! /TvW f yY-l~viU ‘ , o' t&jL h*- - . /cW ‘P/l^aio * V % % - •V 'fc % .. Y ' V"" ' ' VA \ V THEORETICAL AND ON GLASS AND PAPER; WITH POSITIVE RULES FOR OBTAINING INTENSE NEGATIVES WITH CERTAINTY. By IP. B. Gra&e NEW YORK: PUBLISHED BY S. D. HUMPHREY. P859, f ^ t K r q r r •' I •'tOLnHUn c. I« ■1 OJOtt i U liHI . /-jn V| ' ( ■ \ \) Entered, according to Act of Congress, in the year 1S59, by S. D. Humphrey, in the Clerk's Office of the District Court of the United States, for the Southern District of New York. *////; s3*J>sfc '*/£>. 2* CONTENTS PAGES. PREFACE, - - - - - 5 Chapter I. CLEANING OF TUE GLASS ON "WHICH THE PICTURE IS TO BE MADE: Embracing Various Formula for the Preparation of the Chemicals used, 7-12 Fixing Solution, 12-13 Chapter II. PHOTOGRAPHIC PRINTING : Salting Solution — Formula for, - % ----- - 15-18 Ammonia Nitrate — Formula for, ------- 18-20 Toning Bath— Formula for, 20-21 Mounting the Print, - -- -- -- - 21-22 Chapter III. THEORY OF THE NEGATIVE PROCESS: 23-31 Chapter IV. COLLODION FORMULAE: Negative Collodion for Views — Formula No. 2, - - - 33-36 Alcoholic Negative Collodion — Formula No 3, - 36-38 Chapter V. REMEDY FOR FOGGY NITRATE BATHS, - 89-46 Chapter VI. WASHING PRINTS : Various Processes Discussed, ... ... 47-51 Chapter VII. FAILURES AND THEIR CAUSES: Fully Considered, and Remedies pointed out, 53-60 _ 2 . ’ : f ' 1 1 ' ■' I i •• .irtiJ PREFACE. This work was written more especially for the use of Amateurs, or beginners in the Photographic Art ; yet it is hoped, and confi- dently expected, that much matter will be found in its pages which will prove useful and valuable, not only to the Neophyte, but also to those who have reached the advanced stages of Photographic Science — whether it be the professional man, or the savan who pursues the beautiful Art of “ Sun-penciling,” con amove. The theory of light-iodizing here advanced, is different from any- thing heretofore published, and will be found, in practice, to give better results — it is confidently asserted — than any hitherto placed before the public. Every part touched upon, is intended to be made as plain and easily comprehended as possible, that the inexperienced may suc- ceed, by its aid, in producing satisfactory proofs; and should the experimenter achieve but a tithe of the success which has attended the working of this Process in the hands of its originator, the result cannot prove otherwise than gratifying to both parties — to the Experimenter, in the superiority of his products over old modes of operating — and to the Author, in having contributed his mite toward rendering smooth and easy the rugged path of Photographic Science ; and by extending encouragement to others, increase the number of its followers, in the hope of ultimately, at no distant day, achieving that triumph of perfection , which the manifold and con- stantly-developing beauties of the Art warrant all in looking for- ward to. This should prove the incentive and aim of every true lover of ^Esthetic Beauty. THE AUTHOR. May 1 , 1859 . M . : # NEGATIVE COLLODION PROCESS. CHAPTER I. Tiie Negative Collodion Process consists in coat- ing a glass with a transparent film of Collodion, which is rendered sensitive to the action of light. The glass so prepared is exposed to the image of the camera, and the latent impression so formed is rendered visible by a develop- ing agent. The first operation is the CLEANING OF THE GLASS ON WHICH TIIE PICTURE IS TO RE MADE. Take a glass of the size which your picture is to be, and roughen the edges with a file or piece of glass. Then rub it over with a dilute solution of Nitric Acid (1 part acid to 10 parts water), then wash off the Acid thoroughly, and wipe the glass with a linen towel which has been washed in sal soda water and rinsed until it is free from soda, and dried. Wipe the glass perfectly dry and then place it on a clean sheet of paper, or in a vise prepared for the pur- pose, and drop on a few drops of burning fluid, which must be polished off quickly and thoroughly with a piece of cot- 8 PRACTICAL PHOTOGRAPHY, ton flannel. The next operation is the Coating of the Plate with Collodion, prepared as follows : Sulphuric Ether (cone.) .... - n 07. Alcohol, 95 per cent. - - 2.} 07. Iodide Potassium, ..... - 25 grs. Bromide Potassium, .... - 18 grs. Gun Cotton, - 30 grs. In preparing this Collodion, the Bromide of Potassium i3 first dissolved in as little water as possible , and the Iodide of Potassium is then to be added to the same water and dis- solved. It is then to be poured into the Collodion (Ether and Alcohol), and well shaken up before the Gun Cotton is added. Then set it away and let it stand until the white precipitate is all settled, after which it can be decanted, and then add the Gun Cotton and dissolve. It can be filtered as soon as the Cotton is all dissolved and is ready for use. It is better after standing a few days. The method of using this is, to take the glass, prepared as before described, and remove all particles of dust with a camel’s hair duster. Now hold the glass horizontally in your left hand, with the left-hand corner between your thumb and forefinger. Pour on enough of the Collodion to cover the glass. Now tilt the plate, and pour back the superabundance of Collodion into the vial again (it should be poured off from the corner opposite from the one held ON GLASS AND PAPER. 0 in the fingers). As soon as the Collodion on the glass runs slowly over, before it commences to set, tilt the plate back to a nearly horizontal position and give it a rotary, or rocking motion, to cause the lines to coalesce and render the film free from ridges. As soon as the film is sufficiently dry or set (which can be told by touching the film with the fingers, it being just dry enough to receive the impression of the finger without breaking the film), it is to be im- mersed in the Nitrate of Silver solution, which is prepared in the following proportions : Nitrate of Silver, in crystals, - - - - 1 oz. Water, 12 oz. Iodide Potassium, 6 grs. Dissolve the Silver in the 12 oz. water, and then add the Iodide Potassium (it having been dissolved in as little water as possible), and shake thoroughly. Then dissolve 10 grains of Caustic Potash in 2 drachms of water, and add to the solution. It may now be filtered through clean filtering paper, and it is ready for use. It is probable that the picture taken in the batli while in this condition would be foggy, by having a veiled ap- pearance over the entire surface. This is caused by the bath being alkaline from the caustic potash used. This can be remedied by adding Nitric Acid (C. P.) until it works clear and free from fogginess. 1 * 10 PRACTICAL PHOTOGRAPHY, For this purpose keep a vial of the Silver solution (say about ^ an ounce), to which has been added 30 drops of the C. P. Nitric Acid. This can be put into the bath when needed, and will cause no precipitate. Care must be taken not to get too much acid in the bath, as that would destroy the intensity of the Negative, and cause the pic- ture to develop too slowly, both in the camera and dark room. Acetic Acid should never be used : it works too slowly, and is not capable of producing so fine and sharp a Negative. In this Process, there is a point where the solution has just passed over the verge of the alkaline, into the neutral , or faintly-acid state, that the pictures will work beautiful- ly clear and brilliant. The Litmus Paper will not be any test in finding this point. It can only be arrived at by taking repeated im- pressions and adding minute quantities of Acid until the point is reached. After this has once become familiar, the alkalinity of the bath can always be rectified in a few minutes, with certainty. The Plate, being immersed in this solution, is to remain two or three minutes, or until it appears free from all greasiness when removed therefrom. This operation of Silvering the Plate is performed in a dusk room, by the dim light of a lamp, or in a room lighted ON GLASS AND PAPER. 11 \ by yellow rays. (See Yellow Light, page 59.) The plate, when it comes from the bath, is to be placed in the tablet, Collodion side next the slide, and the door closed, to exclude all light. The object to be taken is now to be focused and the tablet placed in the camera, and the sen- sitive surface exposed to the luminous image. After exposure, the tablet is removed from the camera and transferred to the dark room, and the Developing So- lution poured over it. The Developing Solution is made as follows : % Sulphate of Iron, 3 oz. Water, 1 q;*r. Acetic Acid (No. 8), 6 oz. This solution is to be filtered through sponge, and it is ready to be used. It should be poured on at one corner, in such a manner that it will shoot over the surface of the picture in every direction, so that the developing may commence at all parts at nearly the same instant. This is now to be kept in motion (a gentle rocking motion), and is to remain on until the deepest shades make their appearance. It is then to be thoroughly washed, with running water, the back being rubbed with the hand, to remove any deposit that may adhere to it. 12 PRACTICAL PHOTOGRAPHY, The Iodide of Silver is now to be removed by immer- sion in the following solution : FIXING SOLUTION. Water - - - 8 oz. Hyposulphite of Soda 3 oz. After the yellow Iodide of Silver is all removed, the glass is to be again thoroughly (very thoroughly) washed as before. You can now examine it to see if it is a perfect Negative, which may be known by its being too light for an Ambro- type or Positive picture. Hold it up between you and the window, and look through it at some bright object. The high lights should appear almost perfectly opaque, and the shades equally transparent, with good delineations in every part. It may be too opaque in the high lights, in which case there is usually no remedy, except to make another, possessing less intensity. If it does not appear intense enough to insure a good Print, it may be strengthened by pouring on a solution of Nitrate of Silver in Distilled Water, 20 grains to the ounce of water ; then take a quantity of Developing sufficient to cover the plate, and add an equal quantity of water ; pour this over the picture (in the dusk room), and keep it in motion until the required intensity is obtained, or until it ceases to act, after which it may be rinsed off thoroughly. ON GLASS AND PAPER. 13 The negative is then dried and varnished with Humphrey's O Collodion Gilding, or other varnish. The varnish is to be poured on in the same manner as Collodion, and then dried over a spirit lamp, or stove, to prevent the varnish from chilling. A very moderate heat will be all that is required for this purpose. The Negative is now ready to be used in printing. PHOTOGRAPHIC PRINTING. CHAPTER II. PHOTOGRAPHIC PRINTING A sheet of paper, the surface of which has been satu- rated with Chloride of Silver, and then dried, will rapidly darken when exposed to the light, and will continue to darken, until it becomes entirely black. Advantage is taken of this property possessed by Silvered Paper, to produce pictures in light and shade, now generally known as Photographs. The first part of the Process, necessary to produce these pictures, is the Salting of the Sheet. The Salting Solution is made as follows : This solution is to be placed in a Photographic Tray (which may be procured of any stock dealer, and of any size), and the sheet immersed in the solution, care being taken not to inclose any air bubbles under the sheet, as that would produce spots in the finished picture. To avoid SALTING SOLUTION. Water, Muriate of Ammonia, 1 qrt. 66 gr?. 18 PRACTICAL PHOTOGRAPHY, tills, lift the sheet out once or twice, and then pin it up to dry. It is better not to immerse one corner , as there is less tendency to streaks. It need remain in this solution only a few seconds, and should always be pinned up by the diy cornier, both after Salting and after Silvering. The Cansons’ Picture Paper is best adapted to this for- mula. Any quantity of these sheets may be prepared, as they will keep several weeks without injury, if placed in a tight box, or between the leaves of a book. The next operation is the Silvering of the Salted Sheet with the Ammonia Nitrate of Silver Solution, which is prepared as follows : AMMONIA nitrate. Nitrate of Silver, in crystals, - - - 120 grs. Water, 3^ oz. Dissolve the Silver in the water ; then pour one-third of the bulk of this solution into another bottle, and add con- centrated aqua ammonia to the remaining twQ-thirds, a few drops at a time, shaking after each addition. The Black Precipitate that is first formed, may all be dissolved by adding a sufficient amount of the Ammonia; but no more should be used than just enough to redissolve the precipitate. The remaining one-third can now be added, ON GLASS AND PAPER. 10 find it will cause a return of the precipitate, which needs only to be filtered out, when the solution is ready for use. The bottle containing the solution should be kept well corked. Filtering paper is the best material for filtering this solution. This solution should be made and kept in the dark room. The best method of using it is, to tack the Salted Sheet on a piece of board, and pour on a few drops of the solution. Now, with a piece of clean cotton flannel, or a small ball of Daguerreotypists’ cotton, spread the solution over the sheet. If the first application of Silver is not enough, more can be added, as care should be taken to cover every portion of the sheet where the picture is to be made. When Silvered, tack it up in some convenient place to drain and dry. This operation is performed in the dusk room, as a short exposure to light would injure the results. Care should be taken not to let the Silver Solution come in contact with the nail or pin which is used to hold the paper, as that would cause stains that would ruin the print. When dry, it is to be laid on a printing frame (which can be procured of any stock dealer), and the Negative, Collodion side down, placed over it and con- fined with springs. Two or three thicknesses of cotton flannel should be kept between the frame and sheet. Now carry the printing frame and expose it to the direct rays of the sun. The light, passing through the Negative, changes the sheet under it ; where the Negative is transparent, 20 L’RACTTC A 1. PHOTOGRAPHY, the sheet becomes rapidly black ; where it is opaque, the sheet remains white. After it has remained in the sun for a short time, take it into the Dark Doom, unbutton the frame at the back, turn down the lid portion and examine the print ; if it is not several shades darker than you wish it when finished, you must button up the lid again, and ex- pose it until that point is reached. When sufficiently dark, it is to be removed from the frame and immersed in the TONING RATH. Water, 16oz. Hyposulphite Soda, 8 oz. Chloride of Gold, 8 grs. Nitrate of Silver, 32 grs. * Dissolve the Soda in 1 2 ounces of the water ; the Chlo- ride of Gold in 2 ounces, and the Silver in the remaining 2 ounces. Then pour the Gold into the Soda, stirring with a glass rod all the time. The Silver may be added in the same manner. It is important that this order of mixing should be observed, or the bath may be spoiled by the precipitation of the Gold. It should remain in this bath only until the unchanged Chloride of Silver is remov- ed. This is the only secret of obtaining good toning. The artist should study to keep the Gold and Soda in such pro- portions that the print will arrive at the proper color at ON GLASS AND PAPER. 21 the same moment that the Chloride of Silver is all remov- ed. If not enough Chloride of Gold is used, the print will have a ghastly red when the Chloride of Silver is all re- moved from the paper, and will dry out a dead, cold tone. If, on the contrary, there is too much Gold, the shades will assume too deep a black before the Chloride of Silver is all removed, and the print will be equally as dead and smutty as in the former case. Thus, if the Photographer will only remember that the Soda is simply the cleaning element, and that the Gold is the agent to give the color, he will soon arrive, by experiment, at a point where he can get the right color at the moment the cleaning is com- pleted, and thus insure permanent prints. If the toning of the print is thus properly done, and the washing quickly performed in a strong running stream of water, I have no doubt but the print will be as permanent as any sun ]iic- ture , if not as lasting as an engraving. MOUNTING THE PRINT. When the print has been sufficiently soaked, it should be hung up and dried. It is then to be cut into the desired shape, and mounted upon Card, or Bristol Board. This J can be procured of any size, or quality, of the stock dealers. The best paste for this use is made by dissolving starch in cold water, and then boiling it until it becomes 22 PRACTICAL PHOTOGRAPHY. transparent. It should never be used after it becomes sour, as it would injure the keeping properties of the print. A print is always improved by being neatly mounted, but not if done in a slovenly manner. THEORY OF THE NEGATIVE PROCESS. V. . r 'r/i I ,IU a J r trft : ywr~- ~ * ■ ^ •, f ' rtrrfA r.frv t ifo n f) V fr\V t CHAPTER III. THE THEORY OF THE NEGATIVE PROCESS. The writer was one of tlie first to adopt the Collodion Process in this country; and, having been widely misled by foreign journals and foreign writers, on the subject of intensity in Collodion Negatives, and the best means of obtaining it, would here tender to the Photographic Frater- nity the result of a large amount of experiments, made solely to demonstrate the true Theory of the Process, where- by its action can be rendered more certain and uniform. The Formulae may not be so very different from those already published as many might have reason to expect, it being more my aim to demonstrate which is the best, and the reasons why it is so; for, when we fully understand the Laws of Actinic Action and effect, then we shall be able to produce any given effect at will. I noticed, in Humphrey’s Journal , page 17, Yol. N., an article from the pen of Mr. George Mathiot, on the “Elements of a Successful Nega- tive.” Like him, I have seen all the different degrees of success, from nothing up to a Negative of the most desirable perfection. After years of study and experiment, there will still be times when it will be difficult to produce 2G PRACTICAL PHOTOGRAPHY, the desired results. This is not from any fault or irregulari- ty in the laws of Actinic Action, hut is the combined result of our ignorance of those laws, and the use of improper and impure chemicals. Of the two, the last is, probably, the chief cause, as with pure and uniform chemicals, the results seldom fail to be of the best description. Notwithstanding the great amount of widely-differcnt Processes (all worked more or less successfully at the pre- sent time), it is a natural impossibility that there should be more than one best Process. The wide difference in the Processes worked by different operators is not to be consid- ered a conclusive sign that there may not be certain fixed proportions of Film, Iodizing, Silvering, and Developing, that will, at all times, produce better results than any other proportions. Whether these elemental proportions have yet been disco vei’ed, is a matter that will require the decision of coming ages. Mr. Matiiiot has advanced some new ideas in regard to the Iodizing being in proportion to the strength of Light at the time of using it. I am not prepared to say that such may, or may not, be the case. It is, undoubtedly, true, however, that a heavily-iodized film requires more light to reduce it than one lightly iodized. I am not certain, how- ever, that a lightly-iodized film will not produce as good results, with a strong light, as a heavily-iodized film, pro- vided the exposure to light be proport ionably shortened to ON GLASS AND PATEIt. 27 obtain the exact amount of reduction necessary ; and here lies one of the principles of a theory which I propose to advance. In this article I shall give a theory for Negative- making which I have arrived at, and my reasons for it. I think the grave error of most of the present Negative Pro- cesses lies in going too far. We are ransacking the ends of the earth for something that lies at our veiy door, too cheap and simple to appear worthy of being picked up. It is more than probable that many see and handle the diamonds every day without knowing their real value. My theory, though but an individual opinion, is founded on the result of a large number of experiments, with more than fifty different Processes, and with all kinds of Iodizing now in use. In producing a picture in the Collodion Film, it must be considered that, after the picture is developed, there is a large amount of unchanged Iodide remaining in the film, which extends through its entire body to the sur- face that supports the Collodion. This Iodide of Silver must occupy a certain amount of space in the film, which is left unoccupied when the Iodide is dissolved out, and each particle which is removed from the film leaves a coirespoiul- ing hole to let the light in, and fog the resulting print. The spaces, or holes, are not noticed when not magnified, but they become painfully evident when subjected to a power- ful lens ; and this, I think, is one reason of the want of 28 PRACTICAL. PHOTOGRAPHY sharpness spoken of by Mr. Matiiiot (see Humphrey's Jour- nal , Yol. IX., page 3G9), in the prints he examined in that way. My theory, therefore, is this : That the amount of Iodizing in the film that will produce a picture of sufficient intensity, and leave the least Iodide unchanged, is the best. "* When we shall have found a Developing that will reduce all the Iodide to form the metallic image and leave none to he removed , then we shall have pictures not only practically, but theoretically sharp. In the mean time, the nearer we approxi- mate to this end, the better results we shall obtain. The means and materials for obtaining these results may be divided into three heads : First. — The Condition of the Film : The construction of the film should be of moderate thick- ness, and very lightly Iodized — as much so as is consistent with obtaining sufficient strength to produce the desired intensity. A heavy film and Iodizing always produce a picture of coarser texture than one lightly Iodized. And here let me notice a fact that shows that this law is imperative through all the different Processes, and even in Galvanic as well as in Actinic reactions. 1st. A heavily-galvanized plate produces a dull, coarse image ; a lightly-galvanized one gives a soft, bright pic- ture. ^ 2d. A heavily-coated Daguerreotype plate gives a dull, coarse image ; a lightly-coated one, a fine, soft image. ON GLASS AND PAPER. 29 3d. A heavily-salted paper gives a dull, dark Positive ; a lightly-salted paper gives a bright, clear impression. 4th. A heavily-charged galvanic battery precipitates metals in coarse crystals ; a lightly-charged battery pre- cipitates in fine crystals. It should be remembered, therefore, that heavy films and heavy coatings always produce coarse, heavy pictures ; while light films and light coatings, in all the different branches of picture-making, produce bright, soft, clear impressions. I have sometimes produced curious results, by using a film of moderate thickness, lightly Iodized. After developing and washing in the usual way, the pic- ture is held in strong sunlight, and concentrated Aqua Ammonia poured on. Under the action of the light and Ammonia, the shadows crowd up through the unchanged Iodide and become decidedly Positive, with a reddish- brown cast. When the shades are fully up, wash with water very thoroughly, after which dry the Negative and Varnish, and then print from it in the usual way. It is worthy of notice, that some of the best Negatives I have made were done in this manner. Second — The Kind of Iodizing to he Used. In selecting the kind of Iodizing to be used, I look more particularly to see what will produce the moat finely-divided particles of Iodide of Silver. Iodide Potassium seems to be 30 PRACTICAL PHOTOGRAPHY, the coarsest and strongest ; Ammonia and Magnesium ap- pear fine, but more unstable. Iodide Zinc is fine, and has as much strength as Ammonia or Magnesium ; Iodide Cadmium is the finest and most stable, but is not as strong as any of the others, and is better adapted for Positives, as it has less effect to give intensity than Ammonia and Zinc, and will generally require redeveloping. There is nothing, proba- bly, better for Negative Portraits than Ammonia, when it can be procured in its greatest purity. For Views, the Potassium adds strength to the impression, that is seldom obtained by other Iodides. One or two more formula? for Collodion will be given in another part of this work. These formulas are adapted to the bath already given. Third — The Nature and Condition of the Developing. It is not to be understood that any given formula will always give equally good results, as the bath and light are constantly changing, and the operator must always be on the alert, to make whatever changes are necessary to meet those changes. The Developing that works finely to-day may not work at all to-morrow, on account of its non-adaptation to the strength of the bath and the strength of the light. The only way, therefore, is to make the Developing of a given strength, and afterwards to modify it as occasion seems to require. This is done by the addi- ON GLASS AND PAPER. 31 tion of water to the Developing, and this addition is to be governed by the appearance of the developed Negatives. With strong Developing, as a general rule, the picture will lack delineation ; with weak Developing, the picture will possess good delineations ; but will print smutty in the high lights. There is a medium, therefore, between these two extremes, where the results will be just right, and that medium can only be found by the practical experience of each individual operator, and close attention to the differ- ent effect produced by different strength of the Developing. By attention of these rules, the operator will soon be able to govern the result at will. The Developing sometimes needs to be adapted to the different strength of light during the day; a weak light requires a stronger Developing, a strong light a weaker Developing. This adaptation of the Developing to the state of the light and bath is easily managed, when the experimenter becomes familiar with the laws which require it. Alcohol should never be added to the Developing, as it precipitates the Iron, and is the cause of a multitude of specks, or holes, in the skies, so generally complained of. * - • COLLODION FORMULAE. 2 * J ■ 1 • mo Li < > . j ,o ■ CHAPTER IV. COLLODION FORMULAE. NEGATIVE COLLODION FOR VIEWS. Formula No. 2. Ether (cone.), - Atwood’s Alcohol, 95 per cent., Iodide Potassium, ... Bromide Ammonium, Saturated Sol. of Iodine in Alcohol, Hydro-Bromic Acid (Humphrey), Gun Cotton (French), 7{ oz. 6 oz. 52 grs. 25 “ 3 drops. 2 “ 90 gr. Or enough to give a film of moderate thickness. Different samples of Cotton will vary the quantity at least one-lialf, and each individual operator must use his own judgment in each case, adding until the desired thickness is obtained. The Iodide of Potassium is to be dissolved first in the Alcohol. This can be done by pulverizing it in a graduate or bottle, with a glass rod, in the full quantity of Alcohol. It may require fifteen or twenty minutes’ diligent grinding to effect this, but it is far better than to use water in the Collodion, which should seldom be done. After dissolving 36 PRACTICAL PHOTOGRAPHY, the Potassium, add the Ammonium and Ether, shaking until the Ammonium is all dissolved, after which add the Cot- ton and other ingredients. Formula No, 3. ALCOHOLIC NEGATIVE COLLODION. Absolute Alcohol, - Absolute Ether, .... Iodide Ammonium, - Bromide “ .... Gun Cotton enough to give a heavy film. Glacial Acetic Acid, ... 3 oz. 1 oz. 16 grs. 8 ?■ 1 drop. Dissolve the Gun Cotton in one ounce of Ether and one ounce of Alcohol. Dissolve the Iodide and Bromide in the remaining two of Alcohol, and then add these together ; then add the other ingredients, and it is ready for use, after being filtered through clean Cotton and allowed to settle. The Collodion Nos. 2 and 3 may be used in the bath given in Chapter I. In using the Alcoholic Collo- dion, the bath after a time accumulates so much Alcohol that it is impossible to make the Developing flow evenly. This crawling of the Developing can only be remedied by evaporating the Alcohol. F or this purpose, place the solu- tion in a well-glazed earthen vessel (the yellow noppos, or porcelain dishes are the best); set the vessel on the stove OK GLASS AND PAPER. 37 and heat it gently, until the Alcohol is evaporated. This is attended with some trouble, but the many excellent qualities in the Alcoholic Collodion more than repay this labor. The Alcohol can be evaporated after the day’s work, and when filtered in the morning, is ready for use again — thereby causing no delay in working hours. It is scarcely necessary to say, that distilled water must be added before filtering, to make the solution up to the origin- al bulk, as more or less is always evaporated with the Al- cohol, leaving the solution too strong for the Collodion. I use the Alcoholic Collodion almost entirely at the present time, in my practice. The Iodide and Bromide of Zinc may be substituted for that given in Formula No. 3, only using 5 grains of Iodide and 2J- of Bromide per ounce. It is important that the Alcohol used in making the Alcoholic Collodion be perfectly anhydrous. The best Alcohol that can be purchased, even if declared absolute, cannot be depended on, as it is often watered. To make absolute Alcohol for Photographic purposes, add 2 lbs. un- stated lime to one gallon of Alcohol, in a tall bottle. Keep the bottle well corked, and shake it thoroughly every few hours, for 8 or 10 days, or as long as the lime continues to slake ; then stand it by, and when the lime has all settled, leaving it perfectly clear , it may be decanted for use. Or the excess of lime may be filtered out, and the remainder allowed to settle, which facilitates the operalion 38 PRACTICAL PHOTOGRAPHY. It is better to have some of this prepared at all times, and put by in sealed bottles, so that no delay may be occasioned when it is wanted, as it requires two or three weeks to settle it properly. The bottles containing it should al- ways be sealed, as it absorbs water from the air rapidly. If a reticulated appearance of the film is seen in the developed picture, there was too much water in the Alcohol. A still larger excess of water in Collodion turns it into a jelly. Where too much water is present in the Collodion, the film is also apt to crack and peel off in drying. REMEDY FOR FOGGY NITRATE BATHS. . • - • :i I ii) ^ art i \i - CHAPTER Y, REMEDY FOR FOGGY NITRATE BATHS, The following remedy for foggy baths was first published in May, 1858, in Humphrey's Journal. It is copied into this Work as it first appeared in the Journal, with some remarks and suggestions by Mr. George Matiiiot, which tend to further elucidate the Process'. To the Editor of Humphrey's Journal : Many of your subscribers have been troubled with Foggy Baths. Some, I presume, have at the present time quite a quantity laid away, awaiting some way to turn up whereby to redeem them. I, therefore, propose to show them how it can be done, if the baths have not been fogged by the careless addition of some of the Developing Agents. In some instances, it will remedy even them, but that I will not warrant in every case. Put the foggy solution into a strong bottle, about three times larger than the bulk of the solution ; then pulverize and add pure Bi-carbonate of Soda, until the Silver is all precipitated to the bottom, in the form of Carbonate of Silver. If there is any Acid in the solution, the Soda 42 PRACTICAL PHOTOGRAPHY, must be added with caution (stirring, meanwhile, with a glass rod), as the Soda will dissolve “ fuming,” and may boil up and run over, to your loss. After you have added Soda until the Silver is all precipitated,* fill the bottle with soft water, stir it up thoroughly with the glass rod, then let the precipitate settle. When it has done so, pour off the water, as closely as you can, without letting any of the precipitate escape. Eepeat this six or eight times, so as to be sure of washing off all the free Soda. Now drain off the water as closely as possible. (It would be well to use Distilled Water for the last washing, or the kind that you intend to make your bath with.) After having drained it as closely as possible, proceed to add chemically-pure Nitric Acid, to dissolve the precipitate ; add it, stirring with the ; glass rod at the same time, and with some caution, as it will fume strongly ; continue to add until the precipitate is nearly, but not quite all dissolved. The solution, at this point of the proceeding, will probably be opaque and almost inky-black. This need not cause any alarm, as it will filter out clear and pure. Then take a quantity of clean Cotton in your hand, hold it under water and squeeze and work it in your hand until it is thoroughly saturated ; then press out the superabundance of water, put it into a funnel and filter the solution through it; test it with ♦Add the Soda until you are sure the Silver is all thrown down. Any excess of Soda will be carried off in the subsequent washings, and will do no harm. ON GLASS AND PAPER. 43 the Hydrometer, f and add water until it is of the right strength ; wash your funnel, and put in some clean Cotton ; filter it again thoroughly, and it is right for a Negative bath. For Positives, it is only necessary to add one drop of Nitric Acid, chemically pure, to each three ounces of the solution. Baths for Negatives, treated in this way, work decidedly clearer, better, and quicker, than in any other way that I have ever tried. It also gives better delineations in Positives. The experimenter, by this method, will be astonished at the amount of black organic matter that will be found in the funnel, after filtering the first time, and will be able to see what fogged his pictures. There are some points of importance to be attended to in this Process. They are these : 1st. That the Bi-carbonate of Soda be pure. 2d. That the resulting precipitate be well washed, to free it from all Soda that is not absorbed and combined with the Silver. 3d. That the precipitate be not all dissolved before it is filtered. If this part is not attended to, you will lose all your labor. The theory of this is, that the organic matter in the bath is soluble in Acid , and cannot be filtered out while the bath is acid. There need be but very little precipitate left 1 1 use the Actino-IIydrometer as manufactured by the Scovill Manufactur- ing Co., as they are the best I know of for that use. The tables accompany- ing them, make it perfectly easy for a beginner. 44 PRACTICAL PHOTOGRAPHY, in, as the least amount undissolved will leave the bath per- fectly neutral. I have treated baths in this way and have redeemed them all, so that they work better than ever before. I had one bath that I tried to redeem in this way : I failed twice, on account of adding too much Acid before filtering. The third time, however, I succeeded. This bath had laid aside for nearly a year, and had been tried occasionally, but it would fog with all kinds of Collodion, and we expected to lose it. Happily, it is all right now. It contained 12 ounces of Silver, so you see we saved $15 by this means. The bath may require re-iodizing after being purified in this manner, but I have never found it necessary. I use Carbonate of Silver for both Negatives and Positives, being convinced that it produces better results than the Nitrate. If I were making a new bath, I would first reduce the Silver to Carbonate, before making it into a bath. If the Negative Bath, at any time after being purified in this manner, becomes acid, it is only necessary to add Bi-carbonate of Soda until a minute quantity of precipi- tate is formed ; filter, and it is all right again. The bath, in this way, is made perfectly neutral. I do not require to test it after purifying, when used for Negatives. If a story is worth being told at all, it is worthy of being well told , therefore I have endeavored to make this com- munication as plain and easily-comprehended as possible, ON GLASS AND PAPER. 45 that none may fail from not knowing the why and where- fore. By studying this paper and carefully following its direction, your readers will find a remedy for foggy baths — a remedy that is easy, safe, and effectual, and one that will save a large amount of waste Silver. Any old solutions may be redeemed in the same way, and returned to a workable condition. Solutions for Sil- vering Albumen Paper are better purified in this way than any other. I am indebted to Mr. Glover, an English Photographer, for the idea of using Carbonate of Silver. Its use to remedy a foggy bath is of my own suggestion. The following remarks, by Mr. Matiiiot, are w r orthy of attention : When the bath contains very much organic matter, accumulated by long-continued use, it is better to reform the Nitrate by the method recommended by Mr. Gage. By this mode all the old residues of baths may be converted into available Nitrate again. There is not the least difficulty in working this Process. Either the Bi-carbonate of Soda or the Washing Soda may be used. The latter salt contains a little iron, but it will not do any injury. Make a strong solution of it, and add it to the bath until it ceases to pro- duce a white precipitate. After washing and collecting tho precipitate, reserve a small portion of it as a preventive against having an excess of Nitric Acid in the final solution. Should such occur, add the reserved precipitate. The bath, 46 PRACTICAL PHOTOGRAPHY. finally, may be slightly acid from failure of the Carbonate to take up the least portions of the Acid. In that case, the bath should be neutralized by Potash, as has been recom- mended. There seems to be some hesitation to practice this process of reforming the Nitrate, on account of the difficulty of getting pure Nitric Acid. If you cannot get the chemicals pure, use the common article (the aqua fortis of the druggists). It does not cost quite so much, but other- wise there is no difference for this purpose. The common Acid is apt to be contaminated with a little Chloride or Hydrogen, which forms Chloride of Silver, and causes the solution to be a little milky ; but this will all filter out after the solution is a few hours old; or, by adding a little Nitrate of Silver solution first to the Acid, the Chlorine will be precipitated, and, after it has collected, the Acid may be poured off. WASHING PRINTS. ' • < > i' . CHAPTER VI. WASHING PRINTS. The following paper, on the Washing of Prints, should be carefully studied, as it is very important that this part of the Process should not be neglected. Constant experi- ments convince me that it contains the true principle. There is a great deal written in foreign journals, and by foreign writers, about long-soaking of prints after they come from the toning bath. One recommends passing them through three or four dishes of water, changing the water and dishes continually for five or six hours, and then let- ting them soak for twenty-four hours longer. Another is strongly in favor of sponging, which is sure to perform the cure and leave them free from chemicals. One soaks them in a running stream for one or two days ; another soaks them twenty-four hours, and then finishes with boiling- water. Thus, any amount of ignorance and folly is dis- played by these writers, who seem more anxious to see their names in print, attached to some “ darling conceit of their own,” than to suggest anything really beneficial to the Art. The further they get from what common sense would die- 50 PRACTICAL PHOTOGRAPHY, tate, the better they seem pleased, and the more glory they take to themselves therefor. There is so much wrangling among them about who was the inventor of the Honey Process, who used Sulphate of Iron first, and a hundred other equally useless points, that it is almost impossible for them to find time to do anything else but rap their neigh- bors’ knuckles and call hard names. It seems an easy thing to determine what is the best manner of Cleansing Prints of the Excess of Chemicals. A running stream is certainly not to be excelled by any other Process, if the stream is large enough to change the water rapidly. The stream should be large enough to free the Print from Soda in one hour , and never, under any consider- ation, more than three hours. This soaking the prints until the Soda is all out, and then soaking them till the Sizing is all gone, and still longer, until the Organic Matter in the water penetrates the pores of the paper and com- mences a decomposition of its tissues, is “ all bosh .” How would our Ambrotypes look, if soaked two or three days in dead, dirty water? AVould it be likely to improve the whites? Half of the smutty prints in vogue are ojving to the half-rotten state they are in from long soaking. The beauty of a print, after one or two hours’ washing, begins rapidly to diminish, caused by the decomposition and softening of the sizing. The amount of chemicals that is left in the print, after two hours’ good cleansing in a run- ON GLASS ANI) PAPER. 51 ning stream of water, is not half as likely to fade the print as the organic matter, deposited from the water and sizing are. This not only seems reasonable, but it is corroborated by experience and observation. I have noticed that prints soaked in a strong running stream, for not more than three hours, have invariably proved brighter and more durable than those that have soaked twenty-four hours. Those that have remained in two days have lost all their beauty, and in three days were entirely ruined. Prints should be soaked hi small lots, and not piled in and allowed to mat together. If the water is very cold, or the paper uncommonly thick, it may need a longer time. Every one must use his own judgment in these matters. Therefore, I say, “ Photos,” don’t tiy to do your work so thoroughly as to overdo and spoil it. Overdone beef-steak is horrible, and an over-soaked print is in exactly the same category. If it seems that one or two hours’ soaking is better than twenty-four, try it and note the result. Don’t take my word , nor any one's , for your standard, but use your own common sense, and you will arrive at some definite time for the cleaning. This is a progressive world, and old customs and opinions are of value only so far as they are founded on truth. The plow-share of experiment must break through them, while' observation stands by to note the result — to retain the good and reject the bad. V FAILURES AND THEIR CAUSES. CHAPTER VII. FAILURES AND THEIR CAUSES. The first, and most important cause of failure, is called Fogging of the Impression. The effect may arise from the following causes : 1st. Unclean Glass. 2d. Impure Chemicals. 3d. Diffused Light in the Camera, Shield, or Dark Room. 4th. Too-long Exposure. 5th. Too-short Exposure, coupled with too-long Developing. 6th. Alkaline Bath. 7th. Alkaline Collodion. The beginner may think that this is quite an array of causes of fogging, but he may rest assured that any one or all of the above will occasion fogging. If, therefore, the beginner meets with this trouble, he can only free himself from it by a series of experiments. An experienced artist will instantly detect which of the seven causes produced the fogging, in each case. If the operator meets with this trouble, he should first make another trial, taking greater care to have the glass perfectly clean. If this fail, see that there is not too much light in the developing room, or in 56 PRACTICAL PHOTOGRAPHY, the shield or camera. If these means fail, you may think best to add a little Nitric Acid to the bath, as directed in Chap. I. If these means fail, you may think best to add a little Glacial Acetic Acid to the bath, a drop at a time. If the result is still the same, test the bath, by immersing a piece of Litmus Paper : if, after five minutes’ immersion, there is no symptom of the paper reddening, more Acid maybe added, until the paper either reddens or the pictures work clear. If it should appear that the Collodion is alkaline, the addition of one drop of Glacial Acetic Acid to each four ounces will probably cure that evil. To insure good chemicals, purchase of some responsible dealer, who makes uniform chemicals, and whose interest it is to sell such as will secure their customers’ patronage. In my practice, 1 have used the chemicals prepared by 'SVatjiann & Poulenc, Paris — S. D. Humphrey, New York — and Jacob Denton, Philadelphia — all of which, with slight exceptions, have proved reliable. I use none but D unton’s at the present time. A multitude of small black transparent specks in the developed pictures may arise from the Collodion not being properly settled. Black specks, with a comet-like tail, may arise from too much Iodizing in the Collodion, from an unsettled Collo- dion ; or, if they appear in connection with fogging, the bath is alkaline and requires Acid. ON GLASS AND PAPER. 5 If the Collodion appears like a jelly, there was too much water in the Alcohol used. If there is a gray powdery substance over the entire image, it is probable that the Collodion is too-highly Iodized, in connection with too much Ether for the amount of Alcohol used. Add more Alcohol. If the Collodion turns very red, soon after being made, it is occasioned by a bad sample of Ether, or Acid, in the Gun Cotton. If a bottle of Cotton smells acid in the least degree when first opened, it is better to reject it at once. Ridges in the film, in the direction of the draining of the Collodion, may arise from using too thick a Collodion, or from too much Ether in the Collodion for the quantity of Alcohol. Too-long immersion in the bath will produce a foggy, faint picture ; too short an immersion will give a greasy surface to the glass, that will cause the development to “ crawl” and not develop evenly. If there is any pause in plunging the Collodionized Glass in the bath, horizontal streaks will always be produced. Negatives may be made more intense, after fixing, by using a solution of Bi-chloride of Mercury, as follows : Bi-chloride of Mercury, .... ^ oz. Hydrochloric Acid, 1£ drm. Water, distilled, 6 oz. 58 PRACTICAL PHOTOGRAPHY, The impression must be very thoroughly washed before this is used, or streaks will result. Pour it on the picture, and keep it moving until the desired intensity is obtained, then wash very thoroughly. This is to be done before the fixed impression has been carried out of the dark room, and exposed to white light. If the Collodion film is too dry, before immersion, or is not dry enough, it will not, perhaps, adhere to the glass. If there is too much Ether for the Alcohol, it will cause the same result. Keep the edges of the plate well filed, to prevent the film from slipping. Parallel lines, in the direction of the dipping of the plate, may be caused by scum on the surface of the bath, or by not moving the plate gently sidewise while dipping, and for a few moments after. When the plate is taken from the bath, and has on the lower end of it streaks which branch out in all directions, resembling frost-work on a window-pane, it is caused by a lack of Alcohol, or an excess of Iodizing in connection with a lack of Alcohol. Add absolute Alcohol until the trouble is removed. If this last trouble is present only in a small degree, it is probable that it may be seen only in the developed, or fixed impression. The remedy is the same in both cases. If the film, in drying, has a tendency to check, and ON GLASS AND PAPER. 59 peel off the plate, the plates should be varnished with a solution of Gum Arabic in water — 1 part of Gum to about 10 parts of water, by weight. This solution should be well filtered, through filtering paper, and poured over the Negative (after it has been fixed and washed), and the Negative will dry without peeling. If the Negative is not wanted to preserve, and only a few prints are desired, the Gum Arabic solution may be used with about double the amount of Gum. This will render it firm enough to print from, and, when the prints are all made, the glass can be cleaned off easily, and used again, which would be difficult if Spirit Varnish was used. To produce a Yellow Light in the dark room, take two thicknesses of thick Yellow Paper, and cover the window, if the sunlight falls strongly on it. If the sun does not strike it, one thickness will probably do. This is better than any other kind of light, as it enables the operator to see what he is doing. Always wash the hands clean after developing and fix- ing a picture, before touching any of the cloths or glasses. A small quantity of Developing or Fixing solutions, on the cloths, will soon get on the glass, from thence into the bath, and fogging will ensue. Exercise the utmost care and cleanliness, in all your manipulations. 60 PRACTICAL PHOTOGRAPHY. The better quality of glass you use, the better the results produced. The Alcoholic Collodion possesses much better keeping qualities than the ordinary kind. Study the Theory of the Negative Process in this Work. Buy a copy of Hardwick's Photographic Chemistry and study it. Take a standard Photographic Journal. Do these things, and you will overcome the inevitable difficulties that beset all Photographic Processes. Expect difficulties, but do not be disheartened when you meet with them. Do not expect to become an accomplished Photographer at once. The seed is first a seed, then a shrub, and’ at last a tree. The more difficult the Art, the more merit in acquir- ing it. _ - . ' . ~ ■