, to many of the lesser arts. It seems to de- mand a more eleA r ated range of thought and taste than others, being to a great degree allied to the arts of painting and sculpture. Though in a meas- ure mechanical, yet it possesses many peculiarities which demand from its votaries more than the limited judgment and skill necessary to the per- fection of ordinary arts. The theory of the process is said mainly to con- sist in that certain action to which light is subject of causing its own image or reflection to be ren- NEGATIVES AND POSITIVES. 31 dered apparent by that self-same reflection on sub stances capable of receiving the impression. The term Photography, or painting ~by light, is sufficiently definite for our purpose, and all we know about the actual theory is, that when certain conditions are observed with regard to light, an impression may be obtained. But what is the real or definite action which takes place upon the surface of the iodized plate, no man has been per- mitted to know. Photographs are known either as Negatives or Positives. They are positive in the Daguerreotype and Ambrotype, and negative only in the glass pictures or paper pictures, from which positives are to be taken on paper, and on other similar substances. These terms should be well understood by the operator who seeks success, as they form the basis of all photography. All pictures taken by the collodion process pos- sess either of the foregoing conditions. Negatives were first taken on paper, from which positives were produced by the process known as the Calotype, discovered and patented by Mr. Fox Talbot, of England. From the multiplicity of its imperfections, it did not succeed, and no photo- graphs were appreciated by a discerning public 32 THEORY OF NEGATIVES AND POSITIVES. until those negatives taken on glass were produced and positives exhibited from them which were creditable as works of art. Negatives possess all the various phenomena in their production that are possessed by positives. They are in some respects more difficult to be ob- tained in great perfection, and in others are less so from their peculiar properties. They are, in fact, only matrixes from which other pictures can he obtained. Therefore they are not perfect pictures of themselves, but only parts of a whole. The manipulation connected with the negative process is given briefly in this work, mainly with a view to impart certain information with regard to the positive process. The theory of the positive and negative processes is the same, which consists in the reduction of the silver to an oxide on the surface of the glass by the action of light, and the subsequent application of well-known chemical substances. These several conditions must be well observed in order to secure good results. The iodide of silver must be well formed on the surface of the glass. The light given must be only so much as will produce the image, and reveal it after the application of the developing solution, and this must be of just the POSITIVES ON GLASS. 33 requisite strength to produce the reduction from the iodide to the oxide of silver. The impression is therefore given solely by the action of light, or by certain properties of that mysterious body. Yet when the plate is removed from the camera, there is no apparent change pro- duced, but on applying the developing solution, the sleeping and invisible image awakes and starts into life, and commands from every beholder an expression of wonder and admiration. Fixing the picture is a subsequent operation, and is no part of the process of production, only so far as it may be necessary to render it perma- nent, and also to remove the unaffected iodide of silver, a portion of which is not at all changed by the light. Only those parts are affected which are necessary to produce the light and shade. Positives on glass are taken with chemicals varying slightly from those used in producing negatives, and also by a much shorter exposure in the camera. In fact, a positive is only a negative with a less degree of exposure to the action of light. All positives could of themselves become negatives were the time of exposure prolonged sufficiently to effect that result, though their use as a means of producing subsequent positives on 34 AMBROTYPES IN THE UNITED STATES. paper is a matter of doubt, for there are certain other conditions necessary for success in the pro- duction of good negatives not known in the posi- tive process. These positives on glass are now so widely rec- ognized as Arnhrotypes, that we shall venture to assume that name as one sufficiently significant and appropriate for our purpose. Ambrotypes are now so well known, that they may almost be said to be identified with the prog- ress of the art in the United States, and belong exclusively to this country. They are not known as such in Europe. They are there classed under the head of Photographs, and the public here are frequently led into error on this point, and sup- pose, in fact, that Ambrotypes are a new creation — a new kind of picture only known here, while in truth they were first taken in Europe, and are merely photographs on glass, taken positively in- stead of negatively. The details of the process, and the necessary manipulations, are of course to be found only in the practical portion of this work. The whole art consists, therefore, in the careful preparation of the glass plate, in the most scrupu- lous cleanliness and accuracy of the employment PHOTOGRAPHIC DIFFICULTIES. 35 of every material requisite to the process, and in a most implicit obedience to such rules as are laid down in this work for the guidance of those who would insure success. The results set forth in these pages were ob- tained after much patient labor and investigation on the part of a host of intelligent inquirers, who have successfully overcome difficulties which, could they have foreseen, would have appalled the most patient and determined mind. Happily for the photographer who now commences his operations, he may profit by the experience of others, and be spared the labor and investigation of earlier op- erators. The path for him is now rid of its most formi- dable difficulties, and should he be induced to ex- amine carefully the abstruse philosophical princi- ples upon which this fascinating art depends, he may, in his turn, become a contributor to its im- provement and advancement. The experience of the humblest may sometimes furnish a suggestion, which investigations of the most refined and cultivated may have long failed to accomplish. The art is greatly suggestive. It offers many fields of speculation, and the great aim of all who 36 TRIUMPH OF ART OVER NATURE. practise it should be to perfect it as soon as possi- ble, for, like all the creations of man's genius, it is not yet complete. But the rapid strides it is now making towards long wished-for perfection are so apparent, that we confidently look to the accom- plishment of the greatest end sought — namely, the reproduction of the colors of nature. This result once obtained, the artist could lay aside his easel and pallet. He could then retire from the arena where he now stands contending so unprofitably, in a pecuniary point of view, with the photogra- pher. But this seeming triumph of nature over art by the pencillings of the sunlight — the sun himself becoming the universal and sublime artist ! — is really the triumph of art over nature ; for since art, conscious of the weakness and imperfections of her best efforts, has had the tact and skill to wheel the forces of nature into her own ranks, the result should be set down to her own credit, as her own victory. PART I. PRACTICAL DETAILS NEGATIVE PROCESS. POSITIVE PHOTOGRAPHS ON PAPER. CHAPTER I. ON THE PRACTICE OF THE NEGATIVE PROCESS THROUGH ALL ITS DETAILS THE MANIPULATIONS CLEANING THE PLATE — COATING WITH COLLODION DRYING THE SAME TIME IN THE CAMEKA DEVELOPING RE-DEVELOPING FOR INTENSITY VARNISHING THE NEGATIVE FRAMES OR SHELVES FOR NEGATIVES GENERAL REMARKS ON THE MANIPULATION OF THIJ NEGATIVE PROCESS — 'ARRANGEMENT OF THE LIGHT USE OF THE CAMERA, ETC., ETC. There are so many various plans suggested by practical operators in the Photographic Art, all varying so much in detail, that the author has thought proper to simply confine himself to one line .of practice, which has been found to produce the best results. All negative Photographs at the present stage 40 NEGATIVE PHOTOGRAPHS. of the art are taken on glass, and they are called negatives from the fact that all the lights and shades are reversed — i. e. where the portrait in life presents the high lights (or where the light falls the strongest, and it should appear the lightest), in the negative it appears the darkest. In like man- ner, where the dark shades are seen in a positive to be dark as in life, in the negative they are seen light, or to present the high lights. They present these peculiar phenomena only when viewed by transmitted light, or light passing through them, in which position they can only be seen with proper effect. When viewed as a positive, laid on a blackened substance, they resemble in some de- gree a positive that has been too long exposed in the camera. They cannot be viewed properly in any other manner than by transmitted light. However, they are never to be sealed up for sale in any form, but are always reserved by the artist to print from, any number of copies that may be desired. And herein consists the great beauty and perfection of this branch of photography. We have the power of multiplying ad infinitum, even far greater than if it were printed from an engraving. The negative itself can be reproduced and multiplied so that exact facsimiles could he CLEANING THE PLATE. 4! obtained, and even thousands printed by every negative, so nearly resembling each other, that none could distinguish the first original positive impression. Regarding the manipulation of negative process as a simple chemical operation, with certain chem- ical auxiliaries, it is very easy of accomplishment. When once properly understood, if certain rules are observed, it is more sure of success than most others in the art. The first requisite to success is the cleaning of the glass plate, which is easily done by rubbing it with a piece of cotton-flannel dipped in alcohol, slightly diluted with water ; and in case of using the glass the second time, a small quantity of rot- ten-stone, whiting, or tripoli powder, may be added. Be careful to dust the glass with a flat camel's- hair brush just before pouring on the collodion. Holding the glass in the left hand, standing near the bath, pour the collodion on with a continuous stream from the bottle until there is enough, which when flowed over the whole surface of the glass will just cover it. Then let the superfluous quantity run off at the right-hand corner into the bottle, slightly moving the glass plate so that the 4* 42 TIME IN THE CAMERA. collodion will not dry in lines or ridges; a quick motion may be necessary to insure a perfect flow of it over the surface. On holding the glass up to transmitted light, it should appear perfectly clear and transparent, as though no collodion was upon its surface — at least, no lines, streaks, or spots. If any are visible, the negative will be faulty. Let it dry until it appears almost free from moisture ; now darken the room ; then place it in the bath for one or two minutes, or until the iodide of silver is perfectly formed on its surface, which can easily be ascertained by raising the plate from the bath. If the surface presents a uniform ap- pearance, clear and without any lines or streaks like grease or oil, then it is ready for the camera : a slight motion of the plate will produce this re- sult. The time of exposure in the camera is entirely a matter of judgment and experience. No definite rules can be laid down ; but usually, in a strong light, with the ammonia collodion and the neutral bath, from fifteen seconds to one minute will an- swer. The time of exposure can easily be ascertained by a trial plate. DEVELOPING OF THE NEGATIVE. 43 THE DEVELOPING OF THE NEGATIVE. This requires great care and much practice, for if the process in all its details is correctly followed, and only a slight variation in the developing of the image, the resulting negative will be of no avail. As soon as possible after the light has acted upon the plate in the camera, remove it to the de- veloping-stand, or it may be held in the hand, and pour the solution well filtered upon the surface, but only just enough to cover it, retaining all the free nitrate of silver which had adhered to the plate on its removal from the bath. The silver itself acts as a means of darkening the negative. The developing solution of protosulphite of iron, on page 89, will be found the most useful, and in- deed the only one recommended for good nega- tives. After allowing this solution to remain on the surface for a few seconds, the outlines of the negative will appear. Then, if not sufficiently in- tense, pour off the developer, and cover it again two or three times, until sufficient intensity is ob- tained. The negative should gradually appear first in the high light, then the drapery ; and, lastly, it should seem to fade partially away. 44 VARNISHING NEGATIVES. FIXING THE NEGATIVE. Always fix the negative in a strong solution of hyposulphite of soda. This will of course remove the iodide of silver slowly, hut the collodion is less liable to be attacked by the use of soda than by cyanide of potassium. A saturated solution will remove the iodide of silver more readily, although a less quantity of soda will answer. It is found that whatever quantity is employed, it loses its strength on the immersion of every plate, and must be frequently renewed. VARNISHING NEGATIVES. In order to preserve negatives in a proper state for future use, it is well to varnish them. If they are intended only to print a few copies, a varnish of gum-arabic is preferable, not very thick, about the consistency of collodion. If the negative is required for many prints, the better course would be to varnish with the white negative varnish. All varnishes are poured, over the plate in the same manner as collodion, and al- lowed to dry by being placed on its edge, secure from dust, until it has thoroughly dried. ARRANGEMENT OF THE LIGHT. 45 FRAMES OR SHELVES FOR HOLDING NEGATIVES. It is very necessary that the negatives should be kept in some secure place ; and two shelves, hav- ing grooves in them above and below, so that the glasses shall stand on the edges in them, is the best receptacle when not in use. Shelves of various widths, according to the size of the glasses, are required, and with a door that shall close in front of each to exclude the dust, &c. The manipulation of the negative process is so very important, that certain hints are necessary to insure absolute success. The arrangement of the light upon the sitter is of vast importance. It should fall with a full force upon the drapery, if it is of a dark color ; and the background, which is usually of a somber hue, should also be well lighted up from the skylight. Arrange the subject in a favorable position to pro- duce the most pleasing effect of light and shade upon the face — carefully attending to the pointed light upon the eyes. Avoid the long line of light upon them. If possible, produce a uniform light on the drapery, as that portion is more likely to be clouded than any other. The position of the camera should demand a 46 EXPOSURE OF THE PLATE. careful study. Some cameras require to be eleva- ted more than others, which can be ascertained by actual experiment. Some will work more uni- formly over the whole plate when arranged in an exact line with the face of the sitter. A skylight which is nearly flat, or one that is slightly elevated only on one side, has been found to produce the most pleasing effects in Photog- raphy. The length of time of exposure of the plate to the action of light is a matter of vast importance, because the intensity of the negative is affected thereby — which will be seen on application of the developing agent. If too long time has been em- ployed, the print will appear flat in details ; al- though the drapery may appear distinct, the round- ness will be lost. The middle tints of the face which are so desirable, will not appear. It is better to give a short time first, and bring up the intensity by developing. A short exposure in the camera, if the developing solutions are capable of producing a powerful negative, is found to be the best for strong and vigorous effects. The point to arrive at is to allow just long enough exposure that the developing agent shall just bring out the negative of the required intensity, and no more. GLASS FOK NEGATIVES. 47 By a trial picture giving what may be supposed nearly the exact time, if too short the augmenta- tion of the next succeeding trials will eventually arrive at the correct result. It may be proper to mention, that glasses used for negatives do not require to be of such purity as those designed for positives ; even good window- glass, which is selected as free from bubbles as possible, will answer a very good purpose. The expense, therefore, for material for Photographic negatives will not be very great, and the artist can retain them for future use after one or two im- pressions have been taken, so that any future day he may produce more pictures for his patron with- out any additional sitting. CHAPTER II. THE NITRATE OF SILVER BATH FOR NEGATIVES PREPARATION OF THE SAME FORMATION OF THE IODIDE OF SILVER FOR THE NITRATE BATH — ON THE PRACTICE OF THE NEGATIVE BATH OBSERVATIONS ON THE USE OF THE NEGATIVE BATH ON THE IN- TENSITY OF THE NEGATIVE — 'COLOR OF THE NEGA- TIVE, ETC., ETC. TILE NITRATE OF SILVER BATH FOR NEGATIVES. The bath of nitrate of silver, which is most com- monly in use for negatives, is that known as the nitrate bath. Great care is essential to its proper preparation, and we shall proceed to lay down the precise form to make a bath that will produce the most satisfactory results. The proportion of ni- trate of silver required to each ounce of water is usually about fifty grains, though this is not abso- lutely essential. All negative baths require a certain degree ot working or use before they will act to the best ad- THE NITRATE OF SILVER BATH. 49 vantage. They should always be combined with a portion of iodide of silver ; and even that should be added again after long use, as many times that simple remedy will remove difficulties which were deemed insurmountable. Having ascertained the number of ounces the bath contains (see page 50), weigh out the quan- tity of nitrate of silver necessary to produce, when dissolved, about fifty grains to each ounce of water. Dissolve about one ounce of the nitrate of silver in four or six ounces of water ; then dissolve the bal- ance of the nitrate of silver which will be required to fill the bath in the remaining portion of the water. For every ounce of nitrate of silver which is re- quired in the bath to render it fifty grains to each ounce of water, there must be measured out three grains of iodide of ammonia. This is to be formed into iodide of silver by first dissolving the iodide of ammonia in about two ounces of water, and adding thereto say two fluid drachms of the solu- tion of nitrate of silver, in which one ounce of the silver has been dissolved in four ounces of water. This will immediately throw down a yellow pre- cipitate, which is the iodide of silver. Wash this precipitate three times with water, by filling the 5 50 THE KITRATE OF SILVER BATH. graduate dish or bottle,' which should contain at least six ounces of water, and allow it to settle ; then pour off the water, leaving the iodide of sil- ver at the bottom. When this is well washed, add it to the ounce of silver previously dissolved in the four ounces of water. Shake it well, then pour the whole into the bottle containing the bath. A milky appearance will be seen in the bath, which is well to remain in that state for a few hours to dissolve as much of the iodide of silver as possible. After filtering the bath until it becomes clear, it is ready for use. A bath prepared according to the foregoing, if required to be of sixty-four ounces of water, would contain the following proportions : 64 x 50 = 3200 grains, or of nitrate of silver 6| ounces. Iodide of ammonia Water 20 grains. 2 quarts. There will be in 6£ ounces of silver, 3240 grains, allowing 480 grains to each ounce. The above quantity will be as near 50 grains to the ounce as will be required for all practical purposes. Distilled water is preferable in all cases. Though perfectly pure, soft water will answer, if it has not been kept long in wooden vessels. If it has been so kept, it can be first boiled and filtered PRACTICE OF THE NEGATIVE BATH. 51 through paper, to remove any traces of vegetable matters. By referring to pp. 133 and 134, and the sub- sequent pages relating to the preparation of the nitrate of silver bath for Ambrotypes, much valua- ble information will be found, which can be adopted in the negative bath. The bath will require neu- tralizing, should any excess of acid accrue in it. The process of neutralizing will be found on page 137. The negative collodion, which is more frequently used with a perfectly neutral bath, as above de- scribed, is that recipe found on page 82. ON THE PRACTICE OF THE NEGATIVE BATH. The use of the negative bath requires much care and attention, for herein lies one of the elements of success in the production of perfect negative impressions. By using the ammonia collodion constantly, the bath is liable to be changed, as it necessarily must be, in its chemical character. Iodide of "silver is formed upon each plate, and consequently less sil- ver is contained in the solution, and alcohol is added to the compound from the collodion, as well as a trace of ether. It will soon be found to be 52 PRACTICE OF THE NEGATIVE BATH. slightly acid in testing with litmus-paper. This acid tendency sometimes is not objectionable; but if there is too much of it, neutralize the bath, and test with a hydrometer to ascertain the strength of silver. Always keep the strength equal to fifty grains to the ounce. In adding more silver to the bath, it may be effected more readily by first dis- solving the quantity required in a separate bottle from the one used expressly for the nitrate bath. Filter always before adding to the bath. Always be provided with two bottles, having glass stop- pers sufficiently large to hold the contents of the nitrate bath, into one of which it may be filtered. It is recommended also to add silver often to the bath, if it is in constant use, because if the greater portion of the solution is removed (as some must necessarily be every time a plate is immersed) by adding a large quantity, the whole nature of the bath is changed. Many operators provide themselves with suffi- cient solutions for two or three baths. This is a plan highly recommended, as a bath actually im- proves by age, even if it is not worked every day. Old baths which have been laid aside as useless except for restoration, have, after many days, on a new trial been found to produce good results. PRACTICE OF THE NEGATIVE BATH. 53 There is a constant change taking place in the ni- trate baths, and there are many phenomena con- nected with them wholly unexplained as yet by the most successful operators. Sometimes an acid bath will work more surely for negatives than a neutral, and sometimes a neutral bath is preferred. The general rule to be observed is, that, if a bath is acid, the time of exposure in the camera is lengthened, and as we approach the neutral point the time is lessened. Therefore to work a bath as nearly neutral as possible, is the most sure of success. In order that tlie negatives should produce good positive pictures on paper, they should be very transparent in the dark portions, such as the dra- pery, &c, and of such intensity in the light parts that a ray of light can with difficulty be trans- mitted, and this must be combined with a regular gradation in the middle tints. These desirable results can be attained by using the collodion somewhat thicker for the negatives than for positives or Ambrotypes, as thereby a thicker deposit of silver is obtained on the surface of the glass. Also a stronger nitrate bath, and using it as nearly neutral as possible, and a longer exposure 5* 54 THE COLOR OF NEGATIVES. in the camera, together with less acid in the de- veloper; all these combined will produce the de- sired end, viz., an intensity such as will print posi- tives having all the beauty so much desired in good Photographs. The absolute intensity, how- ever, of a negative does not always depend upon the thickness of metallic silver, but to a certain ex- tent upon the color it may have when seen by transmitted light. Negatives also vary in color ; some are translucent and of a bronze color, others are of a bluish-black, whilst some are of a gray color. The color most to be sought after is the bluish-black, because these are found to print more uniformly clear in their details. Sometimes the best negatives are those which may appear to be weak, because the chemical rays are more obstructed, and the print is consequently more uniform in its gradations of light and shade. The color of the negatives depends on certain conditions of the bath, the time of exposure in the camera, the nature and strength of the developer, and the quantity of acetic acid contained in it. Sometimes the presence of organic matter, which will collect in the bath, may affect the color and tone of the negatives. So that no positive rules can be laid down for the continued action of a UNCERTAINTIES IN THE ART. 55 bath ; practice alone must be the teacher in this branch of the art. Seeming uncertainties may appear to some who have not had much experience in the art as obsta- cles of great moment. But they will all vanish after a short time. These apparent contradictions and perplexities are only met with for any length of time in the experience of those persons who do not attend to the minute details of the art, such as cleaning well the plate, decanting the collodion, the proper length of time of developing the pic- ture, &c. The practice of this beautiful art must not be condemned because it contains a few seem- ing contradictions ; for if it was easily acquired, and always certain of success, there would be no incentive to excellence, and those persons who pos- sessed only a limited taste and experience, could rival the artist in the creations of his genius. It may therefore be deemed a fortunate circumstance to those who would wish to excel, that the road to full success lays through a few rugged passes, and he who would reach the goal of perfect accom- plishment must encounter some difficulties. CHAPTER III. ON PHOTOGRAPHIC PRINTING SALTING SOLUTIONS SALTING THE PAPER SILVERING THE PAPER WITH AMMONIA NITRATE OF SILVER PLAIN SILVER SO- LUTION TO PREPARE THE ALBUMEN FOR PAPER POSITIVES SILVERING ALBUMEN PAPER ON THE PRACTICE OF PRINTING NEGATIVES TONING OR FIX- ING THE PRINT WASHING THE POSITIVE PRINTS —DRYING THE PICTURES VARNISHING AND MOUNT- ING THE PRINTS. The printing of the Photographs is that por- tion of the art wherein great care and attention is demanded, and where much of the beanty and fin- ish of the picture is due. The success of it de- pends upon a perfectly- proper understanding of the process. Having selected the best quality of paper, it may for convenience be cut into sizes such as will be required for use in the printing frames. Though this is not absolutely necessary, the large sheets, as they are manufactured and imported for use, can THE SALTING SOLUTIONS. salted^ried, i 57 first be saltedT^ried, and laid aside in some secure place, free from dust or fumes of chemicals. "When wanted for use, they may be cut of what- ever size may be required. THE SALTING SOLUTION'S. One quart of pure soft water. 90 grains of hydrochlorate of ammonia, or common sal ammoniac. (Sal ammoniac is found to be the best preparation of salt, as it contains less impurities than any other known.) Dissolve and filter. Place this in a large flat dish, which may be of gutta-percha, earthenware, or porcelain, or even wood, if it is varnished thoroughly with gum-shel- lac varnish. The dish must be nearly filled, and of sufficient dimensions to admit the whole sheet of paper if laid in it. The paper is to be immersed one sheet at a time, by laying hojd of the sheet at two corners, and it must be drawn quickly through the solution twice, allowing the liquid to wet it as it may on the surface of the paper only, in effect to lay the solution of salt upon its surface without disturbing the fibres of the paper. Hang each sheet up separately to dry in a room free from dust or any chemical exhalations. The 58 SILVERING THE TAPEK. fc J*. better plan of suspending paper, ertner in the salt- ing or silvering process, is to use the patent clothes-pins, which can be arranged on a cord across the room. Great care should be observed in salting the paper to avoid stains, spots, or wrin- kles. The hands should never touch any portion of the paper except the corners. The salted pa- pers can be laid aside, and will keep for a great length of time. SILVERING THE PAPER. The paper already salted and dried, to be sil- vered, may be effected by two or three methods. The ammonia nitrate solution, the preparation of which is described on page 95, is the one mostly in use, and one that will produce, with plain salted paper, the most pleasing results. The silver solution which may be required for use at one time, is first filtered into a clean bottle, and the paper laid upon a flat surface, covered with paper or card-board, is to be fastened down by the corners with pins or any other article which will cause it to remain stationary. The silver so- lution is then poured on the middle of the paper, enough to cover it ; and with a ball of cotton just newly prepared, carefully spread the silver over PLA.IN SILVER SOLUTION. 59 the whole surface, by means of round lines or cir- cles, from the centre of the paper to the circum- ference. The superfluous silver can be poured into a bottle, but not used again, as it is changed into a chloride of silver, owing to its contact with the salt of the paper. It may be reserved in the bot- tle, to mix with other silver solutions, that are use- less except for the restoration of the pure silver, as described on page 105. The same ball of cotton can be employed to silver all the papers that may be wanted at one time, if it is laid on a clean piece of paper, but a new one will be required for a sub- sequent preparation. The silvered papers should be hung up to dry in a dark room, and only enough prepared that may be wanted for immediate use. In the winter sea- son, however, they can be used for two or three days after preparation, if kept carefully excluded from the light, in a portfolio or drawer. PLAIN SILVER SOLUTION. This can be used with the prepared chloride of sodium paper, sold by dealers in Photographic materials, and consists of dissolving 2^ ounces of nitrate of silver in twelve ounces of water. This CO TO PREPARE ALBUMEN TAPER. is also used for silvering the albumen paper, wliicl is prepared as described on page 61. The chloride of sodium paper and the albumen paper is silvered by laying each sheet separately on the silver solution, contained in a flat dish, and allowing it to float for five minutes, care being ob- served that no air-bubbles collect under the paper. The silver solutions must always be filtered through cotton before applying them to the paper. It is only necessary to filter such quantity as may be wanted for immediate use. The bottles containing the silver solutions should be blackened over with black asphaltum varnish, to exclude the light, and always kept as much as possible in a dark place. Papers maybe silvered in a light room, though not where the direct rays of the sun can full on them. TO PREPARE THE ALBUMEN PAPER. Take the whites of three or four fresh eggs, and beat them with a glass rod or flat piece of glass until the article becomes of a frothy consistency. Remove the froth, and place it in a cool place, and allow it to return to its liquid state again, in a long bottle. Pour off the clear portion of this, and add to SILVERING ALBUMEN' TAPER. 61 every fluid ounce say from one to four ounces of water, according to the strength of albumen that is required. To each ounce of this fluid of albu- men and water, which will readily combine, add fifteen grains of hydrochlorate of ammonia : filter. For salting paper with albumen, it should be floated three or four minutes. Thin paper is gen- erally preferred for the purpose. SILVERING ALBUMEN PAPER. I Albumen paper nfust always be silvered with plain silver, of the proportions given on page 59. It must also be floated on the surface of the solu- tion for four or five minutes, never brushed in, as in the ammonia nitrate process. After using this silver solution with the albumen paper, there will a milky appearance be observed, which can readily be removed by mixing a small quantity of kaolin or china-clay with the silver, and, before using it, filter it clear. If the proper manipulation is attended to in the use of the albumenized paper, the results will be far more pleasing than by the ammonia nitrate process. The trouble and time required, how- ever, is much greater in the former than in the latter. Therefore the ammonia nitrate is generally 62 miNTING FKOM NEGATIVES. adopted by the profession as more certain in its results. PRINTING FROM NEGATIVES. The usual time required to print a picture from a good negative, under the most favorable circum- stances, is about four minutes. It is proper to state, however, what are the most favorable cir- cumstances. They are good paper, good silvering solution, and a clear sun-light, with all the neces- sary details of the practice carefully followed, as in the foregoing directions. Negatives may be printed with a subdued light, and printed well, as there are many cloudy days when the prints are wanted. Of course, the time of exposure must be prolonged, and even an hour may sometimes be required to produce the neces- sary depth of color on the paper. The color which is to be obtained on the print before it is ready to remove from the printing frame, is of considerable importance. The best prints are generally those which are left long enough to assume a depth of shade nearly the in- tensity that may be wanted when finished and dried, rather darker than the color desired, in or- der that the time occupied in the toning bath shall TONING OK FIXING THE TKINT. 03 fix the color, to lighten the shades only in a slight degree. Prints that are too dark on removal from the printing frame, can be rendered sufficiently light by a long action of the toning bath. But such prints will be the more likely to assume a yellow hue, and ultimately fade. The shortest time in the toning bath to produce the desired shade and color is recommended. Therefore prints should not gen- erally be overdone or over-printed when one toning bath is used. The kind of printing frames recommended are described on page 109. After the picture is removed from the printing frame, it must be carefully excluded from the light, by placing it in a portfolio or drawer, or where no vapors can reach it. A number of prints may be prepared and laid aside, and all toned or fixed at once. TONING OE FIXING THE PRINT. The beautiful tone or color of the prints in their removal from the printing frame, has been a sub- ject of remark by many operators, and various efforts jfiave been made to preserve that most to be desired color, yet it has never been accomplished. c-t TONING OR FIXING THE TEINT. As soon as the fixing solution comes in contact with the paper, a great change takes place, which does indeed arrest the progress of the light, but produces another and entirely diverse change. As the art progresses, some devotee may luckily ar- rive at the discovery of fixing the exact tone and color seen on its removal from the printing frame. The first operation of toning the picture is to place it in a bath of clear water, in a dark room, of course, or in a salt solution of two or three ounces of salt to one quart of water. This removes all the chloride of silver not acted upon by the light. They should remain in the salted solution only a short time, say one or two minutes, then place them in a bath of pure water to remove the superfluous salt. This plan of first placing the print in a solution of common salt may be omitted. It may be placed immediately on removal fom the frame into the toning bath, or it may be laid in a portfolio, and excluded entirely from the light for several hours, then placed in the toning bath. After which they may be brought out in the light and placed in the toning bath, as found on page 91, and allowed to remain there until the desired color is attained, which will vary according to the strength of the bath and the depth of the print — WASTITNG PnSmvrc PRINTS. 65 generally from ten to thirty minutes for ordinary.' prints, yet sometimes one or two hours are neces- sary. They must be carefully watched in the bath, and as soon as sufficient time lias elapsed to produce the desired tone, remove them to a bath of clear water. WASHING POSITIVE PRINTS. This portion of .the photographic process is of great importance, for unless the prints are well washed, so as to remove every trace of hyposul- phite of soda, they will invariably fade or turn yellow. Yarious methods are adopted to remove the. hyposulphite, but the plan most likely to in- sure that result is of course recommended. The longer the prints remain in the water, and the oftener they are changed, will of course more effect- ually remove the destroying agent. Strange, in- deed, that the very substance, hyposulphite of soda, which adds so much beauty to the Photograph, should be the very one to cause its destruction. The most expeditious method is to place the print on a piece of plate-glass, and allow a stream of water to fall upon it for a few minutes. Then press it between clean white blotting-paper, re- peating the operation two or three times. It has 6* (56 WASHING POSITIVE PRINTS. been found that the oftener the water is changed in the washing process, the more beautiful the tones of the prints. Nor should they remain for any great length of time in one vessel of water. The better plan to adopt, when it is possible, is to place the prints in a flat dish or tub, where they will float, and where a constant stream of water is running in, and of course another stream dis- charging as fast as the supply is given. A very small stream will suffice. By the foregoing ar- rangements, all those spots and stains so frequently met with will be avoided. The washing of Photographs may sometimes be completed by placing them in a large vessel of water, and allowing them to remain for several hours. This can only bo^Lone after they have been first immersed in serial changes of water, say five or ten minutes in each. Still another plan of removing the hyposulphite of soda is highly recommended in the immersion of the prints in warm water. By changing it often with cold water, and allowing it to remain for about an hour in warm water, it will most effectually remove the traces of the soda. Lastly, press each print be- tween two thick pieces of plate-glass, and hang them up to dry. MOUNTING THE PICTURE. 67 All these various methods are adopted by the profession, and the successful operator will follow those most convenient of practice, carefully observ- ing, in order to produce excellent results, that the prints shall not remain more than ten minutes in the first or second bath of pure water, because the chemicals which pass into the water, and are so necessary to remove in order to fix the impres- sion permanently, are likely to injure the beauty and tone of the picture. DRYING, VARNISHING, AND MOUNTING THE PICTURE. The prints may be hung up in the clothes-pins to dry, but not in the sun. As soon as they are well dried, place them in a portfolio, or between leaves of white paper, and press them under some object, so that they shall not wrinkle. They are then ready for mounting and varnishing. The varnish for pictures is made as described on page 100, and may be laid on the picture before it is Cut in the shape required, or it may be effected after it is on the card-board. A solution of dextrine, prepared as described on page 104, is the best for holding the print in its place ; yet simple gum-arabic will answer if it has 68 MOUNTING THE PICTURE. been thoroughly strained and cleared of all parti- cles of dust. The shape of the print may he made by laying a mat or border over it of any desired size, then marking with a pencil, and afterwards cutting it carefully with the scissors. Or it may be laid on a piece of plate-glass, with the mat laid over it, and cutting it into shape with a sharp penknife. In pasting the print upon the card-board, great care must be observed that no wrinkles are allowed on the surface, as they will invariably injure the print. After the prints are pasted on the boards, they should be laid under a pressure, so that great smoothness of surface shall be attained. A warm flat-iron is sometimes used with good success, by laying a piece of white paper over each print, and carefully pressing it smooth. CHAPTER IV. TO COPY DAGUERREOTYPES AND OTHER PICTURES INTO PHOTOGRAPHS ON ENLARGING PICTURES TO EN- LARGE PICTURES FROM DAGUERREOTYPES, AMBRO- TYPES, OR PHOTOGRAPHS AND TO PRODUCE PHO- TOGRAPHS FROM THEM — TO MAKE LIFE-SIZE PHOTO- GRAPHS ON PAPER IRON PHOTOGRAPHS, OR IN- STANTANEOUS PRINTING — ON TAKING STEREOSCOPE PICTURES, PHOTOGRAPHIC VIEWS, ETC., ETC. The copying of Daguerreotypes into other Da- guerreotypes, has long been in practice. Latterly they have been successfully copied into Ambro- types and Photographs. But Photography has gone still further, and life-size pictures are now produced which, when painted by the skilful art- ist, have rivalled the creations of most painters, both in the correctness and faithfulness of the like- ness, which must needs be infallible. The last great achievement of the Photographic Art, is the production of life size, full-length por- 70 ENLARGEMENT OF PICTURES. traits. This is accomplished by the means of the new solar camera, lately introduced, which bids fair to supersede all other methods of enlarging pictures. Those who may not possess the new solar camera, can adopt the following process, which will be found very useful and practical. TO ENLARGE PICTURES FROM DAGUERREOTYPES, AMBROTYPES, OR PHOTOGRAPHS— AND TO PRODUCE PHOTOGRAPHS FROM THEM. The following apparatus will be required for the process, viz. : One quarter-plate tube, and lens. One whole-plate camera box. One or two mirrors to be used as reflectors. One camera box, capable of holding a glass 14 by 17 inches. The pictures or portraits more frequently re- quired to be enlarged are the ordinary Daguerreo- types, from the fact that these are the kind of por- traiture the longest in use. Many are desirous of obtaining portraits of their deceased friends, life- size, and the demand for that class of pictures is consequently greater than any other. The plan mure easily adopted, is first to lake a negative from the Daguerreotype of the ordinary ENLARGEMENT OF PICTURES. 71 half or whole plate size, which is effected by the use of a quarter-plate tube on a whole-size camera box. Place the picture to be enlarged, whether it be a Daguerreotype, Ambrotype, or Photograph, in the direct rays of the sun, or by reflecting the sun upon it with a mirror, then bringing the camera box as near the picture as will be required to produce the desired size ; the focus being taken, a negative can easily be obtained by exposure of thirty seconds to a minute and a half. The nega- tive should be as large as possible if on a half- plate, in order that it may be enlarged to life size by the next operation. From the print now obtained, which must be first pasted on a card-board, another negative can be produced, either of the cabinet or life size, with the quarter tube attached to the camera box, which must be capable of holding glasses of 11 by 14 inches, and 14 by 17. Place the pictures in the direct rays of the sun, or use a reflector as before, and any size may be taken, up .to the size of life, — showing, of course, only the head and shoulders. The print from this negative will not be so dis- tinct in the outline as though it was taken from life ; yet it will retain all the outline and sufficient of the details for all purposes of painting, and it 72 ENLARGEMENT OP PICTUKES. may be printed either upon paper or canvas with the same facility as ordinary Photographic print- ing. In order to insure a more perfect negative, it may sometimes become necessary to use more than one mirror as a reflector of the sun's rays upon the surface of the picture. The more powerful the re- flection the more distinct will be the negative. The re-developing with bi-chloride of mercury, as given on page 92, is highly recommended in this process. A negative may be taken without the direct rays of the sun from any picture ; but, in enlarg- ing, the powerful light of the sun is deemed al- most indispensable, as it greatly facilitates the pro- cess, and renders the time required much shorter, and secures a more intense and definite negative. Should the Daguerreotype be an imperfect one, as is frequently the case, of course all the imper- fections will be magnified, yet they can be entirely removed by the skill of the painter. The usual time required for taking the negative, life-size, will vary from a minute to ten minutes. In consequence of the large size and the long dis- tance of the ground glass from the lenses, the time of exposure in the camera is greatly augmented. IRON PHOTOGRAPHS. 73 IRON PHOTOGRAPHS, OR INSTANTANEOUS PRINT- ING OF NEGATIVES WITH A DEVELOPER. A process lias lately been introduced for print- ing negatives, with the use of a preparation of iron : hence the name Iron Photographs. This process, however, is a revival of an old one. It will be found very useful on many occasions, when expedition is required, as a negative may be taken and the positive picture printed, washed, toned, and dried in the same time as an ordinary Ambrotype. The process is as follows : Water .... Citric acid Ammonia citrate of iron Concentrated ammonia 1 pint. 1 ounce. i ounce. 1 ounce. Mix these ingredients, and filter, and keep in a glass-stoppered bottle, excluded from the light of day. Apply this solution with a flat camel's-hair brush on one side only of the photographic paper, care- fully laying it on even by brushing it in both di- rections. Then hang it up to dry in a dark room. When dry, it may be cut into suitable sizes for printing, and kept in a portfolio. The paper will assume a yellow color. Print with the ordinary 7 n THE TONING BATH. printing frames, but only for a short time, until the faint outlines appear. Remove from the printing frame, and apply the developing solution either by I immersing in a flat dish, or pouring it on the pa- per after laying it upon glass. THE DEVELOPING SOLUTION". Nitrate of silver Water Aqua ammonia . \ ounce. 1 pint. \ ounce. Filter the solution, and use over again. THE TONING BATH. Hyposulphite of soda Water Nitro-muriatic acid 1 ounce. 1 pint. . 10 drops. . Wash the print well after developing, and place it in this toning bath for a short time, and the color will be changed from the deep reddish hue that it has assumed by the developer, to a purple color. The print must now be washed quickly in three or four waters, and placed between sheets of blot- ting-paper, and dried by the spirit-lamp. Should the tone not be desirable, a modification of the toning bath may be made by changing the propor- tions of hyposulphite and the addition of chloride of gold. The tone may be improved sometimes by THE STEREOSCOPE. 75 exposure of the print for a few seconds to the di- rect rays of the sun. The addition of a saturated solution of gallic acid to the developer, in small quantities, will change the tone ; but it cannot be used over again. Therefore only mix enough for each print as it may be required for use. The sepia tone may be given these prints by omitting the hyposulphite bath entirely, merely washing them in water thoroughly after develop- ing, but they will be more liable to fade. Photographs by this new process.may be printed from a weak negative, and even an ambrotype im- pression will answer. The tone of the prints will not be equal to those printed by the old process ; but sometimes expedition may be required, and Photographs can be taken and finished as soon as Daguerreotypes or Ambrotypes. THE STEREOSCOPE. Stereoscope pictures are considered by some operators as the most valued of the productions ol the Photographic Art. If they are properly exe- cuted, they are indeed the most curious and in- structive of any branch of Photography, though they have not received that attention in this coun- try which they have merited, — mainly, however, 76 THE STEREOSCOPE. from the fact that few operators have devoted much attention to their production. The most pleasing are Photograph views. The stereoscope is an instrument invented by Prof. Wheatstone, for combining two slightly dis- similar images, so that out of two flat pictures one apparently real or solid object is produced — having all the projections, concavatures, and other pecu- liarities of the object itself, and standing out in all the strength and solidity of an actual tangible ob- ject. The reason why two flat images should produce the effect of solidity, and a slight consideration of the best means of producing these flat pictures, so that they shall produce in the most proper manner this extraordinary result, will now be given. Ordinary vision may be considered under the two heads of Monocular, or vision by one eye, and Binocular, or vision by two eyes. If we look through a telescope, microscope, or single opera- glass, or close one eye, we have monocular vision ; and by using two eyes, or spectacles, or double opera-glasses, we have binocular vision. Let us first consider monocular vision. If we close one eye and look at objects, we perceive them by their forms, sizes, colors, and gradations of light THE STEREOSCOPE. 77 and shade ; and reason and experience tell ns that these appearances vary as the objects are near or distant from us. We find that as objects recede they become smaller, apparently, in size, and this decrease in size is according to fixed laws, upon which perspective is based. We also observe that light and shade are less marked, the colors less brilliant, the details less clear, and the whole of the objects less distinct; and according to these changes do we estimate relative distances. Upon this principle the artist, in his landscape, paints his distant objects small, vague, and indistinct, while the foreground is brought out strongly with abun- dance of detail ; and in proportion as this is done skilfully, we admire it as an imitation of nature. There is, also, another means of judging of distance. The eye, like other optical instruments, has con- stantly to change its focus, according to distances to which it is directed, and this change of focus is another means of estimating distance. Stereoscopic pictures may be taken either with one or two cameras. If the object be still-life, a statue, or edifice, then one camera will do better than two, for you may set the camera at any point and work away until you produce a satisfactory impression. Having obtained that, move the 7* 78 THE STEREOSCOPE. camera to the other point of view, and again work until you have achieved your object. But if 3*011 should have a picture of living objects to take, it is very desirable to produce the two pictures simul- taneously by two cameras ; for taking a view of a street, for instance, where figures are accidentally introduced, you might have them in one picture and not in the other, or misplaced, unless you ob- tained both pictures at the same time. But for portraits, though it is desirable to take both im- pressions at once, it is not necessary. And now comes the important inquiry, how far removed should the cameras be from each other in order to produce the best effect ? or, in other words, how wide should the stereoscopic angle be ? This is a question often put, but not so easily answered. Strictly speaking, the natural standard may easily be cited, and an answer based on it be given. The eyes are 2^ inches apart, and as each camera is to represent an eye, the centres of the two lenses should never be more than that separated. This is the strict theoretical doctrine laid down by Sir D. Brewster, nevertheless it is very seldom adopted in practice. It has been stated, that the more dis- similar the two stereoscopic images are, the greater the relief. Now, dissimilarity of image is obtained PHOTOGRAPH VIEWS. 79 by widening the distance between the two came- ras, and the greater the width or angle the greater the relief. As the stereoscope is chiefly valued for the production of this relief, the generality of stereoscopic pictures have been and are taken at too wide an angle, so that mo7istrous instead of natural relief is the result. If two pictures are taken at the same angle, no relief is obtained but that which is due to the magnifying power of the lenses. Increase the angle a little, and still greater relief is produced ; increase the angle still more, and so on until you have passed the angle that produces natural relief, and reached that which produces monstrosity. Nearly all stereoscopes will have more or less of imperfection in the detail, owing to the fact that no two pair of eyes view the same pictures in the same focus. Hence we find some persons who cannot see the stereoscope pictures at all. PHOTOGRAPH VIEWS. Views by the Photographic process are attract- ing the attention of the artists in this country, and deservedly so. They are easily taken, because an ample supply of light is always obtained. The only objection is the necessity of transporting the 80 PHOTOGRAPH VIEWS. various solutions to the localities where the view is to be taken. This difficulty is overcome by the new dry processes which have been published lately. The albumen process on paper, page 61, is highly recommended for views, as the tone of those pictures is more appropriate for this style of Photographs. It is not necessary here to enter into the details of the processes. Suffice it to say, that the same collodions are to be used, and the same developers, as in the process for taking portraits. The lenses of the ordinary camera, however, must be changed to convert it into a view camera. It is done simply by removing entirely the set of lenses in the rear of the tube, and placing the front lens in their stead, and reversing them. It will also be necessary to put a diaphragm, with a very small opening, in front of the tube, or near the location of the front lens. The time of exposure required in the camera with a small diaphragm, will neces- sarily be somewhat extended in order to produce vigorous negatives. The use of the diaphragm is absolutely necessary in order to correct the perspec- tive of near and distant objects. Also to cut off a portion of the diffused light, which would other- wise injure the negative. CHAPTER V. ON THE PREPARATION OF NEGATIVE COLLODIONS THE FORMULAE FOR NEGATIVE COLLODIONS MIXING VARIOUS COLLODIONS DISSOLVING THE IODIDES DOUBLE IODIDE COLLODIONS THE CELEBRATED GER- MAN PROCESS COMPLETE THE NEGATIVE DEVEL- OPING SOLUTIONS RE-DEVELOPING PROCESS BI- CHLORIDE OF MERCURY AS A RE-DEVELOPER' — FIXING SOLUTION THE TONING BATHS — THE AMMONIA NI- TRATE OF SILVER SOLUTION. This chapter will be devoted to careful and de- tailed formulae for the preparation of the negative collodions, the developing solutions, and including all the various receipts necessary to be well under- stood in the practice of the Photographic Art. Indeed, this chapter will assume one most en- tirely of reference, and, as will be seen, it must frequently require mention in other portions of this work. 82 CADMIUM COLLODION. NEGATIVE COLLODIONS. For the preparation of negative collodions, we shall only give the proportions. The manner of dissolving the sensitive chemicals will generally be left to the judgment and experience of the operator. THE AMMONIA COLLODION. No. 1. Plain collodion Iodide of ammonia . Bromide of ammonia 1 ounce. 6 grains. 3 grains. With the nitrate of silver bath neutral, and of a strength of 50 grains of silver to each ounce of water. CADMIUM COLLODION. No. 2. Plain collodion ... 1 ounce. Iodide of cadmium . . 7 grains. Bromide of cadmium . . 3 grains. Nitrate bath 50 grains to the ounce. This collodion is greatly in use in warm climates. No. 3. Plain collodion Iodide of potassium Bromide of ammonia 1 ounce. 8 grains. 3 grains. Bath of 40 grains to the ounce. This collodion is highly recommended for nega- tives when combined equally with the ammonia THE COMPOUND CADMIUM COLLODION. 83 collodion No. 1. It will be found to work in baths when no other collodion will succee may be used also for Ambrotypes. The practice of the most successful operate taught them that the mixing of two collodio' diverse proportions, and made of different ch cals, will be found the most useful, and work more certainty. The author himself would fore, enjoin this hint upon those who may p from the foregoing formulae. THE COMPOUND CADMIUM COLLODION. No. 4. Plain collodion Iodide of cadmium Bromide of cadmium Iodide of potassium Tincture of iodine ■■ 1 ounce. 6 grains. 3 grains. 5 grains. 5 drops. Nitrate bath of 50 grains to the ounce. The bath to be iodized with iodide of cadmium. Dissolve the iodide of potassium hi w T ater, and the cadmium in alcohol. The foregoing collodion is the one highl} 7 recom- mended for use, especially in warm latitudes. It is the most durable, and it improves by age, re- taining its working qualities for several months. The author has adopted the cadmium collodion, in many instances with great success, especially when 84 DOUBLE-IODIZED COLLODION. I it is combined in equal parts with the ammonia collodion No. 1. To unite the sensitive ingredients with all collo- dions, it is recommended to dissolve them first in a small quantity of alcohol when they are soluble in that substance, and only use water when they will not otherwise dissolve. Always dissolve the bromides first, and add the iodides to the same solution. The iodide of ammonia and bromide of ammonia will dissolve in alcohol if a small quan- tity of water is added. Iodide and bromide of cadmium will dissolve readily in alcohol alone. A DOUBLE-IODIZED COLLODION. The following formula is compounded in a dif- ferent manner from any other, and is one that is highly recommended. Prepare two bottles of col- lodion separately, as follows No. 1. Plain collodion Bromide of potassium Iodide of potassium. No. 2. Plain collodion Iodide of ammonia Iodide of cadmium 1 ounce. 5 grains. ) Dissolved 8 grains. ) in water. 5 grains. ) Dissolved , i in water. 3 grains. No. 1 will produce clear negatives, and perhaps rather weak. No. 2 will produce one very intense. TO SENSITIZE THE COLLODION. 85 But mix these two collodions in equal proportions after they have well settled, and the most perfect half-tints are obtained. Should it be desirable to produce a negative of more intensity, use a larger proportion of No. 2. In like manner, if a mixture of equal proportions produces too much intensity, then increase the quantity of No. 1. It will be found on using the two collodions above, separately, that as one will produce a weak negative, and the other a deep one, they can be so modified by uniting them in the proper proportions, that any degree of intensity may be obtained. THE GERMAN PROCESS. The following method of preparing negative col- lodion has been found to be very excellent in it3 results, and is known as the German process, so modified and rendered practical that any operator can work it successfully. The plain collodion is to be made with 10 ounces of ether and 5 of alcohol, rendered of the requisite consistency by the addition of gun-cotton. TO SENSITIZE THE COLLODION. Nitrate of silver dissolved in water . 50 grains. Iodide of ammonia dissolved in water 40 grains. Mix the two solutions, and wash the precipitate 86 NITRATE BATH. in several waters ; lastly, wash in alcohol, make the following compound : Then Alcohol at 95° Iodide of ammonia Bromide of ammonia 2 fluid ounces. 100 grains. 40 grains. "When dissolved, add the iodide of silver, and agitate the whole for several minutes ; then filter through common filtering-paper, and add the liquid to 20 ounces plain collodion; agitate the collodion for a short time, and add to it as follows : Fluoride of ammonia Tincture of iodine 40 drops. 10 drops. This iodized collodion may be used in 12 hours, hut is much improved by standing 3 or 4 days. The tincture of iodine used in the collodion is simply a saturated solution of alcohol at 95°, with pure crystals of iodine. NITRATE BATH. Distilled water .... 56 fluid oz. Nitrate of silver 4| oz. by weight. Dissolve the silver in 8 oz. of the 56 oz. of water. Then add iodide of ammonia . 10 grains. White sugar or rock-candy . 120 grains. When dissolved, add the remainder of the water, and in this condition let the bath stand 12 hours; f DAGUERREOTYPE, H0T06MPHIG 600DI BEST QUALITY ONLY. HOLMES, BOOTH AND HAYDENS' CAMERAS, From i to mammoth size, warranted. 37 MAIDEN-LANE, NEW YORK. Manufactory at Waterbury, Conn. •■linns FOR THE AMBROTYPE, PHOTOGRAPHIC, AND MSSSMfiSM BUSINSSS. DEPOT FOR Anthony's Celebrated Iodized Collodion for Am- brotypes, Anthony's Iodized Collodion for Negatives, " Diamond Varnish for Ambrotypes, " Negative Varnish, " Photographic Varnish, " Black Varnish, Pure Neutral Nitrate of Silver, Pure Iodides of Potassium, Cadmium, & Ammonium, " Bromides " " " And Pure Chemicals of all kinds used in the Art. Plate Glass for Ambrotypes, in great quantities, and of every quality. Gutta Percha Baths, Trays, &c. Ambrotype Preservers and Mattings. An experience of seventeen years in the business gives us confidence in offering our goods. Catalogues furnished on application. E. ANTHONY, Manufacturer of Daguerreotype and Ambrotype Cases and Apparatus, 308 Broadway, New York. AMBROTYPE SHIELDS ON HAND, AND MADE TO ORDER. Agents for C. C. Harrison's Celebrated Cameras. i M^ V:^v-*-^ : % f 55-.&*122 ^H^MHi ■■■H^H ' lr&)svxsi ■ J JnZt^t ■ >'j£a6 v A ^> + 5 ^ S5-&? ■i^M ■t- y->;. _J Vird^fa^ 1C06 I ft tf>r /y' £l£c-W*£ ■ ^v ++ ^ GETTY CENTER LIBRARY 3 3125 00097 2311