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THE
AMERICAN JOURNAL
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PHOTOGRAPHY
AND THE
ALLIED ARTS & SCIENCES.
CHARLES A. SEELY, A. M., Editor.
Sew Scries.— Vol 1.
1858-9.
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Vol. 1.]
JUNE 1, 1858.
[No. 1.
MR. DIXON'S COLLODION FILTER.
BY THE EDITOR.
vulcanized rubber
The very neat apparatus represented in the engraving is the invention of Mr. Joseph Dixon, the well known manufac- turer of black lead crucibles.
The apparatus consists of three prin- cipal parts or pieces blown from glass, viz : The pear-shaped funnel, the bal- loon-shaped reservoir of filtered collo- dion, and the cylinder-shaped reservoir of unfiltered collodion at the bottom. The filtering material, cotton paper or sand, is represented by the dark band at the bottom of the balloon. The parts of the apparatus are carefully adjusted to each other, and fitted air-tight by being ground, or by suitable packing.
The operation of the filtering will now be readily understood. The collodion is introduced in the opening at the top of the apparatus, passes down the fun- nel tube into the lower reservoir, up- ward through the filter, into the balloon from which it may be drawn off by the stop-cock The air in the pear-shaped funnel is connected with the air in the balloon by means of a tube of glass or in order to equalize the pressure.
THE AMERICAN
The advantages of this method of filtering are that inas- much as the liquid passes upward through the filter, the filter will not so easily get foul, and that, the whole liquid being confined, nothing will be lost.
The contrivance has been in successful use for several months
WHO MADE THE FIRST PHOTOGRAPHIC PORTRAIT ?*
BY DR. JOHN W. DRAPER.
University, New York, May 3d, 1858.
Gentlemen :
Your letter of April 29th has only just come into my hands, owing to my absence from the city for a few days. In answering it I cannot refrain, in the first place, from expressing surprise that any question should arise respect- ing priority in taking Photographic portraits. It will soon be twenty years since I took the first one, and during that time I have uniformly laid claim thereto in various publi- cations,— in my chemistry, which is commonly used as a text book in schools and colleges, in the Philosophical Ma- gazine, in lectures, and in various other ways, — and I have not learnt that there was any question upon the point. I will however, without any hesitation, furnish you with such facts as you ask for, and shall also be happy to give you any further explanations which your proposed enquiries may appear to render necessary.
It will shorten very much what I have to say, if you will refer to an article published in Mr. Snelling's Photographic Journal for December, 1854, p. 381. It contains a short statement of my early connection with Photography. From it you will learn that for nearly ten years before any one in America had turned attention to the subject, I had been occupied with the chemical effects of light, and had pub- lished in the Journal of the Franklin Institute and else- where, a good deal in relation to it.
For years before cither Daguerre or Talbot had published anything on the subject, I had been in the habit of using sensitive paper for investigations of this kind. It was thus
* The letter of Dr. Draper is the answer to the request of the Committee of the American Institute, for information on the subject discussed. For the origin of the correspondence see "Photography at the American Institute," p. 11. — [Ed
JOURNAL OF PHOTOGRAPHY.
as 3^011 will find by looking into the Journal of the Franklin Institute for 1831, that I had examined the impressions of the solar spectrum, proved the interference of the chemical rays, investigated the action of moonlight and of flames, either common or colored, red or green, and also the effects of yellow and blue solutions, and other absorbing media, You will notice that in these experiments I was using the preparations of bromine, about which so much has of late been said. The difficulty at this time was to fix the impres- sions. I had long known what had been done in the copy- ing of objects by Weclgewood and Davy, had amused my- self with repeating some of their experiments, and had even unsuccessfully tried the use of hyposulphite of soda, having learnt its properties in relation to the chloride of silver from Herschel's experiments, but abandoned it because I found it removed the black as well as the white parts. This want of success was probably owing to my having used too strong a solution, and kept the paper in it too long.
To come to the point of your more particular enquiry, — When Mr. Talbot's experiments appeared in the spring of 1839, they, of course, interested me greatly, as having been at work on the action of light for so many years. I re- peated what he published and varied it. This was whilst I was professor at Hampden Sidney College in Virginia, and before anything had been published by Daguerre. I tried to shorten the long time required for setting the pic- ture of a house or a tree, by using lenses of large aperture and short focus, and this was the germ from which the art of portraiture eventually arose. I may mention among such experiments that, not being able to get a lens of aperture enough to suit me, I tried a reflecting mirror or rather a reflecting telescope belonging to that college, and I presume, is there still. It was a Gregorian one, the mirror from four to five inches aperture and perhaps 3J feet focus. (I speak from recollection not having seen it for nearly twenty years). My plan was to protect the small mirror from injury by putting in front of it a piece of a cigar box the size of a cent, on which the bromine sensitive paper was fastened. I expected to be able to focus by looking through the hole in the great mirror and moving the little one by hand, but on trial found it unmanageable and not answering so well as the common refracting camera. Nevertheless I could get images of any brightly illuminated object, though too large and too faint. There was no diffi- culty in getting the outline of a part of a person standing against a window, but then it was a silhouette and not a portrait, like those spoken of in Mr. Talbot's paper.
THE AMERICAN
It was during my repetitions of Mr. Talbot's experiments that I recognized the practical value of the experiments I had made in 1835, and published in 1837 respecting the chemical focus of a non achromatic lens, and saw that the camera must be shortened in order to obtain a sharp pic- ture. It is the experiment of passing a cone of light through a known aperture on sensitive paper. It was from considering the difficulty of getting an impression from colored surfaces as red or green, that I saw the necessity of enlarging the aperture of the lens, and diminishing its focus, so as to have the image as bright as possible ; for it was plain that in no other way landscapes could be taken or silhouettes replaced by portraits. And when I had failed altogether in these particulars, I knew it was owing to in- sufficient sensitiveness in the bromine paper, and waited anxiously for the divulging of Daguerre's process, respect- ing which statements were beginning to be made in the newspapers.
The first that I knew of the particulars of Daguerre's pro- cess was the publication of it in the London Literary Gazette, which contained Arago's report of the meeting of the Academy of Sciences on Aug. 19th, and this I saw at the time of its arrival in New York. I do not recollect the date, but it strikes me it must have been in September. However it would be very easy to ascertain by looking in the newspapers of that time. I bought at once some of the common silver- plated copper, and next day tried Daguerre's process. I be- lieve I was at that moment the only person in America who had any practical skill in experiments with light, but then I had had ten years' experience in such matters. Those of you who know the failures and disappointments incident to photo- graphic experiments, can appreciate thoroughly the value of such a schooling, in a delicate operation like Daguerre's. I succeeded with no other difficulty than the imperfection of the silverplating in copying brick buildings, a church, and other objects seen from my laboratory windows
I now returned to the attempts at portraiture, and upon the principles I had already ascertained before the publication of Daguerre, resorted to a lens five inches in diameter and seven inches focus, which I still have. I dusted the face of the sitter with flour and pushed the back of the cimera to the violet focus. At this time I did not understand well the manner of illuminating the object, and making the trial in a room, succeeded however in getting an impression, but observ- ing that the dark parts of the clothing impressed themselves, I saw it was altogethor unnecessary to whiten the face, and on trial found that the forehead and cheeks and chin on which
JOURNAL OF PHOTOGRAPHY.
the light fell most favorably, would come out first. By in- creasing the illumination and prolonging the time I could get the whole countenance. But as you will gather from the size of the lens I used, though it was a combination of a pair of convexes, nothing like a good picture was possible, so I ex- changed it for one of four inches aperture and fourteen inches focus. As improvement went on from day to dav, I found that a common spectacle glass would answer if the sitter was in the open air, and with such a one fastened into a cigar box I obtained many proofs ; but since it was necessary with such an aperture to use so much light, all the proofs I had obtained were defective about the eyes
At this stage the problem of portraiture must be con- sidered as solved. It had become a mere question of ob- taining a suitable achromatic lens, and good plating. As respects the latter, I had for some time used a piece of pure sheet silver, which answered perfectly while it lasted, but with so often heating it on the spirit lamp it became crystalline, and broke to pieces.
About this time I became acquainted with Prof. Morse, and we subsequently had a building on the top of the Uni- versity in which we took many portraits, at first with my four inch lens, and then with a French achromatic and French plates which we imported. We also gave instruc- tion to a number of the earlier artists. I could relate to you many interesting incidents of our conjoint trials, dis- appointments, and eventual success, which would doubtless interest you, but they are perhaps what you are not looking for now.
In March, 1840, 1 sent a note to the editors of the London and Edinburgh Philosophical Magazine, mentioning my success in solving the problem of portraiture, and in Sep- tember the same year published a detailed account of the whole operation. I had sent to Europe, in the meantime, specimens, and had received letters of acknowledgement.
In 1840 I was informed that Mr. Wolcott had succeeded in making an elliptical mirror of seven inches aperture and fifteen or eighteen inches focus, and had obtained portraits with it. I alleged against it the limited size of the plate that could be worked, the impossibility of preventing its being stained in an open camera, its unfavorable position in front of the mirror, though admitting its advantage in correcting the lateral inversion of the image. But some years subsequently, one of his instruments coming into my possession, I found that I had been altogether misinformed as to his success in producing an elliptical mirror. It was
THE AMERICAN
only spherical, and was not as good as the telescope mirror I had myself used and rejected in making silhouettes. I do not think that any of those instruments are now employed, and believe that in the present state of mechanical art, even at this day, no one can grind and polish a piece of metal of such dimensions, to that figure, as was then asserted.
From what I have said you will therefore gather that my connection with portraiture elates back to the summer before the publication of Daguerre's process, and that both as respects the use of mirrors and lenses, that I met with various partial successes, but that within a day or two after the Daguerreotype was made known here by the London Literary Gazette, I had accomplished the object. If there is any question of priority it must be reduced to a few hours, and when your inquiry comes to that, I think you will find a reliable guide in ascertaining whether there was any one in the United States known, by the publications he had before that time put forth, to have the necessary practical skill in these manipulations to bring such a deli- cate operation as Daguerre's to a successful result without hesitation, and to apply it in a case in which Daguerre him- self had failed.
Photographic portraiture, as we understand it, implies the use of a lens of large aperture and short focus, it implies a knowledge of the correction for the chemical focus, and perhaps the use of bromine. All these things I knew before the name of Daguerre was mentioned on this side of the Atlantic, having been occupied with experiments on the chemical action of light for ten years. How any doubt can be now entertained as to who took the first portrait, passes my comprehension.
Yours truly,
J. W. Draper. Messrs. Stetson, Cohen, Seely,
Committee of Mechanics' Club.
NEW METHOD OF RECTIFYING THE NITRATE BATH,
BY THE EDITOR.
Acid is considered by many as the sovereign remedy for a foggy bath. But there are cases when the use of acid is im- practicable, and indeed totally ineffective In my own ex- perience I have had little trouble from a foggy bath, and
JOURNAL OF PHOTOGRAPHY.
I believe that the causes which produce that mishap may always be prevented. Fogginers may generally be traced to carelessness of the operator, impurity of chemicals, or unsuit- ableness of the material of the containing vessel. Yet the evil is common, and a cure is sought by many.
The new remedy I propose is the exposure of the nitrate solution in a colorless glass bottle to the sunlight. The first trial of this method was made about four months since, and with such success that I have recommended it to correspon- dents and others in all cases where acid would not immediately be effectual. In every case the trial has been satisfactory. When all other remedies failed this succeeded.
The theory is evident. By the action of light the nitrate of silver, destroys and precipitates the injurious organic mat- ter. When the operation is complete the solution is perfectly colorless, and devoid of smell. The time required for the ex- posure would evidently depend upon the conditiqn of the bath and intensity of the light . Probably one week would be suffi- cient for any case that might happen. If the impure bath is already acid it should be made neutral by carbonate of soda or potash, before the exposure.
From the London Times.
A NEW DRY COLLODION PROCESS,
Having lately made a series of experiments to find out some less complicated process than any at present in use for preserving the sensitiveness of collodion plates, I have discovered one which is so simple that I venture to hope you will deem it of sufficient value to the photographic world, to give it publicity in your widely circulating Journal.
The plate, being collodionized and sensitized in the usual manner is washed, with rain water, and after draining for about half a minute, I pour on the collodion film some plain albumen, which has been obtained by the well beat- ing up the white of one egg with a quarter of an ounce of water, and allowing to subside. After half a minute, the albumen is washed off under a gentle stream of rain water, enough remaining in the pores of the collodion to answer the purpose of preserving its sensitiveness. The plate is then allowed to dry, and is fit for use.
The advantages of this process are : — 1st. Absence of blisters. 2nd. Absence of bubbles in the albumen, these
THE AMERICAN
being washed off with the surface albumen. 3d. The re- sulting negative is remarkable for softness. 4th. The plate requires only one sensitizing. 5th. With some collo- dions which will be mentioned in the next number of the Journal of Photography, much less exposure is required than by any other keeping process known to me. 6th. The negative requires only a few minutes in developing by us- ing (after previously moistening the plate) from 1% to 2 grs. of pyro-gallic acid to the oz. of water, and the usual amount of acetic acid.
The only disadvantage I have yet encountered, and that not often, is a tendency of the developer to get under the film. As yet, however, I have had but one picture slightly impaired but not spoiled by that circumstance, and I think the evil may certainly be prevented by rubbing the edge of the plate after the last washing with the finger dipped in a little albumen. From six to nine drops of liquid ammonia added to each egg seems to increase the sensitiveness of the film. But, at present, I recommend trying the plain albumen. I believe plates may be kept an indefinite period when prepared with care. I have kept some a week with- out the slightest loss of sensitiveness.
I have the honor of subscribing myself
Yours, obediently,
Thomas Fothergill.
8 Inverness Road,
Londox, Jlpiil 2ith.
AN INCIDENT.
BY W. CAMPBELL.
In photographic rooms curious incidents sometimes occur. The following, which has something of the serio-comic about it, is a veritable case. Being an actor in the piece, I can vouch for every word of it.
Some years ago (we were daguerreotyping then) a visitor presented himself for a picture, he was an Irishman, his brogue and his brogans too, both alike, told his country ; we inquired if we could do anything for him, as he seemed to hesitate, and a spasmodic jerking at his hat betrayed a troubled mind. " Sure an do ye take pictures here," — we said, " we do,'' — " An could ye take the picture of my wife." " Oh certainly." — '' But she is dead and buried, plase sir." "Ah, indeed !
well ?" (here we had to take back something of our assurance.) no doubt he observed our hesitancy, for his head sunk, and I have no doubt his heart too. " She 's dead and buried sir," — and his affection appeared about to show itself in a flood of tears. So condoling with him as well as we could, we ex- plained to him the necessity of having the object by us that required our skill. Suddenly a ray of hope seemed to lighten up his features. "An sure sir, plase tell me, can ye take the picture of anything?" "Oh, yes, that is" (here we were very guarded this time) " if the thing you want a picture of is in existence, and we can get at it." " Ough, an ye can get at it, sure I'll fetch it to ye " So with this he started for the door, but he had not got his hat on before he turned back ; "Now," said he very seriously, "ye said ye could take the picture of anything I'll bring." The poor fellow was evidently under the impression that we could only take the picture of the human face, so we assured him that he could bring nothing that we could not take a picture of, and with this he left. He was gone about half an hour, when he returned and brought a basket, and, without saying one word, proceeded to place the contents on the floor ; first came a woman's bonnet, then a shawl, a gown came next, a pair of stockings and a pair of shoes emptied the basket, no ; not quite, a small parcel care- fully laid on one side was next unrolled, and two oranges, one of them half sucked was laid beside the apparel. Amazed, we looked on in silence ; there was nothing there we could not take a picture of that was certain.
"Now then" said he, "ye said ye could take a picture of anything I'd bring, them's the old woman's clothes ; it's all I've left of her, au' if ye can give me a picture of them I'll be pleased." At first we were at a loss to know if he were really serious, bnt there was no mistaking that when we looked in his face, so we proceeded to arrange the clothes in as artistic a fashion as our skill and the subject would permit,. We took two pictures, both good, and after colouring them, with an extra touch to the orange, at his own request, he took one, and we kept the other- " Thankee Sir," said he, as he left, fc' them's all I've got of the ould woman, they're sure to get scattered about, but when I looks at this, I shall think I see my wife. Thankee Sir." And he left, as happy as a heart full of grief would permit.
I have never looked back on this little incident of life without an uncontrolable desire to laugh at the idea of taking a picture of old clothes, but a better nature always rose in stern reproach, an uncomfortable feeling within, with desire to pay great attention to my nose, whilst my eyes kept winking
10 THE AMERICAN
at nothing, appeared to trouble me as if it were a punishment for my ill-timed mirth, and yet I could not — no ! no ! there is no excuse.
The incident wants no comment — he who rightly reads the human heart will understand that poor man's feelings. He who cannot, I sincerely pity him
Jersey City, May 12, 1858.
PHOTOGRAPHY AT THE AMERICAN INSTITUTE.
At the session of the Mechanics' Clnb of the 14th' April, the subject of Photography discussed at the previous meeting, reported in this Journal of April 1, was continued. T. B Stillman, Esq , Chairman, Hon. H. Meigs, Secretary.
It was explained that owing to. the illness of Mr. Dixon, the promised exhibition and discussion of the methods of en- larging photographic pictures would be deferred.
The Chairman extended an invitation to all who had any- thing of interest pertaining to any branch of Photography, to address the meeting.
Mr. John Johnson gave a detailed history of the early attempts at daguerreotype portraiture, illustrated by the apparatus used in 1840, specimens of pictures, and original docu- ments of that period. He was the Johnson of the firm of Wolcot & Johnson, who commenced their work on the first mention of the daguerreotype in this country. First portrait was made on the 6th or 7th October, 1839. The date was established by entries on the partnership book, of the pur- chase of chemicals. Under date of March 21st, 1840, he found the entry of money first received for a portrait. John- son, Sen., sailed for England, Feb. 4th, 1840. Exhibited the American apparatus in London, March 23d. English patents enrolled June 14th. Paid Daguerre £50 for the use of the process, and afterwards £200 for the privilege of using three cameras. Mr Johnson read from journals of 1841, to show that accelerators were then in common use. He ex- plained the methods then used of preparing accelerators and sealing them hermetically in glass bulbs.* Mr. Johnson con- cluded by offering a resolution to institute enquiries on the early history of the daguerreotype.
* A specimen of these bulbs may be seen at our office.— [Ed.
JOURNAL OF PHOTOGRAPHY. 11
The action on the resolution was deferred to the close of the meeting.
Mr. T. D. Stetson made some complimentary remarks on Mr. Johnson's process of etching daguerreotype plates for printing purposes. Some prints were exhibited executed in 1843.
Mr. S. L. Tillman thought that no kind of photographic etching could yet compete with the ordinary methods of engraving. In all specimens he had seen there were pal- pable defects. He called for information on Pretsch's process.
Mr. C. A. Seely explained Herr Pretsch's process in detail. A photographic engraved surface was made up of elevated parts and cavities, corresponding to the lights and shades without the lines or dots of a common engraved plate by which the gradation of shading is produced. This was a radical objection against photographic etching.' Yet for some purposes it was fairly competing with handwork. He believed Mr. Dixon (a member of the Institute) had first employed the bi-chromate of potash for photographic printing with ink. Mr. S. continued the discussion of the early history of the daguerreotype, especially in regard to the claim of Dr. Draper.
Mr.H. H. Snelling had held conversations with Professor Morse and Dr. Draper on the question of the first portrait, and believed that neither claimed priority over the other. It was an undisputed fact that Dr. Goddard of Philadelphia, introduced the use of bromine.
Mr. N. G-. Burgess was in Paris early in 1840, when the news that daguerreotype portraits were made in Am- erica was received with astonishment and doubt.
Mr. T. D. Stetson wished to know something of the pre- sent condition of the Art. It was so rapidly progressive that he could scarcely keep pace with the names. What can be done now ? For example, in how short a time can a photographic picture be made ?
Mr. J. Cady had made daguerreotypes of the ferry boats in motion, so that all parts were as distinct as if taken at rest. The paddles of the wheel, and even drops of water in the air were faithfully depicted. Had frequently made good pictures of stages in motion on Broadway, and men in the act of walking. The pictures were made with what was called Cyrus' Magic Buff. He was one of the very few who succeeded with it. The greatest difficulty at first was in shutting off the light quick enough. He described the
12
THE AMERICAN
ingenious contrivance by which he was enabled to make an instantaneous exposure. These pictures were made about six years since. He believed he could do as well with collodion.
Mr. Tillman thought that the criticism of Dr. Draper's claim was too severe.
Mr. Seely disclaimed any intention, on the part of those who opposed Dr. Draper's claim, of going beyond the ques- tion of what credit was due him as an investigator in photography. His reputation as an eloquent lecturer and writer, and able experimentalist was everywhere acknow- ledged. As to the time of producing a photographic im- pression, three things are to be taken into account : The light — the lens — the sensitive surface. To produce a pic- ture in the shortest time possible, — use the intensest light, a lens of the largest aperture and shortest focus, chemical substances of the greatest sensitiveness.
Mr. H. G-arbanati exhibited an Ambrotype executed by J. D. Davis of Brooklyn at nine o'clock in the evening. The light used was from the burning of photogenic powder.
M. J. S. Jones read from a copy of the London Athenaeum just received, a notice of St. Victor's recent researches.
Mr. H. Anthony explained the construction and operation of the solar camera. As to a photographic society, pro- posed by some of the preceding speakers, he doubted its practicability at present. The practical operators had tried on several occasions to unite. But there was no harmony. Amateurs, he thought, could not spare the time.
Mr. G-arbanati was present at the preliminary meeting of the London photographic society. It was largely attended and the deepest interest, almost amounting to enthusiasm, characterized its proceedings. Sir Wm. Newton presided and Robert Hunt was among the secretaries. The meeting had been preceded by a photographic exhibition of the Society of Arts, an organization similar to the American Institute. He strongly urged the formation of a photo- graphic society in New York. (The concluding remarks were listened to with applause.)
The resolution of Mr. Johnson presented in the early part of the meeting, after some modification was passed in the following form :
Resolved, — that a committee of three be appointed to investigate the following questions, and report in detail to the Institute.
1st. Who made the first daguerreotype portrait from life ?
2d, To whom is credit due for so improving the process of Daguerre that it became practicable for making portraits from life ?
Messrs. T. D. Stetson, L. Cohen, and C. A. Seely were appointed to carry out the provisions of the resolution.
Mr. A. G-. Grant urged the formation of a society. He would esteem it a pleasure to communicate anything he might learn in his contemplated trip to Europe.
*
THE WONDERS OF THE PHOTOGRAPHIC ART.
BY H. GARBANATI.
When first it was noised abroad in the scientific' world, that a Frenchman had succeeded in affixing impressions of objects on silver plates, by means of chemical combinations, and that old Sol believing there was nothing new under his dominion, had resolved upon something new himself, and had positively turned engraver, without graver's tools, and by no other means, than shedding his influence over, and casting his rays upon the said silver plates, and thereby decomposing the chemical upon the surface, in exact proportion to the time it was exposed to his full gaze, or rather, slighting it, in proportion to its being shaded from his gaze, and then cunning old dazzler that he is, hiding the secret of his action until the said plate was exposed to the heated vapor of a liquid metal, thus malnng quicksilver a chorus, and then the fact (exacting task-master as he always was, leaving it for men to puzzle out, and thereby prove their scientific attainments,) that it was only a portion of his light after all, and by no means the full force of his bril- liancy, that he allowed to act for their benefit, but that on the contrary, his light possessed certain properties, some of which only could they use in producing photographic pictures, but all of which they might turn to account, by due course of study and trial in the pursuit of their art ; that the blue or chemical rays were the rays that acted on the plate, and that if they thought proper to strain out the red or heated rays, or the yellow or radiant rays, just leaving enough for him, u01d Sol," to see what he was about, he would make a picture for them, just as well as with the full force of his powers, and that knowing thus much, when a window or skylight faced a Southern or any other unfavorable aspect, they might just regulate and modify his powers to suit, by using blue tinted glass, and when they wanted to work in rooms supposed to be
14
THE AMERICAN
required dark, that is exclusive of blue and violet rays of light, — they could use yellow glass, or paper, or muslin, and when they wished some warmth, did not wish to exclude warmth, they might use red or white light just as it suited, — Didn't folks begin to wonder and more to wonder what next was to come, and whether they could not have exact portraits of them- selves on pieces of silver of at least six inches square, and then when the fugitive impressions of Daguerre and Niepce, were rendered permanent pictures by the result of the study of Fizeau, surely numbers of people began to rush into the art as a business, and several people in cities no larger than New York actually expected to make a living by it. and then when, the use of " Accelerators" and "Any Quicks", and myriads of fancy chemicals enabled its votaries to take excellent impres- sions of living persons in a few minutes, and next in a few seconds, and trades and factories spring up to supply apparatus and materials to the now living business, and acknowledged permanent branch of art ; not then, nor long after then, (though the whole age of the art is youth,) did its practi- tioners and votaries imagine even the present extent of its attainments much less the future realization of what it is yet to do.
The great impetus to photography was given less than seven years ag'o by the labours of Frederick Scott Archer, who amidst the many claims and patents for trifling im- provements, and often actual practices of his own process, seems almost forgotten, as we judge by the seldomness of the use of his name. And now behold the suddenness with which his process has come into general use, and almost en- tirely banished the beautiful daguerreotype. Almost every practitioner in the old and new world uses collodion in some form. Negatives on paper are entirely banished, excepting for occasional experiment. Amateurs, and their name is legion with increasing numbers, entirely use collodion, and the results are, most minute and beautiful details of every object of interest, the likeness of which is handed down to posterity, are tablets, or paper portraits and views. Ob- jects still and in motion, clouds and waves, cascades and mountains, torrents, race horses, and ships in full sail, steam boats and fire engines, animalcule and gigantic remains, modern architecture and buried cities, all, all are searched out, and their peculiarities transfixed by the truth-telling camera, and remain as witnesses as what was, is, and ever will be. Now, not an army goes forth to peace-making des- tructiveness, nor a navy to inflict vengeance or inspire awe, but take their corps of photographers to depict in unlieing traces what was and is ! strength and weakness, defieing
JOURNAL OF PHOTOGRAPHY. 15
and destroyed. Not an exploring expedition for scientific purposes, nor band of savans, or tour of discovery, nor ge- ologists, nor botanists, nor mineralogists, nor any other ists, or other terminating syllables attached to the vocations of curious and prying men, but must have their camera and chemicals, and prove they are not "traveller's stories" they are telling, nor sailors' yarns they are spinning, but veritable and incontrovertable facts they are giving to the world of what is and was, on this habitable globe.
Yet amidst what has been done and is doing, minute things rendered gigantic by megascopic or solar camera, and gigantic minute, by microscopic, it is curious to think of what may yet be done.
I was recently handed two small pieces of glass, in the centre of each was a square dark object, about a quarter inch square ; in the centre of the square, of one of which by dint of close and painful examination, I discovered a speck about one sixteenth inch diameter, which bore some- what the resemblance to a portrait of a head ; in the other was also a speck about one-eighth inch, and some other very minute specks in the one speck, but which I could not reeognize as any particular objects. By holding the first piece of glass up to the light, and looking through a pow- erful magnifier, I discovered a perfect portrait of about a sixth size, and in the other a group of five equally perfect, of about half size. To what use might not this mode of photographing be put. In war the most elaborate instruc- tions might be carried in a button or head of a pencil case, and the general or secretary of war needs but a magnifying glass to save the use of spies, and men from hanging ; the whole archives of a nation might be packed away in a snuff-box. Had the art been known in the time of Omar, the destruction of the Alexandrian library would not have been a final loss.
EMTOfflAL MtSCEtUNY.
The present issue inaugurates a new era in the career of our Journal.
Out of the experience of publishing six volumes, we have brought many useful things about such business, — knowledge not to be acquired otherwise. It taught us better notions than we had at first, and we desired to put them in practice. Hence the changes — the new series, — the starting afresh, — the rejuvination.
16 THE AMERICAN
We trust the changes will prove to be reforms, and agreeable to all concerned.
It is our chief est aim to make the journal worthy of its name — really American, and the organ and representative of our Art in the United States. When it has established that character, it will take the highest rank among publications of its class. We believe there is the ability here, which through this journal may engage the attention of the photographic world. America has been the last to enter the lists, but she may prove nimbler than all her rivals.
The improvement in the mechanical department scarcely needs the comment, that it makes the journal the most comely of its kind, — thanks to our improved pecuniary resources, and. the skill of our printer.
Some of the notions we had of conducting a photographic pub- lication are not changed. We have thought from the beginning that an Art journal should be entirely independent of private and personal interests ; that truth should be told plainly and error ex- posed without fear. The readers of the six volumes already pub- lished, will attest how we have steered clear of our own private affairs, and how boldly we have attacked humbug pretensions in all quarters, never making allusion to individuals except for the interest of the many.
For the future, our friends may expect the same policy on our part with this modification. It is well known that the writer is one of a firm who manufacture photographic materials. We have studiously avoided allusion of any kind to that firm or any of their operations. In some respect by such silence we have not only done them injustice, but the art. The photographic community have unmistakably decided that they are the originators of some valuable improvements in many articles of apparatus and materials designed for their use. We shall deem it proper in future for them to describe in our pages anything originating with them which we deem of service to the public. At the sametime we shall freely open our columns to all other manufacturers, who can communicate anything new and useful. Of course we shall allow no puffing or advertisements.
The editor desires to conduct the journal in such a way that his other interests shall never appear in it.
The customary variety of the editorial department — as well as some valuable contributions of correspondents are deferred for want of space.
THE AMEEICAN
Unticaat of ®fiolognap|^
LMiW Sift BIS.]
Vol. 1.] . JUNE 1£, 1858. [No. 2.
ON CASEINE FOR PHOTOGRAPHIC PURPOSES,
BY P. C. DUCHOCHOIS.
To prepare soluble caseine, add about 15 drops of pure sulphuric acid (diluted in one ounce of water) to a quart of skimmed milk; let it stand 10 or 12 hours; collect on a filter the precipitate which is coagulated caseine; wash it three or four times with pure water, and mix it with newly precipitated carbonate of baryta : the acid will soon be sa- turated and the caseine dissolve in water; then filter the solution and evaporate carefully to consistence of syrup, (or to dryness, if you want to keep it) at a low tempera- ture.
The caseine possesses all the chemical properties of al- bumen and is isomeric with it.
As a substitute for albumen in photographic preparations I have found the following advantages :
1st. It does not desiccate so completely as albumen, is consequently less liable to scale, to split, and can support a larger proportion of iodide without fear of crystalization.
2d. It coagulates less strongly, and gives a film less tenaceous, more porous, hence proofs more harmonious, and preparations much more sensitive than those of albumen. They are not however as rapid as collodion, but by adding to the caseine some of those substances which give more sensitiveness to albumen, (honey with soluble starch), I have obtained a good negative (in operating with the dry film) in 75 seconds, the collodion requiring one minute.
3d. It is excessively fluid, easily filtered, and always free from those mucous threads which form in albumen.
18 THE AMERICAN
Solution of
It is also a very good varnish for collodion-negatives, and can be used to prepare positive paper. Until now I have not been able to coagulate evenly the caseine on glass, having every time a film full of marbling lines, like those which take place on a collodion-film sensitized with a too weak silver-bath, or which does not contain enough pyroxiline.
I think to overcome soon that difficulty.
By uniting caseine with albumen I have obtained perfect proofs as harmonius as those on collodion, and in a time of exposure twice more rapid than on albumen.
The formulas were ;
A. — Solution of caseine, as thick
as albumen, 3 fluid ounces.
Albumen, [from duck-eggs] 2 "
Pure water, ------ 4 drachmes.
Honey, crystallized, - - - 50 grains. Soluble starch, -----15 "
j Iodide of ammonium, - - - 40 "
Bromide of ammonium, - - 10 " Ticture of iodine, [new] - - 5 drops. B. — Rain water, ------ 4 fluid ounces.
Nitrate of silver [crystallized] 125 grains.
Nitrate of zinc, [fused] - - 10 "
Acetic acid No- 8, - - - - \)4 fluid drach,
C. — Rain water, - 1 quart.
Acetic acid No. 8,- - - - - \% fluid, drach, Gallic acid, -10 grains.
Pyrogallic acid, ----- 15 " Solution of nitrate of silver at 4 per cent in water added to the developer in very small quantity when required.
The operations were conducted the same as for albumen.
In the collodion-albumen process of Mr. Taupenot the above formulas are the best I ever found for sensitiveness of the preparations, cleanliness and beauty of ihe proofs; never any blistering or rising of the film. The process is therefore a sure one, provided the collodion is not very tenaceous and contractible. I do not hesitate to recommend it in preference to any other. The caseine can also be em- ployed alone for dry collodion; here again it is very superior to albumen, gelatine or metagelatine. The caseine solution must be very fluid, so as to filter easily throug'h paper. The modus operandi is absolutely the same as for those processes : wash the sensitized collodion film, let drain a
JOURNAL OF PHOTOGRAPHY. 19
few seconds, pour upon it the caseine, let dry, set, develope.
The preparation of pure dry soluble caseine is not very easy for those not well acquainted with chemical prepara- tions, but I believe it will hereafter be found in any place where photographic chemicals are sold.
New York, May 25th, 1858
NEW METHOD OF PRESERVING COLLODION PICTURES.
BY E. K. HOUGH.
Ever since the advent of collodion positives, artists and manufacturers have been searching for some means of pre- serving the finished impression, with undiminished lustre and beauty, against atmospheric influences.
The countless methods with balsam and varnish attest the secret dread with which they commit their "gems of art" to the hands of Time, and their want of entire satis- faction in. any "crystal" or "diamond" yet discovered.
With similar motives I have been experimenting in a di- rection whicn has not yet been explored, and I take this means of interesting artiste, that in many hands, what good there is in it may be fully disclosed.
It is simply the use of plain collodion as a varnish for collodion pictures.
This would seem a paradox, but it is solved by adding seven or eight parts of alcohol to one of ether, in which condition it will not dissolve the dried film, and can be turned on and off, as the sensitive collodion, then left to dry of itself, or be hastened with a gentle heat from a lamp or a stove.
The effects produced are not equal, as yet, to those with good benzine varnish, but in instances where beauty alone is a minor consideration, and the pictures are exposed to rough handling, it is much better, for it will bear any amount of hard usage. Moreover, the fact that the white portions and the high lights are left with undiminished lustre, while all flat and woolly appearances are removed from the shadows, encourages the hope that by some modi-
iO THE AMERICAN
fication or addition, we may be enabled to use it with the best effects for all kinds and sizes of collodion-photographs. Some of the difficulties to be overcome, are, first the avoidance of a slight changeable coloring of green and red which the finished plates present; and second, the manufac- ture and preservation of the plain collodion, free from acids, or other agencies, liable to dissolve the reduced silver. The iridescence can be partially removed by adding two or more coatings.
Sufficient has been said to give the general idea, and I should be pleased to hear from any of my brother-artists who have tried this method before, or who shall think it worthy of their attention now.
Chautauque Co., N. Y., May 28th, 1858.
THE NITRATE ' BATH.
BY THE EDITOR.
The nitrate bath has been the source of the greatest* vex- ation to photographers. It practices upon many the most malicious tricks. It hath a very bad character. Had Shakspeare been a photographer, he scarcely would have written : —
" Fickleness, thy name is woman. '»
Many of my photographic friends are always in trouble, although they try to use the greatest care. They take extraordinary pains to procure pure nitrate of silver, and use only distilled water. One day they have the most brillant success, only to blacken the disappointment and despair of the next.
Sometimes the collodion is under suspicion, but it be- haves beautifully in the neighbor's bath.* The bath must be put through the routine course of neutralizing and filtra- tion, as tedious as the Thompsonian lobelia and steam, and perhaps to as little purpose.
♦ Collodion is a more unstable compound than the silver bath; but being left alone in a bottle, if it is spoiled, the elements of its destruction are within itself. The silver bath in use is constantly gaining or losing something. Collodion will not spoil in a day or a week, if left by itself
JOURNAL OF PHOTOGRAPHY. 21
Now, there is a reason for everything. Senseless matter has no whims or freaks, except in our imagination. Laws just as inflexible and immutable govern the action of a nitrate bath, making it work well or ill, as the law of gra- vitation. If we cannot control its action we only display our ignorance or lack of power. Matter is more servile than any slave ; we only need to know its capacities, and how to manage it.
I propose to examine a few points in relation to the ni- trate bath, in the light of some of the laws which g-overn its action.
I shall take it for granted that a perfectly compounded nitrate bath is a solution of nitrate of silver in water, sa- turated with iodide of silver, of a strength adapted to the collodion; all the materials composing it being chemically pure.
It is evident that the original chemical composition can- not be preserved, for by every dip of a collodionized plate, we substitute another nitrate, also add ether alcohol, &c. to it. No doubt, these changes do harm proportioned to their amount. The problem is only to maintain such a chemical constitution as fits the bath for photographic purposes. The solution of this problem requires us to consider :
1st. The varying proportion of nitrate of silver.
2d. The foreign substances introduced into the bath necessarily or otherwise.
The amount of silver at first introduced into the bath is known with certainty. If the bath is to be constantly used with the same collodion, the amount of silver best suited to it must first be used, and the proportion kept up. Some test or measure is evidently needed of the silver abstracted by use. This want was early appreciated and experienced and observant photographers soon learned to judge by the appearance of their pictures, or by the amount of collodion used, if the bath needed strength. This also gave birth to what is called the actino-hydrometer of which thousands have been sold, although a most ridiculous instrument in view of its use. It only indicates properly the proportion of silver in a bath just made, when the information is superfluous. A hydrometer only measures specific gravity. It is a good enough test of a solution of nitrate of silver in water, but the nitrate bath solution is changing in specific gravity more from ether, &c. alcohol introduced, than from
22 THE AMERICAN
variations of the silver. In an old nitrate bath specific gra- vity is not a reliable test at all for its value. I have al- ways been satisfied that these actino-hydrometers are only useful to those who sell them, and to gratify the vanity of photographers who wish to appear profound, like the solemn doctor with his golden headed cane. The skillful photo- grapher generally needs no instrument. Yet a simple con- trivance for estimating exactly the value of a bath is desired by many, and I shall take an early opportunity of describing such a one.
The foreign substances unavoidably introduced into the bath have at first no appreciable effect in working. A very large quantity of nitrates of cadmium-magnesia-potassium, &c. may get in it before they do damage. But the ether alco- hol and other organic elements from the collodion soon show themselves one way or another. — Generally a scum on the surface, or a variation of the intensity under development. Finally although the proper proportion of silver has been maintained, fog and all sort of streaking. This ultimate ruin may of course be retarded (but only retarded) for many months.*
But the foreign matter, got in by no necessity, is what generally does the mischief. Sometimes it comes from the containing vessel, especially if of gutta-percha, but more often from dirty plates. A small fraction of a grain of sul- phate of iron or hypo-sulphite of soda will disorder a large bath. Is it wonderful that slovenly men have what they call ill luck?
I have discussed my subject briefly, and I am only at a convenient starting point of many diverging paths. These I shall pursue. In future numbers of the Journal I shall endeavor to give : the best means of testing the nitrate bath; the best method of cleaning plates; of removing foreign matter from the bath; of recovering silver from waste solutions.
PROCESSES vs. JOURNALS.
BY H. GARBANATL
The human mind is a homogenous paradox ; some mean men are generous by fits and starts ; Steven Girard was one of those. And some generous men are mean. But this is a mere phase
* I have known a bath in constant use, to be servicable for a year.
JOURNAL OF PHOTOGRAPHY. 23
and also a digression. Photographers generally are paradoxical and inconsistent, they all have the accumulative spirit, — for dollars. All wish to be A 1, fast sailors in the profession, yet, amidst the eight to ten thousand photographers, taking all branches, employers and employees, not one in ten takes a journal devoted to the interests of their art, though some take all that are published.
Says Smith, what do I want with a journal, it only leads me into experiments and bothers me. Now Smith is ingenious, it bothers him, — but then, my dear Smith, some of the experi- ments are proven advantages, will economise your time and material, and enable you to compete with your neighbors But I take as good pictures as any of them. — Unhappy Smith, to think yourself perfection ; unambitious Smith, why not surpass them — Smith, your objection is untenable. Says Brown, the various experiments only lead to expense. Now there is some reason in Brown, provided he has no cash to experiment with ; provided also none of the experiments are proven 'facts, pro- vided also that Brown thinks them mere experiments. But Brown, my equally dear fellow, you cannot attain perfection without cost even though you — Brown — can do so with it, but look to the advantages, Brown, and see if they do not outweigh the cost. Use your common sense, Brown,, and do not try every experiment published, nor take all for granted. Adopt well-tried and reasonable experiments, and avoid quackery, that's it, avoid quackery, or you will be done — Brown. But Jones must have a say, must give his reason why he shall not take in a journal, even at $1.50 per annum, semi-monthly, containing all the useful hints, &c &c. Jones must put his veto on such useless things, they take up his time, bother him, cause him to spend money, — Jones likes money, and will make it, and keep it too. — Don't Jones take tip top pictures ? Ask his neighbours. Don't he know all the dodges ? What can he, Jones, learn ? — Jones was a tailor six months ago, and took to picture-taking because his trade was dull, or he thought pic- ture taking easier. — Yes, what can he learn, his chemicals are in order, and he knows enough now, to venture to buy cheap chemicals, why should not an experienced operator try and economize ? Jones don't want a journal, not he, when he gets in a ufog" he can puzzle his way out again ; — yes, he can puzzle his way out.
But Jones, my good sir, if every one supposed himself perfect, there would be no such word as improvement Did Daguerre suppose chemistry had reached the acme of perfec- tion, you would not be practising his art Did mechanics, one hundred years ago, suppose the world knew all it could know about machinery, there would be no steam engines now.
24 THE AMERICAN
Did Morse expect that lightning performed its functions faithfully, by descending steel tipped rods, at the command of man, and electricity was a very useful fluid, certainly, in shock- ing batteries and nerves, but there its advantages ended. We should not now be on the eve of talking with our cousins over
the water, over the electric wires. Did Stop, say Smith,
Brown, and Jones, all in a breath, what has that to do with journals ? Everything. You, with your pretenses, refuse to subscribe to a journal, yet buy a process. Does a dull practi- tioner, fancy bi-chloride of mud will give an intensity of tone, he instantly starts on a tour with an accidental picture, to sell a " right" to every artist (as he says) througho t the country
Does a sharp fellow read in a foreign journal, that three grains of nothing added to two grains of something, produces a much finer picture, than two grains of nothing, added to three grains of something, he also makes a living by selling- formula.
Does il a regular brick " relying on a true aversion of the Profession to taking periodicals, read some really interesting process of positive utility He knows he can make a good thing of it. and seeks a patent from commissioners who know nothing of photography, and Smith, who will be bothered by a journal, Brown who can't afford to make experiments, and Jones, who is a know-everything in the art. pay from three to three hun- dred dollars for the information known only to " the brick," and thev brick does make money, yet the really useful hints would surely be published in journals if they had not been already, the quackery have been exploded, and the knowledge obtained, all for a small yearly subscription Nevertheless the Smiths, Browns, and Joneses will buy processes, and eschew journals, though every number will contain the value of each yearly subscription, and save them many dollars, and dolorous feelings. If a journal could be rendered interesting, devoted to the art of catching rats, I should recommend every rat catcher to take it in
PHOTO-LITHOGRAPHY.
BY JOSEPH DIXON.
Mr. Seely— Dear Sir, — In answer to your request, that I furnish you for the journal, the facts relative to my experi- ments in Photo-lithography. I have only to say that daring my residence in Taunton. Mass., where I was engaged in litho- graphy, &c, I conceived the idea that bichromate of potash
JOURNAL OF PHOTOGRAPHY. 25
might be made available in puttiDg a sketch on the stone which was to be drawn in crayon, ccordingly I covered a lithographic stone with a solution of bichromate and exposed it to the sun, but found no action, as I had hoped to have seen, for the bichromate was unchanged, and readily washed off the stone I found that I had overlooked the essen- tial ingredient in the compound for securing chemical action, viz : the organic substance for the chromic acid to act on. Asolution of gum arabic being at hand, as used in litho- graphy, I mixed some with the bichromate and again placed the stone washed over as before, part of which I should have said was hidden from the light in order to watch the progress of the chemical action, and when this had advanced as I thought far enough, the stone was removed and submerged in the water trough, in order to remove the unaltered bichromate" when to my astonishment, I observed that the water would run off of some parts readily, while others remained wet. This fact gave place to the idea that as the stone behaved so much like a drawing made with crayon it might possibly print or
" take ink." Accordingly I put the stone on the press, and tried to " roll it up," but although the impression was still there, and gave strong indications of its readiness to receive ink, yet it was too faint, or in other words there was not affinity enough to cause the ink to leave the roller. I, there- fore, as in the case of feeble transfers, had recourse to the " washing " process This is merely rubbing over the stone a solution of a composition made by mixing wax, soap, ink, &c , and dissolving the mixture in spirits of turpentine. A little of this solution put on a piece of rag is rubbed over the stone with gum water, and when the drawing is thereby blackened, the roller is passed over, when it will be found to have an increased affinity for ink ; or, in technical language, " it comes up well."
Some account of my experiments was published in Taunton and Boston papers in 1840, and in the Scientific American, in
1854 I regret that I am able at present only to furnish you a copy of the latter. Yours respectfully,
Joseph Dixon.
Jersey City, June 1th, 1858.
[From the Scientific American of April 15th, 1854 ]
"On reading in a late number of the " Scientific American," of a discovery recently made in France, by which a lithographic stone may be prepared, by the action of light, to print, it occured to me that a description of a process invented by myself, in 1840, may be of some interest to your readers, and perhaps be the means of leading to greater results. My process was simply to polish a stone in the usual way with a fine surface, as for a transfer, and when
26 THE AMERICAN
dry, wash it over in a dark room, with a mixture of bichromate of potash and gum arabic ; wipe the superfluous liquor from the stone with a fine soft sponge, and the stone is then prepared for the picture. If put into the camera in this state, as a silver plate is for a daguerrian picture, and left exposed to the light for twenty or thirty minutes, then removed and submerged, face up, in a trough of water, for a few seconds, then rolled up, it will produce a nega- tive picture of the character of a mezotint This may be afterwards changed to a positive or natural one, by various methods known in the art, such as light biting with acetic acid, washing well in pure water, rilling in with "composition wash,'" then carefully rubbing down the surface to remove the first (light drawn) picture, and the stone is then ready to receive the common preparations of acid and gum, and is soon ready to work. The above will give a general idea of the manner of proceeding ; a skillful workman will soon see what will be the best mode of working. In some few .trials made at the above period I had very hopeful results, but various other things of more immediate importance occupied my attention and re- quiring all my time, 1 laid this subject by until a more convenient season, which has not yet arrived. Seeing no better prospect for resuming it, I have hopes that some one will take it up and perfect it. Before giving the rationale of the process, I will add one variety of my experiments.
I took a small picture of convenient size, varnished or oiled it, in order to render it as translucent as possible ; this was laid with the printed side on the prepared stone, and a piece of plate glass on the top, to press the picture into as close contact as possible ; the whole was then laid in the sun, and after an exposure of some fifteen minutes, treated as before in the water, &c.
You will readily perceive the causes active in the production of photography. Chromic acid in combination with an organic sub- stance as gum, is rapidly decomposed by the action of light, into green oxyde of chromium, with the destruction of the gum, while the base (potash) is left in the stone. By this operation the gum which resists the ink from the roller is removed and a strong mor- dant for the ink left in its place. Joseph Dixon.
Jersey City, April 3, 1854."
A LETTER FROM BUFFALO.
Mr. Editor, — You perceive I hail you from another place, being amongst the Buffaloes, and quite a big Buffalo it is, considering how few years ago, what a mere calf it was. Now these Buffalonians are quite good fellows — some of them being expert photographers, and quite a number ardent patrons of the same. — The Buffalo belles — bless them. — How they do sound the praises of good pic-
JOURNAL OF PHOTOGRAPHY. 27
tures, and " ring" their sweethearts into the galleries to have themselves nicely painted and hung up in frames.
And you, I perceive have made quite a change, come out in a new rig. I used to " rig" you myself, sometimes, about certain typographical errors, but you seem deter- mined to cut my cloth, and spoil my sport.
Amongst your changes you seem to have almost entirely banished the fruits of foreign gardens, and now cultivate your own, and what is more, every gardener hangs his own name over his production. If this is not a "presto change" a metamorphosis quite, with better paper, better type, better workmanship, and original articles of home manufacture, I am no judge of matter.
But if this is a rule you have established, farewell to my native modesty. I must " show" or be obscured, the latter I will risk, and venture this log on the literary waters to see if it will be taken in tow. Talking "of being obscured, I see you have made the " camera obscura" a camera obscured. Your megescopic not only obscures the " mammoth," but is itself obscured, doing its work in the dark. By the way, I see there is another "journal" besides yours which has a vast correspondence from all parts of the United States, done up in New York, said questions being carefully compounded, that the answers may be filled with deprecations on neighbours, or nau- seating self eulogies on quack nostrums for the beautifying of all ugly pictures, and the furnishing of the balm of universal life to the otherwise fadeable and perishable, is quite typical of its proprietor. Neighbour Sidelight thinks you ought to shrivel him up, but I insist that would be infra dig, and just what would be relished. You know if you handle a certain substance, your fingers will not smell savory. Any one can tell the difference between a skunk and a inuskrat.
What a terrible hubbub you are managing to get up about who took the first portrait. What matters it, whether the camera was first pointed at a man, a house, or a horse ? We might as well quarrel about what was the nature of the cargo carried by the first steamboat. Methinks the steamboat of the first consideration. Is Daguerre nobody ? Is he to be entirely ignored in the discussion? Forbid it, Photo's! Forbid it, Typos! What I principally took up the pen for, was to tell you that your mode of recovering the nitrate bath has been of much advantage to me (and some disadvantage to you by the way, as I was about to " waste") and make no doubt it
28
THE AMERICAN
will prove a source of much economy to the Profession. I will tell it in Buffalo, and publish it in the galleries of Rochester, and spoil your profits : for you might have given me the chance of selling the recipe, — it's the mode you know, — and I would have shared the " plunder." Side- light paid ten dollars for a less valuable piece of informa- tion than that the other day, "A new method of coloring pictures." The new mode showed wrinkles, its age was past telling, its teeth didn't look as if they could bite any more. But Sidelight is a knowing one, and knowing ones are sometimes bitten.
But I started with the intention of asking you a question. Now I, of course, feel quite complimented at your publishing my twaddle, but as my twaddle always contains a question of importance to my success, you will much oblige by answering. Some of the pictures I have been taking are very beautiful, but have a thin scum over them, this scum I can "lick" off, but as I neither like to give or receive a " licking," please tell me the cause and remedy, and if not a remedy for the cause, can you state what will supersede the licking. Yours, Gossip.
Buffalo, June 7th, 1858.
[" Gossip " will please to observe that " the hubbub" covers more surface than he seems to suppose.
Our friend will find a sure '' remedy for the cause " in the exposure of his bath to light. He cannot have been obliged to " lick" anything since he adopted our sugges- tion. Gently rubbing with a tuft of cotton or soft brush, may also " supersede the licking." The " cause" we consider is the presence of a deoxydizer, or developer in the bath. We shall discuss the matter fully, hereafter. — Ed ]
A NEW CAMERA STAND.
BY THE EDITOR.
None of the wooden camera stands with which I am acquainted possess the neces- sary firmness and solidity to support the weight of the ordinary { camera. The fold- ing tripod can scarcely be improved, yet it was found impracticable to use it for a larger than the half-size apparatus — Moreover the cheapest iron stand costs $10.
The apparatus represented by the wood- cut is the result of an attempt to make a servicable stand at a little expense
The top is triangular. Each of the three legs are composed of two strips of
JOURNAL OF PHOTOGRAPHY. 29
wood about one half inch square, fastened to each other at the bottom by screws, and attached to the top by hinges, opening outward. The legs are also connected with each other by means of small chains of such a length that the legs cannot open so far as to allow the camera to fall. If the stand is used on a smooth floor, the ends of the legs should be shod with sharp iron points. The raising and lowering and tilting of the top is easily effected by properly moving the legs out or in.
Since the engraving was made, I have adopted some mani- fest improvements. I prefer to have the top circular, and at the centre a projecting peg on which the camera box is fitted, thus preventing the possibility of its sliding. Also, instead of the chains I have substituted thin and narrow strips of iron or brass, sliding on each other and passing through a clamp, in which they may be fastened by a thumb screw.
I have had the stand as last described in use for several weeks. Its performance is entirely satisfactory. It has the firmness of a rock. It will support the weight of the largest instruments without the slightest trembling. I know of no other way by which the same amount of wood can be arranged to afford the same solidity.
Any carpenter could put together such a stand in a few hours. Three dollars would procure one even somewhat ornamented.
EMTOJUAt MtSCELUNY.
We intend to lay a heavy hand on the peddling worthless
receipts at photographic galleries, and especially the doing the same dirty business by circulars through the mail. The practice in our art, it will be remembered, originated with the Rev. Hill, who carried it on zealously and successfully, lining his own pockets, as we may judge from the Barnum-like confessions and boasts in his great work on the Hillotype. Latterly it seems as if there had been a general overhauling of old books and journals of pho- tography, and out of them every forgotten process was flying about in the mails, — some for a dollar, — some for ten. No won- der we read of mail bags groaning. The respectable U. S. carries on a great deal of iniquity, unconsciously, no doubt.
30
THE AMERICAN
Now we would not: deprive any one of the fruits of honest labor. Let the successful explorer be rewarded with fame and money, as much as he deserves. The invention of an art, or an improvement in an art, is worthy of the highest kind of remuneration, for it is a service to posterity. [" Art is long."] But we have yet to learn the name of one of these dispensers of circulars whose stock in trade being new was useful, or being useful originated with him. Of course we do not deny the possibility, that a valuable process might be disposed of by the inventors in the method under consideration. But we never expect to see a wise man whose ob- ject is only money, do such a foolish thing, when thirty dollars at the patent office will make all secure for his life time.
Frauds and swindles of all kinds have latterly increased to such an alarming extent, that vigilance committees are considered by many good men more safe than the authorized executors of the Jaws. All respectable citizens praise our Mayor for going beyond the routine duties of his office to cripple the strong arm of vice. It is the fashion to expose false pretentions, and many a quack laments that "his sands are nearly run out." Now, can we purge our profession of this receipt peddling ? Is not public exposure the pill that can do it? At least as far as our readers are con- cerned, the nuisance may be abated. They may learn to show the itinerant peddler the door, and warn their neighbors.
Will our subscribers assist us ? Like bogus lottery tickets, love powders and quack medicines/ photographic processes are advertised and sold chiefly in the country. It is seldom indeed that the authors of these circulars have the impudence to address them o us. We must therefore depend upon our friends. Send us the circulars, and we will do the rest. We have the facts in three cases, which will appear in our next,
We shall be pardoned for a little vanity, in calling special
attention to the varied and interesting contents of the present num- ber of the journal. We believe all concerned will soon be satisfied that a useful and original photographic publication is possible in the United States
-We have repeated some of the experiments of Mr.
Duchochois on caseine, and readily agree with him, that it will prove a valuable material for 6ur purposes. The chief obstacles in the way of its successful use seem to be the difficulty of pre- paring it of sufficient purity, and the apparent impossibility of preserving it without change. The pure solution coagulates almost as rapidly as it can be filtered. By the addition of
JOURNAL OF PHOTOGRAPHY.
31
ammonia, however, it may be kept indefinitely. Whether the ammonia has any injurious effect we are unable to say. — Of course metallic iodides cannot be used as excitants.
A very speedy method of preparing the ammoniacal solution, is to carefully wash the curd precipitated in sour skimmed milk, and dissolve in water' to which a small quantity of ammonia has been added. By filtration, or allowing it to rest, the solution becomes quite clear and fit for use. A small quantity of lactate of am- monia is the chief impurity. The ordinary methods of purifying caseine leave it insoluble.
Besides the uses suggested by Mr. Duchochois we have found that caseine makes a good varnish for positives on paper. Will it turn yellow ?
The varnish of Mr. Hough is worthy of trial. Get gun
cotton that will make a perfectly transparent film, and dissolve it in ether and alcohol free from water. Water can be removed frcm ordinary ether and alcohol by shaking them in a bottle with pow- dered quick lime or dry carbonate of potash.
The communication of Mr. Dixon is particularly valuable
as it shows that there is at present no restrictions on the practice of all known photo-lithographic processes. A patent (!) recently issued to Mr. Cutting of Boston is dec idedly invalid. Moreover, it appears that Mr. Dixon is the original inventor of the process, which has been many times re-discovered and published as new.
We learn from conversation with Mr. Dixon, that the photo- graphic use of bichromate of potash was suggested by his obser- ving in manufacturing chrome yellow that when it was not per- fectly freed from organic matter, it was speedily spoiled by the light of the sun. His photo-lithographic experiments were begun in April, 1839. He soon completed the process as given in his communication. Specimens were made and exhibited to many scientific gentlemen of Taunton and Boston.
Many of our subscribers will be pleased to hear from our
old friend u Gossip.'' He will be found as lively and good natured as ever.
The Committee of the American Institute, reported pro- gress at a recent meeting of the Mechanics' Club. They have before them a large mass of documents pertaining to their enquiries, and many interesting facts will shortly be published for the first time. In order that justice maybe done the subject, and the parties concerned, the Committee will keep the subject open for many
32 THE AMERICAN
months to come Their final report will probably be the most valuable contribution to the history of our art ever published.
If our readers have any facts in their possession relating to the history of the Daguerreotype, we hope they will address the Com- mittee at the American Institute's Repository, 351 Broadway.
The art of photography is by no means perfected We
shall hear of improvements and applications, of which, at present, we can have no notion.
But there are well-defined problems which offer themselves to us for solution, and which are worthy of the most careful attention and study. Among these we place foremost a process for making permanent impressions on paper. Photographs as at present made with silver salts must fade ; no tyro in chemistry can doubt it. Photo-lithography and photo-galvanography may prove practical solutions of the problem where many copies are wanted. — Printers' ink will endure under all circumstances as long as the paper on which it is impressed. But these processes, on account of the expense and experience required, cannot be available to photo- graphers generally; — the people cannot have engraved portraits. What is especially desired is a substitute for the ordinary process, which shall not be much more expensive and troublesome, and will ensure permanent results.
From recent European journals we learn that the grand de- sideratum is in a fair way of being discovered. Prints in carbon have been exhibited for some time. The process is not published. Mr. Sutton, editor of Photographic Notes, suggests that the ma- terials employed were bi-chromate of potash, gelatine and carbon in fine powder.
We have been making some experiments in the same direction, with considerable success. The partioulars will be given m our next.
We shall publish in the next, number of the journal
what will prove to be a new, and the best application of photo- graphy to engraving : also valuable papers from Dr. Von Der Weyde, Messrs. Duchochois, Campbell and others.
Will our friends, who are pleased with the journal,
have the goodness to mention the fact to their friends. We are tolerably satisfied with it ourselves, but desire to do better, and accessions to our subscription list will materially assist us in car- rying out our intentions.
Mrs. Archer, the widow of Frederick Scott Archer (the discov- erer of Collodion for Photographic purposes), died April 22d, 1858.
THE AMEEICAN
Hoinmat dI l^ofoqcaplit!.
[WfW 81R0E9.]
Vol. 1.] JULY 1, 1858. [No. 3.
DRY f 0LL0DI0X.
BY P. C. DUCHOCHOIS.
Every photographer knows how difficult it is to find a collodion suitable for the collodio-albumen-gelatine, or metagelatine processes : id est, a collodion giving a film neither tenaceous nor contractible, but very porous, friable and adherent. Old collodions are recommended as posses- sing such properties, but, besides they are often too much iodized for that purpose, it is to be remarked that if the collodions prepared with alkaline iodizers answer very well, those iodized with metallic salts (cadmium generally) do not always work as well ; for although the collodion be- becomes colored, the film however keeps for a long time all the characters of the collodion one or two weeks old.
Believing from observations that the alkaline and metal- lic bases re-acted on pyroxiline in different manners, desir- ous to explain that fact, and also to have a formula by which I can surely prepare good collodion for the dry pro- cess, I made the following experiment to study the action of alkaline bases in collodion.
To a plain collodion giving a thick strong film, very con- tractible and easily lifted up in long rays, I added liquid ammonia : immediately it was troubled and after a few hours gave a thinner film, very porous, rotten and opaque ; it took twenty-four hours to clear up, became of a fine amber color and left a white precipitate of decomposed pyroxiline (cellulose.) Caustic potash and caustic baryta in small quantity acted nearly in the same way. Hence alcaline bases react powerfully on pyroxiline ; it is disor- ganized and a part is decomposed.
34 THE AMERICAN
This is very important. It explains, — 1st. The great fluidity of collodions prepared with alcaline iodizers, (par- ticularly when iodide of ammonium is used) and partly their instability. 2d. Why those collodions give a film with less and less body, and the causes of insuccess resulting from it. 3d. The advantage of alcaline collodion for Mr. Taupenot's and Norris' processes, and generally for all dry preparations on collodion. It will be observed that the amount of am- monia added to the plain collodion, ought to be propor- tioned according to the kind of pyroxiline, that is, to the more or less tenacity or contractibility of the collodion ; and that ammoniacal collodions cannot support as much iodizer as other ones : 4 grains to the ounce is a good pro- portion for the collodio-gelatine process, and 2 grains are enough for the collodio-albumen.
But since it is easy to prepare a collodion with all the proper qualities for dry preparations I have adopted a truly dry collodion process, (without any kind of preservative coat) which is very sensitive, and has the advantage of great simplicity, The preparations are :
Collodion. Ether cone 6 fl dr.
Alcohol, 95 deg. 2U "
Seely's pyroxiline 5 grains.
Iodide of ammonium 4 "
Liquor ammonia 3 drops.
Silver bath. Water 1 fl. ounce.
Nitrate of silver 27 grains.
No. 8 Acetic acid 2 drops.
Developer.*
Gallic acid 1 ounce.
Alcohol 4 "
No. 8 Acetic acid 1 drachm.
Camphor 15 grains.
After sensitizing, immerse the plate in water for 3 or 4 minutes, and having washed it with distilled water, let it dry in the dark.
To develope : first wet the collodion film with water, and then spread upon it a mixture of 1 drachm of the developer, and 3 or 4 ounces of water ; — afterwards add a small quan- tity of a solution of nitrate of silver, at 3 per cent., to strengthen the negative. — Fix with hyposulphite of soda.
As it has been said, this process is very rapid, and the failures often arise from an excess of exposition : if it was
Modification of Mr. Scheurer's developer, published 1850.
JOURNAL OF PHOTOGRAPHY. 35
too long-, the sky does not blacken ; the picture is too equal, and does not take enough intensity in the high lights.
N. B. I willj by further experiments, study the action of pyroxiline on the metals zinc, iron, cadmium and their oxides.
PHOTO-LITHOGRAPHY.
BY H. GARBANATI.
Since the issue of the last number of the Journal, Mr. Dixson has favored me with a 'proof of his claim, as supported by an extract from the Scientific American of April 15th. 1854, and which he showed, with an evident degree of satisfac- tion, because, as he said, he always liked to be right.
When writing his communication, he felt sure he must have some reminiscence of his experiments, more, than the printed statement, and resolved to furrage amongst his store of vener- ables, his large accumulation of fruits of many years' labors for the same.
" At length, an old oak chest, that had long lain hid, Was found in the Garret, they raised the lid,"
And diving to the bottom of his experimental medley, he found a piece of metal.
And a queer piece of metal it was. It was blackened with age, and might have been a grave companion of Sesostris, for aught its color would belie. Indeed, from its appearance I do not know at this moment its metallic name.
It was dated " July 2d, 1840," and had the words " Comb, of Matches," u Bichromate of Potass."
On its surface was depicted the outline of what Mr Dixson said was a "shilling," and also the " Comb of Matches," the latter of which (the very name is strange to many of the present generation) was the form in which " Lucifer" matches were first introduced, to supersede the old " flint, steel and tinder box," and has of course been out of date a number of years. All the jagged outline of the saw cut was clearly defined, and happily illustrates photographic priuting on metal or stone (the same process). The odd article was used for obtaining
36 THE AMERICAN
an impression, simply because it happened to be conve- nient, when trying the experiment with bi-chromate of potash, but its very oddness is strength to the proof that photo-litho- graphy was successful long before any patent was granted for a variation of the process. The process as patented by Messrs. Cutting and Bradford of Boston is scarcely an improvement, but being more generally known by being patented, than Mr. Dixon's mode, simply answers the purpose of placing this branch of the art in exclusive hands, or causing those who wish to practice, to buy a right to do so, by which they have so far thought the only mode.
The practice of the Commissioners granting to almost all who apply, patents for the products of other mens' brains, because of some trifling, and perhaps, valueless variation, is becoming of so serious a matter, that it almost necessitates a " Vigilance Committee" to examine into the various claims No branch of industry has suffered more than the photographic, and it is really worthy of consideration whether its members should not subscribe to a general fund for mutual protection in keeping open all the various channels of improvement in the art.
Messrs. Cutting and Bradford, in applying for a patent for the simple use of sugar and soap in photo-lithography, either must have carefully eschewed all publications detailing the progress of their art, not to have known that the same results were obtained both here and in Europe before their claims, or, anxious to originate something themselves, have plodded over the well beaten track, and taken a vast deal of trouble to arrive at the point they might have started from ; nevertheless as they have claimed, on the use of the sugar and soap alone, it would appear as if they were cognizant of the previous success of photo-lithography.
Mr. Dixon did not publish his communication solely with a view of obtaining the mere fame of priority. He is too old and distinguished a laborer in the photographic field, and has given his discoveries too freely, and unexacting of the slightest recompense to have any such desire. He is simply an earnest and scientific amateur and investigator in photographic phe- nomena, and loves the art so well, that he will not allow what has become public property, to be excluded from public use. Amateurs have so far been the most valuable and unselfish contributers to the store of knowledge, that has accumulated rapidly in the art, and we must not be surprised if they jealously guard to its uses, what they have freely given away.
JOURNAL OF PHOTOGRAPHY. 37
A PORTABLE TENT.
Mr. Editor, — Let me suggest a photographic use, of those skeletons of grace, and flowing beauty, which we see
idle in the wanton summer air,
And yet not fall," viz- hoops.
I use them as a portable dark closet, in taking views in the open air. I cover them with two thicknesses of yellow muslin, with a margin of a foot around the band, which ex- cludes all actinic light, insert a piece of yellow glass on the top, or on the side, two sleeves of yellow muslin on the sides, and prop up the whole by four iron skewer-like supports, sticking them, when in use, in the ground.
I insert the glass between the two layers of muslin, cutting a hole a little smaller than the glass, and then sew the layer together, around the edge of the glass.
The mode of using it is thus :
Having extended the hoop, placing the bath, plate, shield chemicals, &c. upon the ground within. I put my arms through the sleeves, look down through the glass at the top, and mani- pulate as easily and as well, as at home in my working room, the glass enabling me to see when the plate has been long enough in the bath, watch the progress of the development, &c.
To wash off the developer, &c, use an india rubber bag, with a tube and stop cock, keep the bag outside the hoop, lead the tube within it, by pressing upon the bag with your foot, or knee, and you can force the water in as you may need.
For a small instrument, a couple of rings of bamboo, two feet in diameter, covered with muslin as above, and about a foot and a half apart will answer very well.
The advantages of lightness and portability of this Hoop- tent over the ordinary tent are obvious, and over the dry pro- cess very great, as no laborious previous preparation of the plates is necessary, and the mortification of returning home to develope under or overtimed views is avoided.
I gain a little space and lightness by discarding a separate shield for the ground glass, putting a piece of ground glass into my plate shield, when focusing.
Truly yours,
A. P. Jr,
THE AMERICAN
AMBROTYPES PERMANENT,
BY W. CAMPBELL,
There appears to be a considerable doubt as to the durability of positive pictures on glass, or "ainbrotypes," (I hate the word ambrotype) as well as a desire on the part of many to return to daguerreo typing- again, on that account. Now there really can be no objection to those having daguerreotypes who desire them, but to make a sweeping condemnation of glass pictures before they have had a fair trial, or because the majority insist on sending these pictures forth unvarnished, and open to every delete- rious influence that may affect them, is, in my opinion, arriving at too hasty a conclusion. Suppose these same individuals, who do not varnish their pictures, were to send out their daguerreotypes not gilded, what would they say? or what conclusion would they draw ? why, evidently that the daguerreotype would fade. Why, then do they expect exemption from a law in one case, which in the other case, they are certain will operate ? for both pictures are made on silver. The daguerreotype is in fact an amalgam of silver and mercury on copper, whilst the glass picture is pure silver ; of the two, the latter has certainly the advan- tage, because being a noble metal, and pure, we should naturally imagine that it would withstand all injurious in- fluences, especially if protected from atmospheric changes, whilst the daguerreotype, protect it as you will from ex- ternal influence, is still subject to galvanic force always existing between bodies, but especially so between metals.
Few daguerreotypes, indeed I believe none, will last out the half century of their existence, even if they have a protecting film of gold. We know that gold is a very stable metal, and that gold covers the picture, but there is mercury underneath, and mercury is a very unstable metal : it will first combine with the g'old, and ultimately fly off, leaving dark dim shadows, where it once gave lustre and beauty. This is the reason why so many have to complain of their daguerreotypes not possessing that brilliancy they had when first made.
Now some may think that half a century is long enoug-h ; not so. It ought to be our aim to give length of days to our works, a thousand years if need be, aye, more thousands of years. Is it unreasonable to desire this ?
The ancients have sent down their works to our day,
JOURNAL OF PHOTOGRAPHY.
and the old masters, painting for posterity hundreds of years ago, in these days present us with their works, entire in their substance, and faithful in their performance. Why, therefore, should we despair ?
So far as the knowledge we now possess, I believe the positive picture on glass, will, if properly prepared, and faithfully finished, last as long as the glass it is made on, and glass will last a long, long time.
Now, I do not think the trouble of making a picture permanent is very great. A good white varnish, if it be hard, is easily put on, and I feel certain that it will be the means of keeping the picture good a very long time. If the picture be varnished with a white varnish, and after- wards with a black one over the white, it will surely crack; the unequal expansion of the two will surely ruin the pic- ture. If it be sealed with Canada balsam, the same effect will be produced, because the two glasses expand unequally, and blisters are the consequence. I have seen a great many very good pictures totally ruined by this cause; besides which, the Canada balsam, so long as it is m6ist will keep oozing out, and if it dries, it becomes a resin, and, of course, opaque. Time is required for this, but not a very long time.
The reprehensible practice of sending out pictures un- varnished, without anything to protect them, is disgraceful. It is true the ruling prices hardty warrant a careful finish, but whose fault is this ? certainly not the fault of the pub- lic ; they are willing to give a fair price for good work, but the operators have led them to believe that a good pic- ture can be had for something next to nothing, and,the peo- ple— careful of their money, lending a willing ear to what is so much to their interest — disdain to enter the door of the higher priced but honest artist, flock to the cheap shop, and get cheated for their pains. But I am digressing. What objection can there be to the white varnish ? The only ob- jection I ever heard, was that it would get yellow. Well, — I must submit, — I suppose it will in time, but what then ? It will not crack as the black varnish picture will. It will not blister as the patent, or fir balsam picture will. It will not " get small by degrees, and beautifully less," as the unvarnished picture will. No ! it may get a little yellow, and that is all, and really there is not a great deal to be made of this ; we must not compare the thick coating of varnish which covers the paintings of the old masters with the thin yellow which is put upon the glass. The canvass on which the painting is made will of itself turn yellow,
JOURNAL OF PHOTOGRAPHY. 40
and so will the paper, but ages will not alter the glass, nor will the slight color to which the varnish may turn, ever hide the beauty of the face beneath, or alter one line of the charming picture painted there.
A LETTER FROM LONDON.
47 Leicester Square, London, June 3, 1858
Mr. Editor, — I have made a tolerably good use of my few days residence in the metropolis, in pursuit of knowledge per- taining to photography and in making preparations for the future, I have looked in at many galleries, stock dealers' estab- lishments, and have made pleasant acquaintance with gentle- men who only amuse themselves with the art Picture shops are as plenty as in New York, and of all grades except of the first class American galleries. There is nothing here to com- pare with Gurney's or Brady's in convenience and elegance of decoration.
The processes practiced are substantially such as given by Mr. Hardwick and the Journals. The objection immediately raised to our methods of working, is the increased expense. " If good photographs can come out of a 20 or 30 gr. bath, why use 40 or 50 ?" But you know, sir, they are wrong, and I am sure I shall convince some of their error.
"We can buy stereoscopic pictures everywhere, — at the stock dealers, galleries, opticians, bookstores, picture stores, and toy shops. And ridiculously cheap, too, for I have purchased a fair specimen for a dime
I had the pleasure a few evenings since of attending a meet- ing of the London Photographic Society As you will shortly receive in their Journal a minute and accurate report of the proceedings, I offer for your readers only an outline sketch. After the usual formalities of opening the meeting, Mr. T. F. Hardwick was introduced, and read a long paper on the use of bromine in collodion, blaming it much for often producing solarization — but admitting it might assist in rendering half tints The Secretary read a petition to her Majesty praying that the copyright laws may be so amended as to protect the photographer ; also a paper on solarization, recommending the use of citric acid in hot weather, and acetic acid for cold wea- ther, with the developer. Another gentleman recommended chloride of ammonium in collodion.
We are as poorly off as you, regarding photographic paper. There is no good plain paper to be had I have reliable assurances, however, that in the course of a month we shall have plenty of the very best quality.
I have taken some pains to introduce the Niellograph to the English people. My pictures have elicited some quite flattering notices from the press. I have found it worth while to secure the invention by patent — a different affair, you know, from your cheap American rubbish of thirty dollars. The process is worth the money I pay, and I trust I shall at least lose nothing. . I remain very respectfully, &c.
A. G. Grant.
A LETTER FROM BUFFALO.
Mr Editor, — What do you think of humbugs ? The ques- tion you may think superfluous, considering you have so often been 4< down" on the humbugs in photography. You will, perhaps, point to losses of subscribers and customers, because you have exposed some quackery, precisely so ; but then I want to introduce my opinions, for I am "down" on photo- graphic quacks and humbugs. Now it is quite possible 1 may be a humbug myself in something or other, possibly, also unwit- tingly, in some other thing. But I am most uncompromisingly hostile to photographic quacks : fellows who insiduously draw some cash — too often but illy spared — out of Brother 'Photos', and not only lead them into useless and expensive experiments, but do damage their business and reputation, and in so doing, cause them to experimentalize themselves back into the straight and easy path they were pursuing, and thus bother them most egregiously. A correspondent of yours, in your last number, was very severe on process pedlers, so much so, that did I not know the man, I should have thought he had been bitten His article it was that led me into another on the same topic, and should I be trespassing on his " Preserves " I trust he will not shoot me, but cry out " peccavie." The fact is, I know some of these fellows, and have an especial one in my mind's eye.
But I started to give you the modus operci7idi, by which this immaculate denouncer of humbugs managed to peddle his process The process itself may be worth something, but the manner of inflating the price is what I object to, and how he
42 THE AMERICAN
managed to get the lion's skin, (I was about writing, sharej is what 1 wonder at. though that is none of my business I have been over the scene of some of his exploits out West, where cash and cameras, and anything obtainable were taken as initiation fees into the process. If a large amount was not to be had, why a small one must suffice, the thing must go off at any price, though Snigs paid more than Snooks, and Snooks paid less than Brice, and if no cash, why something must be bartered They do say, that in addition to a silver watch, gold pencil case, and pair of pants, he once accepted a second hand shirt, but that I do not believe, unless he happened to fall short of one. But one thing I do know, — amidst the marshes of Michigan, it happened in this wise : A party had given a one-quarter camera and instructions for two or three hundred (I forget which) acres of land, this land turned out) to be valueless A mere swamp, in fact,— and the pur- chaser " jackassibus in swampo" dear, even at a one-quarter camera and instruction. In. short it was a source of annoy- ance to its new owner, who had offered it in vain for $20. The learned "Professor'' coming along was offered the land for " a right of process, with a candid acknowledgment of its " valued The " Professor" resolved to go in for a bold-win, and in due process resolved to give three county rights, provided a deed was made out at the nominal value of $900, which was accepted, and with the deed, bearing the transfer of a man known to be shrewd, and a first class operator, the " Profes- sor" traveled the county, and proved the hig-h value set on his mode Hence the heavy contributions of cash, cameras, &c, to obtain the wonderful process, levied on ambitious photographers in the country. This, Mr Editor, is only one of the modes of process pedlers, and as it happens to be the worst I heard of, and probably which has occurred and will occur, I give it first. But I am on the watch. There are plenty of others equally successful in a small way, going about seeking what they may devour, and who I will yet catch and skin, and hang up as scarecrows for the benefit of the pro- fession.
But I have missed my budget, and am already too long, but strike my camera, — a strong oath — if I do not despise these men, who, rushing into the art with a mere desire to make money honestly, if they can but make it. would degrade it with quack nostrums, and make it a matter of mere mechanism instead of a noble and- difficult art. Yours, Gossip.
JOURNAL OF PHOTOGRAPHY.
43
•'THE COMPACT CAMERA STAND."
BY H. GARBANATI.
It is just as important that apparatus shall be perfect as chemical processes, and any means that will economize time, and simplify manipulation, or give lightness, dura- bility* strength, beauty or economy to photographic appa- ratus, is of interest to the photographer.
The " Compact Ca- mera Stand," therefore, combining the above qualifications is worthy a description.
When extended* it is a tripod, with the three legs, concaved inside, suitably to clasp the con- vex of the centre pole which holds the toj}, and depressess and elevates as usual, to suit the required height.
The legs are kept ex- tended, by three stout wires, fitting on the one end, to each leg a pin passing through an eye, and fastened in the leg, and on the other end, fastened to a movable ring, which passes up and down the pole.
When closed, the stand — without the top — looks like a stout stick-, with an iron top, which is used to connect the upper parts of the legs by means of pins serving as hinges.
The whole may be carried in the hand-, like a walking stick, and is strongly suggestive to the traveling artist as an anti-garroter.
To open it, it is only necessary to pull the legs apart, when the ring — which with its connections has been snugly ensconced between the legs and the pole — will descend to its place and keep the legs extended — the movement is very much like an umbrella. — To close, the ring has simply to be pushed up. There are two qualities that need especial
44 THE AMERICAN
mention. The one is, that instead of a screw, (which is necessary to keep the top at its required height J pressing against but one part, to its damage, there is a band inside the connecting iron, with a slight space, against which band the screw presses, the band closing, presses equally all around the pole, and this keeps it much steadier, and without indentations. The other we mention, is that the screw tilting the top, being placed nearer the centre than the common mode, tilts it in much less time than the com- mon mode.
Upon the whole, this stand is one of the most complete articles in the art, and weighs but little more than half the common tripod. It is the invention of Messrs. Seely & Gar- banati, who intend patenting it. The price of one suitable for half-size camera is $3.
THE NITRATE BATH. (Again*)
BY THE EDITOR.
I propose in this paper to discus s some of the methods of removing foreign substances from the bath.
If the bath has been but little used, and has a proper strength of silver, and you have used a suitable collodion, you may be sure, if it works ill, you ha^e got something in by carelessness. Try the remedy given in page 6, at the same time resolving to be more careful in future. Also, on first mixing the bath, if it does not suit you, try the same remedy.
Moreover the exposure to light will prove effectual in all
cases where the foreign substances have injurious effect from
their chemical power. All organic matter, and all deoxydizers,
wh ether morganic or organic, will be precipitated by the action
f light, and the bath be left photographically (?) pure.
Although I consider the exposure the best and almost so-
* Sec page 20
JOURNAL OF PHOTOGRAPHY. 45
vereign remedy for a diseased bath, I shall do injustice to others if I omit the method commonly practiced.
Mr. Hardwich recommends, to evaporate the nitrate solution in a suitable porcelain vessel, and fuze the nitrate of silver, by which operation the organic matter is consumed. The fuzed nitrate is dissolved in the proper quantity of water, and filtered, when, by the addition of a few drops of nitric acid, the bath may again be in working condition.
For another method, I am indebted to Kruger's " Vade- mecum des pracktischen Photoggraphen." Kruger's process consists briefly , in precipitating the nitrate of silver as car- bonate, and after washing, re-dissolving the precipitate in nitric acid. Or, to be understood by all, filter the bath solu- tion ; add carbonate of soda or potash till no more precipitate falls ; wash the precipitate carefully in clean water ; when well washed, add pure nitric acid till the precipitate is nearly dis- solved ; and. finally, water sufficient to make the solution of the original bulk. Mr. Gaspar Lucacsy, late of Caraccus, S. A., informed me that he has frequently, during the past two years, treated his bath by this method with perfect success.
With reference to these methods, I would observe that the first especially requires too much dexterity in chemical manipu- lations to be serviceable to photographers generally, and that the second will not effectually remove the organic matter, unless the precipitate of carbonate of silver is ignited. Mr. Kruger's process has, however a special advantage which I will shortly point out.
Thus far I have not alluded to the influence of other nitrates, constantly replacing- the nitrate of silver. Pre- cisely how these nitrates act, I am not prepared at present to say. But I venture the suggestion, that they act only mechanically, and they do damage only where they exist in such abundance as to cramp the nitrate of silver in its otherwise free operation. I have seen collodion pictures with a peculiar mottled or sandy appearance. — Was it caused by foreign nitrates in excess ? It is an appearance, I should expect, especially if the film had been allowed to
46 THE AMERICAN
dry too much on coming out of the bath. (I intend to settle this matter by experiment shortly.) At all events, a way, if possible, of removing foreign nitrates is desirable.
The exposure to light, or the evaporation to dryness, removes none of them. But Kruger's process, it will be readily seen by chemical readers, will eliminate all alcaline nitrates, and those only for the metallic will be precipitated as carbonates. If collodion sensitized only with alcaline iodides (ammonium, magnesium, potassium, &c), has been used, the bath may be readily converted into a pure solution of nitrate of silver. Moreover, if the iodide of a volatile metal (cadmium or zincj Was Used, the carbonate of silver may be purified by ignition in a crucible.
In reference to the exposure to light, I should have before remarked, that the bath is left in the alcaline condi- tion, and requires the addition of a drop or two of acid before it will work clear.
8WT0WAU tttSCElUWf*
-— Some of our friends have misinterpreted our promise
regarding exposure of photographic quackery. To forestall any- future misapprehension, we will say that we shall never make the journal a medium of personal interest of any sort, it cannot be the arena for petty wrangling. We desire to publish a journal worthy of a noble art, and which may be looked upon in future times as history ; that the names which occur in it shall merit the fame it confers. We cannot dignify any process publisher with mention of his name till his operations assume the stupendous dimen- sions of the Hillotype. Moreover, by the course we propose to take, We shall not be so much annoyed by the " corrections '' and " explanations " a la injuredinnocence, which are sure to follow the publication 6f the name of a swindler.
Now, c'orisisliently with the above, we are going to record the fact as emphatically as possible', that at the present time, process pedling is an evil that exists to an alarming extend and so' Viewing
JOURNAL OF PHOTOGRAPHY. 47
it, we are going to make it a special labor to exterminate it. We shall write about it in these pages, talk about it in public and pri- vate, and get the co-operation of every one, who will assist. We shall not rest content till the pedler of stolen processes will not only not thrive anywhere, but be considered disgraced.
The cases alluded to in our last are as follows : —
Circulars are issued from a western city, in Pennsylvania, announ- cing the invention of three or four new styles of pictures. The style of the circular and the Greek names of the pictures are im- mense in the extreme. We are requested to state that the author is an enterprising young man, and really believed himself, that he had something new. In proof, it is said, he actually applied for a patent. The pictures are simply transparent positives on glass. Since our publication of a similar process in 1855, it has been re- discovered and re-published in all imaginable ways. Any recent volume of a photograph journal will probably sell a dozen of the same sort, and as valuable as the one peddled.
A man who answers to a very funny name ' out west' has discovered "the grained ambrotype" and a wonderful "black varnish" " grained ambrotype" will recall to our daguerrean friends the grained or matted daguerreotypes, and half a dozen ways of graining an ambrotype. some of which would be better than what the man out west had discovered. The new black varnish is com- pounded with a solution of " old india rubber shoe" and the ordi- nary black varnish.
A Trojan has been itinerating with a process for coloring ambro- types. He was unwise enough to come to New York, where there is no demand for his kind of talent. His manner of coloring, be- sides being useless, has for a long time been secured to others by patent. The colors are alcoholic tinctures, and penetrate the film so as to show on the glass side. The particulars have been published over and over again.
The process of Mr. Duchochois on p. 33 will be found of
especial interest to landscape photographers. The preparation of gun cotton suitable for dry collodion has been quite thoroughly studied, and we have known for a long time what qualities were needful. But the ready and cheap way of securing them we believe is now first offered to the public.
48 THE AMERICAN
■We are constrained to agree with Mr. Campbell in the
sentiment that collodion pictures only are permanent. Among pho- tographers at least the truth should not be disguised, but rather should be so appreciated as to serve as a stimulus in the search after improvements. The invention of a process for making photo- graphs on paper permanent, will deserve to rank with Niepce, Daguerre, Talbot and Archer.
The following is the claim covering the photo-lithographic
process of Messrs. Cutting and Bradford. We are obliged to reserve any discussion of its merits to a future period.
" The employment of gum arabic deprived of its power of inti- mate union with the stone, by means of sugar or its equivalent. And in combination with the above, the use of soap for the purpose of readily removing the unlighted portions of gum, and of forming the printing process."
We are in possession of quite a number of Foreign Publi- cations devoted to the art. Not only do so many prove the vast fields for research and discovery yet unexplored, but also that our European competitors are far ahead of us in endeavors to make the art scientific and really artistical.
At present with us, Photography is almost solely used as a means of making money, and though in the pursuit of the cash, we have necessarily brought the mere manipulations to almost per- fection, yet it cannot be denied that we neglect the higher and nobler uses it is now available for.
We are too mechanical, we pay little or no regard to composition, and though we may group admirably, it is with the only considera- tion, of how we can best dispose of any given number of persons wrho think proper to sit in company. But to tell stories wilh the camera, to depict sympathies, remind of joys and grief, and picture scenes of home by its aid, is something we have not yet even thought of.
Photographers, do not merely learn " processes" and "face map- ping," but strive to be artists also. Depend upon it there is fame, aye, and money in it too — that photography can and will rank as one of the " fine arts."
Artists, why not oftener become photographers ? there is space enough to develope your talent, and a readier mode of becoming known, and what is better, you may bend the art to your own use and double the productions of your works. More anon.
THE AMEEICAN
[NEW SiRDES.]
Vol. 1.] JULY 15, 1858. [No. 4.
ON THE METHOD OF ENLARGING PHOTOGRAPHIC AND OTHER PICTURES.
BY P. H. VANDERWEYDE, M. D.
As the above subject is now attracting much general attention, some information concerning the first invention of the apparatus used for this purpose, and on the disputed question of diffraction, will be welcome to the readers of this journal.
We will commence with a translated extract from an article on the camera-obscura, in a Journal of Natural Philosophy, published by the writer in Holland, 1840.*
After devoting some 30 pages to the theory and construc- tion of the simple camera, invented by Baptista Porta, of Naples, 1550 (or after others even by Roger Bacon, 1280;, and its diversified constructions, and later improvements with the Prism, by Soleil in Paris, called by him Phonio- graph, the variety for magnifying the objects is treated and attributed to Baltkasar, in Erlangen, Germany, who gave the theory of it in 1710, and Lieberkuhn, a celebrated optician, who exhibited publicly a solar microscope, before 1740.
Weickardt, also a German optician, was the first who about the same time constructed a camera to enlarge opaque images ; this was of course long before the achro- matic lenses were invented. He used, however, also two lenses in the way we use our double lenses for portrait, as he found it gave a larger and better defined field ; and for
* Tydsehift for Wis en Natuarkaude. Amsterdam, Holland ; can be found at the Astor 1 ibrary.
50
THE AMERICAN
objects very near, to be enlarged much, he added a third lens, or changed the two with others of shorter focal dis- tance. He gives the description of an apparatus for copy- ing drawings and paintings of every size, and also the way to draw the so-called anamorphosen, or distorted pictures (as much in fashion in the last century as now the stereo- scope), by placing the picture to be copied and the field both in a corresponding oblique position.
This apparatus, fit to give enlarged images of small objects was later manufactured in Neurenberg, Germany, on a small scale, in large numbers, and very cheap, too ; it was adapted for transparent objects. It was (as we all know) called a solar microscope ; and if it was adapted for opaque objects and small drawings to be enlarged, it was called (as we do not all know] a megascope or megalascope.
Aepinus, Euler, and Zeiher had proposed such contrivances already under the name of a solar microscope for opaque objects, but the first who exhibited one in public was Marten, in England, who illuminated his small objects with reflected sun-light in the focus of a concave mirror.
The article of which this is a very abridged extract, gives now a description of a copying apparatus, which the writer made in 1837, serving for the same purposes as that of Mr. Moore, mentioned page 139, vol. vi.,(of which I, how- ever, do not know the particulars), and remarks, at the same time, that Adams, the manufacturer of the once celebrated, but now antiquated, microscopes, proposed a similar appa- ratus 100 years ago.
After this, is given the description of the lamp micro- scope, hydro-oxygen microscope, magic lantern, phantas- magoria, as being all instruments belonging to the same category as the animal eye,
The third and last part of the article treats of a different class of cameras, where the first inverted image is taken up by a second lens placed behind it, and so a second upright image is formed. The purpose of this arrange- ment is twofold : 1st, to have an image on the ground glass not inverted ; and 2nd, to have an enlarged image of very distant objects,
Scheiner, the German astronomer, constructed about 1600 apparatus of this kind to make an enlarged image of the sun, in order to observe its spots ; and we all know that the same can be done with every astronomical telescope elongated a little over the length used for observation,
JOURNAL OF PHOTOGRAPHY. 61
fitted in a hole in the blind of a darkened room, and provi- ded with a reflector outside, and that this contrivance has been used by several photographers to obtain pictures of the spots of the sun and moon.
A portable apparatus of this kind was called a Helioscope, and Hevel made many observations with it on the solar spots (1T50J as it gives an easy way to measure the posi- tion of each. Eimart) in Neurenberg, observed eclipses with it, and Keestner gives all the calculations about its use in astronomy, in his Astronomical Treatises, vol. 11, p. 362.
A modification of this arrangement is the apparatus of Cayeux, called Eugraphe, which gives an upright image of any object at any distance, and also of any desired size. The arrangement is this :
The first or objective lens, has about 8 or 10 inch focus, 4 or 5 inch aperture, and is movable in a tube in which the first inverted image is formed, on a ground glass, behind this are one or two combined smaller lenses of short focal distance, which transfer the first inverted image upright and enlarged on the second ground glass ; the first being removed, as the image exists in the air just as well with- out a glass.
By elongating the distance of the two small lenses, or diminishing their distance to the first lens, an increase in the size of the second image is of course obtained. Later, this apparatus has been improved by adding a so-called intermediate lens behind the first large one, to contract its image but at the same time making it better defined, clearer, correcting aberration, &c.
The article from which this is extracted ends with this description of the Eugraphe of Cayeux, which he intended in particular for portrait painters, and which in 1840, when most of the above was written, was the latest improve- ment in the camera.
Since that time the camera has been improved in another direction by applying achromatic lenses for the use of pho- tography, as we all know ; and no doubt if these improve- ments in their lenses, were applied to the Eugraphe of Cayeux, the most perfect instruments for copying on an enlarged or diminished scale would be produced.
In a following number I will write about the subject of diffraction in enlarging transparent photographs.
52 THE AMERICAN
ON COLLODION.
BY P. C. DUCHOCHOIS.
Collodion is a solution of pyroxiline in a mixture of ether and alcohol, to which is added, for photographic operations, a small quantity of soluble iodide, of bromide, and some- times also of chloride.
In principle the ether gives the solidity of the collodion film, and the alcohol adds to its sensitiveness, and to the softness of the proof, by destroying the tenacity that the ether gives. However, it will be dangerous to force the pro- portion of alcohol, for a little solid, glutinous and unequal film will be the result. — The presence of alcohol is also necessary to dissolve the pyroxiline, iodide and bromide, which are insoluble in absolute ether, and to prevent a too quick evaporation of the collodion that opposes the forma- tion of an equal film free from striae.
If the amount of alcohol employed to prepare the collo- dion is too small, the iodide and bromide of silver, instead of being formed in the body of the film, are entirely formed upon its surface and easily washed away. — The same effect is also produced by a too weak silver bath, and if it is concentrated enough, it will be necessary to add a few minims of acetic acid, even when the bath is not alcaline, and does not give any reduction ; the acid in that case appears to help to accelerate the combination of the iodide and bromide with silver. Sometimes also a collodion pre- pared with iodide of ammonium gives birth to the same kind of imperfection ; then the addition of a few drops of water is often a good remedy.
To prepare photographic collodion, netural and an anhy- hydrous sulphuric ether only mus tbe employed, and contain- ing very little alcohol, and newly distilled on potash, in order that it may be free from oxydation and from that peculiar property, which it acquires by long keeping, of decomposing the metallic or alcaline iodide and bromide of the collodion. — The alcohol must be very concentrated and well purified from any essential oils which destroy the sensitiveness of the preparations. However, its specific gravity ought not to be over 0.809, for an anhydrous coll dion is far less sensitive than when it contains a water ; 2 or 3 per cent ; a larger quantity will give a col-
JOURNAL OF PHOTOGRAPHY. 58
lodion not very fluid and a wavy film, liable after fixing, to tear or peel off in drying.
The proportion of alcohol and the quantity of pyroxiline vary according to the temperature : the higher it is, the more the quantity of alcohol augments ; the lower it is, the larger must be the proportion of pyroxiline. — The propor- tion of ether to alcohol and the amount of pyroxiline are generally formuled as follows for the different temper- atures :
At 59 deg. minimum Ether, sp. gr. 0,72 4 parts. — Alcohol, sp.
gr. 0.809 3 parts.— Pyroxiline 1 per. 100.
At 41 to x 59 deg. Ether sp. gr. 0.72. . . .3 parts. — Alcohol sp. gr. 0.809. . . .2 parts —Pyroxyline 1 1-5 per 100.
At 41 deg. maximum Ether sp. gr. 0.72.... 4 parts. — Alcohol sp. gr. 0.809 2 parts.— Pyroxiline 1 3-10 per 100.
The dose of iodide in the collodion must be proportioned in such a manner that the sensitized film presents by trans- parency a deep opal color, which does not permit to read through, although easily penetrable to light, for any opaque film is not very sensitive and gives gray proofs (too equal), on the contrary a film too little iodized gives too much vigor (contrast). — In good conditions the collodion con- tains per cent, about one part of Iodide combined with a metallic or alcaline base. — If a bromide is employed, its addition does not effect sensibly the proportion of iodide, and the dosage varies, according to the effect required, from 1-6 to 1-2 of bromide for one of iodide.
The following table will facilitate the preparation of collodions with the iodides and bromides of any base, in order to have always the same amount of iodine and bromine :
The Iodide of Magnesium contains 91.86690 parts of Iodine per cent.
" Aluminum " . . . .90.07092. ." »« "
". . . .Ammonium " 87.58620. .«■ •• "
•« Sodium '• 84.66666 . . " " "
"....Iron " 81.93548.." " «■
"....Nickel "....81.41025.." « "
" Zino " .... 79. 87422 . . " «■ «
" Potassium '♦ 76.50602. ." " •«
" Cadmium ". . . .69.39890. ." " "
" Barium « 65. 1 2820 . . " " "
64 THE AMERICAN
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The bromide of Magnesium contains 86.95652 parts of Bromine per cent.
". . . .Aluminium " 85.10638.
"....Ammonium " 81.63265.
"... .Sodium "... .77.66990. .
" . . . . Iron " . . . . 74.07407
"... .Nickel "... .73.39449.
"....Zinc... "....71.42857.
" Potassium «■ 67.22689 .
< ' . . . . Cadmium " 58.82352 ■
" Barium " 54.05405 . . <• " "
The thickness of the collodion depends on its prepara- tion and the manner of bringing out the picture. With a collodion prepared only with iodide, and but little iodized, or in developing with pyrogollic acid, thin films are prefer- able ; — those a little thick give better results i and more intense negatives with a collodion bromo-iodized, or when the sulphate of protoxide of iron is the developer used. — The density of collodion depends also on the size of the glasses to coat ; the larger they are, the thinner ought to be the collodion ; since the evaporation being more consid- erable on a larger surface than a small one, the collodion leaves necessarily a thicker film. The progressive decom- position of collodion is determined by the acidulation of the ether resulting from its oxydation in contact with the oxygen of the air, or with a powerful oxydizing base, such as potash, soda, ammonia — either, if they are in excess in the iodide and bromide, or even in combination with them. — It is also to be observed that these bases react equally on the, alcohol and decompose it. — On pyroxiline the action of the alcalis is very powerful, it is partly de- composed, the collodion becomes very fluid and gives a thinner film like rotten collodion, often opaque, and with less and less body.
The acidulation of the ether determines the decomposi- tion of the iodide : iodine is set free, reacts on the ether, and alcohol, and gives birth to new compounds (iodoform, iodhydric and iodic acid, etc.) which bring about the com- plete deterioration of the collodion.
By way of decomposition, the collodion loses its fluidity (if prepared with alcaline compounds) and forms a film thinner, having less body and powdery, and gives more intense and vigorous proofs, a property that it loses after- wards, and becomes less and less sensitive.
The insensitiveness is easily explained by the iodic acid, which at the time of the sensibilization is transformed in
JOURNAL OF PHOTOGRAPHY. 56
the body of the film to iodate of silver, and by the formation of nitric acid, which takes place every time that free iodine, iodic and iodhydric acid are in contact with nitrate of silver.
The augmentation of intensity would be in part the result, according to Mr. Hardwich, of the formation of an organic compound ( formed by decomposition of the pyroxi- line in presence of an alcaline iodine*) containing some ele- ments of the pyroxiline combined with a base, and having properties like those of sugar, to form organic compounds with the salts of silver, reduced by light. — According to Mr. Maxwell Lyte, that would be owing to the presence of nitrous ether, formed by the nitric or nitrous acid, mechani- cally held in the fibres of the pyroxiline. — At least it would not be unlikely that this augmentation of intensity and vigor be also determined by some acetate resulting through the decomposition of the iodide which leaves the base in presenee of the acetic acid of the ether. The same causes which produce the decomposition of the iodides, produce also that of the bromides, and the deterioration of the collo- dion rendered so much more active by it, as free bromine reacts on ether and alcohol more quickly than iodine in forming like compounds.
As well as the alcaline, the metallic iodides and bromides are decomposed in the collodion, either by the oxydation of the ether in contact with the air or the acid in excess in the pyroxiline, or by reaction of the ether on the metal, for it is well established that not only the potassium, sodium, and barium, oxydise themselves in ether, but that some me- tals undergo the same effect principally in presence of the air.
The deliquescent metallic iodides and bromide sare not gen- erally very stable, and are easily altered by the air and damp- ness (such are the iodide and bromide of magnesium, zinc, iron, &c.) and give a collodion which does not keep as well as with other metallic iodides — It must be also remarked that contra- rily to the alcaline, these iodides and bromides, and even those of cadmium (which gives the most unalterable collodions) produce a thickening of the collodion giving a more or less wavy film before any apparent decomposition takes place.
The collodion is more quickly decomposed by the iodide of iron than by any other metallic iodide ; it thickens in little
* Is it not the alcaline base that form this organic compound ? If to a plain collodion, modified by ammonia, and a few days old, some iodide is added, one obtains immediately a photographic collodion having the property of giving intense negatives.
60 THE AMERICAN
time, and becomes like a jelly in two or three days, if the pro- portion of iodide of iron is large — It is at least, to remark, that the pyroxiline is rapidly altered in a collodion prepared with pure iodine ; this seems to confirm that theory which admits that, like the protosalts of iron, the iodhydric acid reacts on peroxide of nitrogen and regenerates the cellulose.
Heat hastens the decomposition of collodions The action of light has been studied by Mr. Tiffereau, who observes that a collodion exposed to the direct rays of the sun during one to three days acquires a great fluidity and a sensitiveness, and is able to give instantaneous proofs even in an unpropitious condition of light, but that it loses afterwards 'these properties and becomes worthless in a few days.
Conclusions. — A. — In the preparation of photographic collodions, 1st. to employ ether and alcohol, perfectly neu- tral and newly distilled, on caustic potash ; — 2d to neutralize by washing with very weak* ammoniacal water, the acid that the pyroxiline may retain between its fibres, and to dissolve it only at the moment of preparing the photographic collo- dion ; — 3d to keep the collodion in well corked bottles without emptying, and sheltered from light and a too high heat — 4th. When the collodion assumes a coloration turning to red, to put in it some thin pieces of pure cadmium, to which com- bine the iodine and bromine in proportion as they are set free.
B — For very fluid collodions, to iodize with alcaline iodide and bromide : the collodion will not keep a long time, but when the decomposition is not very advanced, it will work as well as any other.
C. — To obtain a collodion giving a powdery, rotten filmf as required for dry processes, to add a few drops of ammonia ; the decomposition of the pyroxiline being very rapid, the col- lodion will be worthless in a week or two, even with a little amount of alkali.
D — To prepare very stable collodion : 1 . To proscribe any alcaline iodide and bromide, especially those containing an excess of base and the iodide of ammonium, which by its instability retains always iodine, and releases ammonia ; — to prefer metallic iodides and bromides, with the exception of those of iron : the iodide and bromide of cadmium give the most stable and quick collodion.
* A too strong alcaline solution will render the pyroxiline insoluble.
f Old brown collodions prepared with alkaline iodide possess such properties.
JOURNAL OF PHOTOGRAPHY. 57
NEW MODE OF PRINTING. -AMBROTFPES IN COLORS.
BY W. CAMPBELL.
Mr. Editor,— I do not know if the following be new er not I am inclined, however, to believe that few are aware that the fumes of strong ammonia, when applied to plain nitrated paper, have the same effect as ammonio-nitrate on paper. If you will be good enough to direct the fraternity to this fact, it may be turned to some advantage. The experiments I have made lead me to believe that much handsomer tones are obtained, deep rich colors being the result of strong ammonia applied to the nitrated paper. The principal trouble I have experienced is the want of a proper recepticle for t^e ammo- nia, an old 4-4 daguerreotype mercury bath, being the best I could find I pour my ammonia into the bath, cover it with a very thin gause to prevent the paper falling in, then cover the whole with the wooden top. You will see that this is a very rude mode of proceeding, but I am in hopes that some one may devise a better, if the experiments are found to be deserving
The obtaining of color on the plate is a matter of intense interest to every one, and we are tantalized every now and then by someone telling us they have succeeded in impressing a plate with certain colors Now, although I have never seen any of these, 1 am quite prepared to believe it ; for I happen to have a plate of this description of a decided green color, if seen by reflected light, but of a decided red color if viewed by transmitted li<rht How I got it, I cannot very well say, as it is twelve months ago*. The bath, however, was anything but orthodox. It is one I had been experimenting with, and contained a large quantity of acetic acid, and a very large quantity of carbonate of soda had been added to neu- tralize the acid. There was no trouble in getting the green color, and by a longer exposure (about one minute) I got a yellow, the most beautiful I ever saw ; unfortunately it faded when drying the plate over a spirit lamp, and I could not get another.
I mention this as showing that color may be had, but it is not the " genuine," the real " simon pure," the •• Hillotype"
* We have a specimen on exhibition presented by Mr. Campbell, more than a year since. — Ed.
58 THE AMERICAN
THE STEREOSCOPE.
BY JOHN F. MASCHER.
It is surprising to see the apathy existing among our artists with regard to stereoscopic portraiture. It was on the tenth day of June, 1852. that the first stereoscopic picture was taken in the United States, — said picture is a portrait of the writer. Over six years have therefore elapsed since this wonderful instrument has been introduced among us, yet how few, comparatively speaking, are in the hands of our citizens. Whose fault is it ? Is it the want of appreciation on the part of the public, or is it negligence on the part of the' artists, or can it be that the instrument has not yet received that conve- nient, portable and efficient form required to recommend itself to the favorable consideration of the public ? I think it can be shown that the fault lies with daguerreotypists, who generally speaking possess less enterprise and business quali- fications than any other class of our citizens, — they are a grasp- ing and penurious set of men. They hold the sixpence so close to their eyes, that they fail to see the pound in the dis- tance. They adopt improvements provided they are cheap They never contribute to elevate the art It cannot be expected that such men supply themselves with an assortment of stereoscopic cases for their customers to choose from.
These liliputians eagerly grasp at the 4 or 5 dollars which they charge for a stereoscopic portrait, but demur against paying a dollar for the case ! They charge $2 for a plain 1-4 size daguerreotype and case, whereas they charge $4 for a stereoscope portrait without the case ! — The materials in a 1-4 stereoscope picture cost the artists 50 cents! the case costs $1 50, total, $2 for which some artists charge $4, some $5, and others $6. Is not that a prohibitary tariff upon the introduction of the stereoscope case ? Would they not sell more and realize a larger amount by charging $3 ? Most certainly, they would. Let me not be understood as complaining against all our artists, nor as being uncharitable to any. My object is to endeavor to stimulate all to renewed action We have in this country every facility of disposing of stereoscopes. We have the stereoscope locket, uases from the 1-9 to the 4-4 sizes, the stereoscope book, portemonaie and workboxes ; we have them
JOURNAL OF PHOTOGRAPHY. 69
at prices from fifty cents to twelve dollars each, of patterns to suit all tastes.
Volumes have been written upon stereoscope angles, yet there exists as much diversity of opinion upon the subject as ever. I was the first, three years ago, to demonstrate that the stereoscopic relief of the picture depends upon the diameter of the lens of the camera with which they arc taken, to show that the relief is increased by a diminution of the size of the lenses of the camera, and actually to take pictures showing proper and abundant relief, with lenses 1-8 inch in diameter, situated 2% inches apart, and incidentally to demonstrate by the same experiment, that pictures taken with lenses larger than the human eye, are not correct likenesses. A picture taken with the ordinary 1-4 size camera, is a conglomeration of 144 pictures as seen by the eye.
The human eyes are 2\ inches apart, yet they see objects in proper relief, and it is well known that pictures taken in the ordinary camera, at an angle of only 2% inches base, do not show relief. To make such pictures show sufficient relief, requires the cameras to be separated 30 inches.
Pictures taken with large lenses at a great angle, produce contortions of the eyes of the observer in the stereoscope, whereas those taken with 1-8 inch lenses, and at the natural angle of 2% inch base produce no contortion I desire your readers to remember that fact, for some persons viewing stereoscope pictures complain of the aching of their eyes, and attribute the same to the lenses in the stereoscope. The fault is in the picture, not in the instrument,
All the imported stereoscopes that I have ever seen, are defective in construction ; they do not show the whole pic- ture in relief, because the lenses therein, are not whole lenses, they are half or even quarter lenses, and do not show sufficient field ; their defect may be briefly stated to be, that they do not show the position of the picture in relief. Again, I have seen stereoscopes with lenses of enormous size, they show too much field, and require and contain a diaphram, to prevent them from showing three pictures ; one in relief, and two flat ; none of these faults exists in the stereoscopes of my make ; they all have whole lenses of sufficient size to show the whole picture, and no more. In conclusion, allow me to put in a plea for the daguerreotype. I will ask any artist whether the daguerreotype is not superior to the unsightly ambrotype, or the coarse and fading paper, photograph ? Surely, the
60
THE AMERICAN
daguerreotype is as superior to these pictures as the sun is superior to the moon ; the only improvement to be de- sired in the daguerreotype, is in the mode of sealing them. We want a sealing' paper that will not perish ; the glue and molasses, on the common sticking paper, engendering ani- malculse, which in time consume the paper ; remedy this, and the daguerreotye is as perfect as could be desired.
Philadelphia, July 10th, 1858.
THE NEW CAMERA STAND.*
Mr. Seely, Sir,— I must confess, that among all the jour- nals and various processes and improvements in apparatus, &c sent by mail at from one to ten dollars, I have never met with anything so cheap and simple, and that served the purpose for which it was designed, so perfectly as your new camera stand — a cut of which is found in the last number of your journal. Nothing but hard times and the money pressure has prevented me for the past six months from sending to New York for one of the heavy iron stands, which would cost me, delivered here, not less than $25. I have an extra 4-4 camera, that by prop- ping up with an iron head rest, I have managed with great perplexity and trouble to get along with, mounted on one of the ordinary wood stands, with cast iron sockets. On seeing your cut, I was indeed skeptical, and could not believe so light an affair capable of holding my large camera with any firm- ness. But on reflecting that I had already found several suggestions you had made, prove exactly as you said they would, (and none that I had tried ever failed) I resolved at once to try the new stand, but was still too weak in faith to try the half-inch legs. I made mine one inch, but I am now convinced that half-inch legs will support the required weight ; yet I prefer 1 inch for a large instrument. Having wrought considerable in wood, I sat at once to work making the stand. The structure as it now stands complete, made of black walnut (our common timber here) cost me twenty cents — 15 cents for 3 sets inch bntts and screws, and 5 cents for lumber, and it is more firm than any camera stand I ever saw, and I could not be induced now
* See page 28.
JOURNAL OF PHOTOGRAPHY. 61
to use the best iron stand manufactured, if I could have it at the same cost. And had I all the patents within reach, I should take this in all cases, except for standing- pictures. I made it in less than half a day's work, and could easily make three, and I think four, per day. I made the top hexagon shaped, and let the standards straddle three points and put a cleat on each side, and one across the front end, in advance of where the legs were fastened beneath, to keep the camera from sliding off — When com- pleted, I placed my camera upon it, and then sat upon the top of the camera myself, and it seemed the more weight I got upon it, the more firm it stood. I think it far more worthy of a patent than any other stand in use. Nothing will induce me to be without your journal hereafter. This one saving to me will pay for it at least ten years. Your suggestion about the iron strips, I think a good one, and I intend to attach them. My plan is thus : two, straight strips of iron, each eight inches long, one having a slit, nearly the whole length, and the other solid, except a hole in one end for a wood screw, and one in the other end, for the thumb screw. The wood screws not being turned up tight, will leave each end of the irons (as they are fastened to the legs about where you represent the chains attached) to turn as the thumb screw is loosened, and the irons slide back and forth on each other.
It many times so happens that the artist would like his photograph lighter in spots than can be printed from his negative without leaving other parts too light and faint, as of persons' faces taken in an out-door view, in sunshine, the person standing in the shade, also in forming light clouds in the sky, or in representing the water more cor- rectly, &c. In all cases if a small brush be put in a weak solution of cyanide of potassium, and the photograph touched with it, the spot touched will very soon become white. The paper should be dry when the brush is thus used, and should be thoroughly rinsed or soaked after using-. Many photographs that are thrown aside as worth- less, may be saved by this simple means.
Yours truly,
G. L. Reynolds.
Des Moines, June 25, 1858.
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THE AMERICAN
THE CAMERA,— ITS PROPERTIES, QUALITIES AND SELECTION.
BY H. GAR BAN ATI.
It is almost needless to state that fine pictures are impos- sible with a poor camera, and though the remark will also apply to any chemical, yet the latter may be a temporary evil ; an inferior camera is a standing one. It is always with you, penetrates through all your operations, and influences all their results ; no matter what your skill, you cannot get the credit of it ; your productions are against you How foolish, then to buy a poor camera, which lessens your profits by limit- ing your business, when a few dollars more, would give you the benefit of all your talent, and the profits of one day might per- chance pay the few dollars. A poor camera, can at best be tolerated to obtain mere chemical effects. But those who are able to test chemical effects, want to produce works of art also ! Very superior cameras are made in the United States ; probably they will average with those made anywhere else. The essentials of a first rate camera are — sharpness, field, and depth of focus, these qualities are rarely found in perfection combined ; indeed, opticians assert, that to produce all those qualities in perfection combined, is impossible, and that one or more must be modified. Hence different makers aiming at the nearest degree of perfection, vary their modes, and fix their standards according- to their own notions. Never- theless, cameras sre sometimes made so near perfection, with the objectionable qualities so little obtrusive, that they are quite good enough for all practical purposes. In their desire for perfection, however, the best makers sometimes turn out inferior instruments.
The leading camera makers in the U. S , artists have by universal consent, acknowledged to be, C. 0. Harrison, and Holmes, Booth & Haydens, and though there is but little difference in their productions, }^et each, having a theory of which combination of qualities is the best for producing desired results, reproduces the same characteristic of divergance, when any is visible.
The characteristic of the cameras of Mr. Harrison, is sharpness combined generally with depth, though that combination is seldom attained. In the desire of obtaining1
JOURNAL OF PHOTOGRAPHY. 63
this end, the field is often limited to the extent of requiring a much larger camera to take pictures of the size the name of the camera indicates. Messrs. Holmes, Booth & Haydens, on the other hand, aim at depth and field, a better combination, yet seldom sacrifice the sharpness sufficiently to disadvantage the result ; indeed their cameras are usu- ally sharp enough for artistic results, sometimes as. sharp as those of any competitors ; but when it happens one is very " sharp," it is at a slight sacrifice of field, their theory appearing to be, never to lose depth.
The desire for mere sharpness appears peculiarly Ameri- ican ; it is the quality first sought after, and often is sufficiently attractive, to obtain the good will and cash of many, without further examination.
But the desire does not display the artist, since it limits position and confines limbs. How often do we see pictures — portraits of features, certainly not of expression and ease, — with the head stuck up as if a skewer were run through it, the hands, if shown, (why will most people insist on it ?) forced close against the body, the feet thrust under the chair ; and why ? because the operator is no artist ? not always — because the sitter is awkward, and won't be " fixed ?" sometimes, but generally because the camera has no " depth " and any projecting limb would be vague and out of focus. In an artist's hand, a deep focus- ed camera will allow position ; he wants sharpness, but not mere sharpness — it's not natural. Whoever saw a man at a distance with every feature as sharp as required in a 1-6 size picture. There's a lady sitting just ten feet off, can you see every hair in her head as distinctly as if you were close enough to fix it against that stiff unyielding head-rest, that makes her look so starched, and renders her nervous with its pressure ? Certainly not, distance softens distinctness, and you have no right to demand it, more than is required in a perfect and distinct likeness, a likeness that will cause every one to say in an instant, "There is Miss Pretty," or the youngest child to cry out "Mamma." You don't want to show in all perfection, her freckles, in preference to her face, or the contour of her features, or her may-be-not-over-clear-and-smooth-yet - very - white skin, in preference to her lady-like ease. Sharpness, my good Sir, is not the only requisite in an artistic picture ; there are other requisites.
Neither can you sacrifice " field," without rendering your outline dim, or placing your " outsiders" in a group, deci- dedly in the shade, their features shapeless and unknown.
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There's Mr Bromide at this moment arranging for a group of seven, —three sitting, and four standing — is that just what they require, or is he at a loss how to dispose of them ?— Just look again, there's one with a hand on his knee - his right one-* the man at the other end, has his left just to match, you know ; the middle one has a hand on each knee, the backs carefully fronting the camera, — it would not do d'ye see, ever to show the inside, even per accident, because the convex would show a shade. — The four standing have their heads thrust forward between, and on the side of the heads of the sitters so as to be on the same plane ; that one has his hands on the shoulders of his fellows, because they are in the way, and it would not do to cut them off for the occasion, and besides, it gives a careless (decidedly), and easy look. That one; has one hand thrust in between the heads of those below him, and appears to be adjusting the collar of one of them, 'his other hand is lost in space ; the two " outsiders" have their hands hanging down by their sides, so as to round off the group. See how carefully Bromide arranges his sitters in line, like a platoon of light infantry ; now he goes to one end and squints along the line, as a carpenter will along a board. He wants to see that no nose projects, aud was about telling that gentleman in the middle to fall back, when he discovers his nose is longer than his neighbor's, so allows its point to be " out of focus " And why all this care for getting into line ? simply, because the camera has neither field nor depth, though it is wonderfully sharp, (still he might arrange them into a slight arc, to counter- act the want of field. )
So, Photographers, you have my opinion as to the relative merits, of the merits of the Variations of the three qualities that constitute perfection in the camera. If you intend purchasing a camera made by one of our celebrated makers, get a Harrison's ; if " sharpness" is your chief consideration, and if depth or field, a Holmes, Booth & Hay den. For my own particular part, though I desire sharp- ness, depth and extent of field are my desiderata, and a first- rate optician will not sacrifice too much sharpness in their attainment. I am borne out in my choice by the chief artists in Europe. And the best opticians there so make their instruments, though whether to follow or lead taste, I know not, still Europeans have done most to render the photographic art scientific, and we are apt to say they do not make their pictures as sharp as ours.
JOURNAL OF PHOTOGRAPHY. 65
EDITORIAL tttSCEOANV*
Our European friends must look to their laurels.
Photography surely had its birth in Europe, was carefully nursed through its tender age. was a great pet with all classes, and has always been rugged and healthy. But its parents (like all parents), sometimes display a fondness which is unbecoming in others' eyes. They seem jealous of attentions of strangers, however innocent and well meaning they may be.
To read some French books on photography, one migrit suppose that the art exclusively belongs to France, — that Frenchmen alone had invented it, perfected it, and were capable of practising it. [n such books you find French names, with now and then a men- tion of Talbot and Archer as claimants of French inventions. Gen- erally in foreign photographic publicatons, American photography is altogether ignored, or is named with a sneer, and associated with Hillotype pretensions.
Now, receiving reproaches with proper meekness, we ask justice. Very bad men are willing to give the devil even his due. Will not some of our foreign cotemporaries sometimes declare that a little good may come out of America ? Please consider a few statements, and say how much they are wanting in truth.
American photographers are entitled to praise for their practical skill. Photo-lithography was invented by Joseph Dixon, an Ameri- can, in the year 1840. Whole lenses were first used for stereo- scopes, by John F. Mascher, an American, in the year 1852. Pho- tographic portraits, full length, and larger than life, were first made in America. American apparatus is generally superior, m fitness for use, to that of any other nation. Photography was first made a business in America
Our claims to notice are by no means exhausted. On some future occasion we may extend the catalogue.
The article by Dr Vanderweyde. on page 49, will prove of
interest to those who are curious about the history of the camera. It is reprinted from the old series in order that our new subscribers may have the full benefit of what the author proposes to write.
Of late a great deal has been said in foreign journals about a so-called " orthoscopic lens'' claimed as an invention of Petzval or Voigtlander. The new lens is composed of a convex mounted proper- ly in front of a concave. By the following extract of a letter from Sir Henry Wotton to Lord Bacon it appears that the illustrious Kepler had invented the same thing more than two hundred years ago. The letter was written in 1620, Kepler died in 1630.
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" I saw in his" (Kepler's) "cabinet a landscape sketch on paper which puzzled me very much, and which was made by the hand of a master, I asked him who made it, — he answered me with such a smile that I infered it was himself ; and he added that in making the drawing he had not acted as painter but mathematician. This perplexed me. He informed me then, that he had a small portable tent, of what material is of no consequence, which could be easily set up in the open field, and when he pleased, turned like a wind-mill in any direction, carefully closed and dark, with the excep- tion of a small hole of an inch and a half in diameter, to which is fitted a long perspective tube, in which is set at the outer extremity a convex lens, and a concave lens at the other, which penetrates into the interior of the tent, and by which the visible radiations of all ex- terior objects are introduced and fall upon a sheet of paper stretched to receive them. Nothing is more simple than to trace with a pencil or pen all the outlines of the picture, and to reproduce it in its natural truth ; when it is finished turn the teat gently, and take a new view. Thus you may draw the whole horizon. I send this description to your Lordship as I believe this apparatus may render good service to Chorography. It would not be very generous to apply it to landscape, for no painter could compete with nature."
The above is translated from the French. The italics are our own.
The following curious epistle was sent to us anonymously.
The original document may be seen at our office. We value it as evi- dence that we have done some good. Could any other than a humbug or patent process pedler have written it ?
" We do not think it is usual to increase the price of goods at the same time their quality is deteriorated. Yet this is your case— your Journal has its price raised, and its quality, so far as the new volume goes, is beneath criticism. M. S's lachrymose lamentations on the small circulation of his former volumes was bearable (because the pieces from the other Journals made up to its subscriber's for any inauimity in the " original matter") but the crude vulgar wit in the original H. Garbin — are intolerable — the more so as there is no redeeming matter in any single page of the new volume. — Did it never occur to you that to those who take your paper, such insinuations (' sic!') are insulting, an to those who do not they are useless, as they never see them ? Praise your own goods as much as you please, and puff your own inven- tions with any amount of hyperbole you please, people can take them with the proper quantity of salt to digest them properly, and you need not fear any of your assertions (however mendacious), can be contra- dicted in your own Journal, seeing you can stop them in transitu.
It is not possible that the publishers of " Good News and Glad Tidings" can be put out of counntenance by anything that can only reach their own eye or ear
Our subscription for the year is paid — but we would gladly receive as the equivalent of. and substitute for, the balance of your Journal, any foreign publication of the value of 25 cents, or failing that, one of the cheapest spelling books."
It is generally understood in the United States, that Mr. John
P. Mascher first used whole lenses in stereoscopes. We shall probably henr from him with particulars on the subject.
I
THE AMEEIOAN
tmcital of ^ologcaplg.
(5J1W 8ISHI8J
Vol. 1.] AUGUST 1, 1858. (No. 5,
[Second Article.']
ON THE METHOD OF ENLARGING PHOTOGRAPHIC AND OTHER PICTURES.
BY P. C. VANDERWEYDE, M.D.
In the first article on this subject, (p. 49) the reader will have observed that all the difference between the apparatus of Mr. Dixon, and that of Mr. Moore, mentioned page 140, of the former volume, is, that the first is a solar microscope^ the second a megascope The apparatus made by me, and men- tioned in page 50 above, was intended for both, and for a colupal magic lantern, besides being furnished with a great number of different lenses.
I intend to prove, now, that the inflection and diffraction^ spoken of by Mr. Dixon in the article page 139, does not exist in any degree to influence the obtained photographic picture at all.
First, I will destroy one of his strongest arguments. Mr. D. says, page 140, that all photographers know that if the glass negative is placed in the printing frame, with the collodion side np, and the paper at the other side, an imperfect impres- sion is obtained by reason of the inflection of the light along the dark edges of the picture ; — that the impressions by this ar- rangement becomes imperfect by the ordinary way of printing is true, but only because in exposing to the sun or daylight, a great quantity of light comes from all sides of the sky, ob- liquely, and enters between the collodion and the paper ; — but try only to have the light to proceed from a single point, (just the light you want to produce the phenomena of diffrac- tion) for instance, place your printing frame in the conical beams of sunlight proceeding from behind the focus of a lens fitted in the shutter of a darkened room, and your print will
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be sharp, even if the collodion is at a distance from the paper. Or try to print on a wet sensitive collodion plate ; here day- light is not preferable, first because it is so strong that the time of exposure becomes inconveniently short, and second, you cannot lay your collodion negative in contact with the sensitized collodion without spoiling both ; some distance must be left, and daylight will in this case again come between ; here lamplight is preferable ; now if your lamp or gas flame is small and steady, in a few minutes a beautiful sharp posi- tive is obtained, (to be seen by transmitted light) but if the flame is large or glittering, the product is a woolly picture. — I can show many products of both processes to prove this. So we see inflection has nothing to do with it.
I will not deny that, mathematically speaking, there may exist some inflection of the light around very sharp opaque edges of a negative, but the distance must be much larger to make it all appreciable, and the want of sharpness in the print is certainly infinitely more attributable to the source of light not being a mathematical point, than to any inflection of the rays.
That the magnified picture of Mr. Dixon's apparatus is not well defined, does not arise from any stubborn law of inflec- tion, but to the apparatus itself; the editor of this journal already mentioned such causes, page 144. The usual philo- sophical experiments to prove inflection [see pp. 139, 140] is a different case altogether ; I have only a few facts to remem- ber to make this clear.
Professor Draper, of N. Y. University, was, if I am not mistaken, the first who made enlarged daguerreotypes with the solar microscope of transparent, and with the megascope of opaque objects. The illustrations of his work on human physiology are mostly made after daguerreotypes and photo- graphs, some of them magnified 250 and even 500 diameters. I am prepared to show any one interested in it, daguerreo- type specimens obtained by transmitted light, with all the outlines as sharp defined as any one can desire, (where is here the inflection ?)
What now is the cause of the sharpness, while the common enlarged photographs are so imperfect in this respect ? the cause is twofold •
1st. We all know that small lenses are in proportion much better than larger ones, so that to enlarge very small objects, 100 diameters, the result will always be more satisfactory than to enlarge large objects only 10 diamters.
JOURNAL OF PHOTOGRAPHY.
2d. The objects I speak of, of which daguerreotypes were obtained, were nature's production of the most minute perfec- tion, of a so admirable finish in detail, that the present collo- dion or any negative made by its help is comparatively rough and course, and cannot bear to be much magnified.
I cannot omit, to suggest, finally, that Mr. Dixon will ascer- tain if the difference in the action of his apparatus with that of Mr. Moore's is not in the lenses themselves, and modify his to use reflected light, which is very easy done, or to use Mr. Moore's with transmitted light, perhaps both will work always in their own way, the first never well defined, the last nearly as well with transmitted as reflected light.
If this is only found partially so, experiments have to be taken with different large lenses, to illuminate the transparent object from behind ; a long experience with the sun micros- cope and similar instruments, has persuaded me, (and proba- bly a great many others), that it is of the greatest importance that the large lens, or lenses which illuminate the object, bear a certain proportion in focal length and size to the small lenses, and that to have perfect sharp images of any object, the surface intended to receive the image must be first equally illuminated by here placing the object in focus ; and I have no doubt that inflection or diffraction cannot be so much as to prevent transparent pictures being taken very near, perhaps entirely as sharp as opaque ones, provided the right arrange- ment of lenses is hit upon.
THE POSITIVE COLLODION PROCESS.
BY D. C. P.
Collodion.
Sulphuric ether, sp. gr. • 0.720 6 fl. drach.
Alcohol, sp. gr. - . 0.809 4 "
Tincture of iodine, cone - - - 1 drop.
Iodide of potassium, - - - - 4 1-2 grains.
Bromide of cadmium, - . . 2 "
Pyroxiline, 6 "
Silver Bath.
Water, 1 fl. ounce.
Nitrate of silver, - 35 grains.
Tincture of iodine cone, - - 1 drop.
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Developer.
Water, - - - - - - 1 fl. ounce.
Sulphate of protoxide of iron, - 30 grains.
Acetic acid, No. 8, 45 minims.
Fixing.
Water, - - - - - - 1 fl. ounce.
Cyanide of potassium, - - 17 grains.
Black Varnish.
Spirits of turpentine, - - - 1 fl. ounce. Asphaltum, - &0 grains.
Yellow wax, - 15 "
Lamp black - - - - 15 "
Generally the negative processes are founded on the principle of deep impregnations, id, est. the sensitive film is very thick, contains a large proportion of iodide and bromide, is sensitized with a concentrated silver bath, often containing some very easily reducible salts of silver, or a reducing agent that gives birth to them ; also in those processes, the sitting must be a little lengthened, and the developer uuited to an excess of nitrate of silver, in order that the amount of reduced silver which forms the negative im- pression— being in a deeper and more opaque layer, that the proof acquires a great intensity. In the process of direct positive on collodion, which are nothing but a weak nega- tive, the opposite principle must be followed : that of thin preparation, less iodized and sensitized, with a silver bath, relatively weak and that far from containing an accelerator, contains on the contrary an acid exercising a retarding action and preventing the formation of silver salts, more easily reducible than the nitrate. — In fact, the picture being formed by reduced silver deposed in fine powder of differ- ent thickness, it is easy to conceive that if the developer united to a small quantity of nitrate of silver, find a film with a small amount of iodo-bromide of silver, acidulated by nitric acid, its action being limited* and slacken in the parts impressioned by the high lights of which the action was retarded by the nature of the film) permits those less impressioned to develope without the first ones be so- larized and can give but a very weak proof even if the sitting has been lengthened.
* The reducting action of the gulpfate of protoxide of iron ia limited by the amount of nitrate of silver free on the film : as soon as the nitrate is reduced, the sulpfate ceases to act.
JOURNAL OF PHOTOGRAPHY. 71
The principal difficulties of the positive process are all in the developing and the time of exposure, which ought to be as precise as for a daguerrean proof.
The developing cannot as far as negatives be pushed until the sulpfate of protoxide of iron does not act an}' more on the impression, that would always determinate very gray whites, and more or less of that superficial veil, like that under which is concealed every negative developed with sulpfate of iron, when it is viewed by reflection — it must be stopped long before its reduction be exhausted ; thus the exposure must be a little more prolonged than it is ne- cessary.
The over-exposure, like the over-developing, gives solar- ized proofs, altogether too much out in every part. By excess of exposure, the whites (provided the developing has been well conducted), are always white and the proof remains limpid and clear ; whilst a proof too much developed loses always the brightness of its whites and is more or less overcast with a superficial reduction that gives it a veiled appear- ance. A too short exposure, as well as an insufficient de- veloping give proves with great oppositions of lights and shades, and want of details in the black and coloured parts of the model. However, it is very easy to distinguish between the want of developing and that of exposure ; for the latter will never give harmonious proofs whatever by the time of developing. The brightest whites and the purest blacks are always obtained by the shortest possible exposure to bring out the details in the blacks with a developing of fifteen or twenty seconds, id est in about half the time that the developer would act.
The exposure varies for a likeness taken in a sky-light from 2 to 10 seconds ; in full sunshine, it is rigorously instantaneous. The picture is developed in following its coming, not by transparency, but by reflection : as soon as the high lights are well accused and the details of the blacks commence to appear, to stop the developing by a thorough washing.
Collodion. — Silver Bath. — When the collodion is not enough iodized, or the silver bath too concentrated, the proof generally wants harmony, the whites are very fine, well modeled, but the blacks are without any grada- tion, any details. With an over iodized collodion, or a weak silver solution, the iodide of silver being no more perfectly formed, the preparations are not very sensitive, and the positive is unequally developed. It can even occur that the iodide of silver instead of being in the
72 THE AMERICAN
body of the film, be entirely upon its surface, and easily taken away by a gentle rubbing.
A silver bath too acid, renders the preparation less sen- sitive and gives a film not wholesome, which comes off and tears itself when in the bath, or during the developing, fixing and washing.
Sensitized with a neutral bath, the film is very sensitive, but easily solarized or veiled — the proof being generally not very harmonious.
The silver bath is very slowly acidulated with collodion, prepared with cadmium compound. It is neutralized with oxide of silver, newly prepared, and when yet wet.
Old silver baths determinate gray proofs, without vigor and brightness ; that effect is owing to excess of the nitrate of the bases, of the iodide and bromide in the collodion, that prevent an equal developing, and to the organic matters. When a bath is old, and out of order, it is better to not try to fix it, but to make a new one ; for it will never work well again.
Sulphate of Protoxide of Iron. — The action of the sulphate of iron is exceedingly great, on the beauty of the tone ; often it is believed the causes of failure are in the collodion or silver bath, when they entirely exist in the developer. With impure ammoniacal sulphate it is not possible to produce good proofs, as tone, and coming out, and all the signs characterizing an old silver bath, con- taining very reductable silver salts, or a developer acidu- lated with sulphuric and nitric acid will appear. Pure sulphate of protoxide of iron must be employed, and it is good to dissolve it some time in advance in order to let it settle the sulphate of peroxide, which action is very prejudicial.
The developing solution must be prepared every day — an old developer gives too vigorous proofs, and metallic whites when it is very colored.
- Acetic Acid. — The impurities that this acid generally contains are sulphuric acid, and acetate of soda. — All exercise a hurtful action on the direct positives ; the sulphuric acid gives metallic tones and cool. White with- out velveted (voloute); — the presence of acetate of soda hastens the developing and determinate proofs more or less contrasted, solarized — often veiled, and with gray white ; — the muriatic acid is the most to fear for precipita- ting silver of the nitrate in chloride, it deprives the im-
JOURNAL OF PHOTOGRAPHY
pressioned film from a part of the nitrate of silver so necessary to develope the latent impression ; thence proofs unequally developed, and having a dull and blackish ap- pearance.— For that same reason the water employed to make the solution must be free from any salt precipitating the soluble salts. — The direct position being, as it was said, nothing but a too weak negative making positive by a reflecting light (n'acquirert devaleur que) viewed or colored grounds which( fait ressorter) render the details of the obscure parts quite invisible by transparency, the lights being pro- duced by a deposit of reduced silver, forming little trans- parent whites that' cannot alter the colored ground. This ground is obtained either in framing the proof upon a black, brown velvet or in making it on colored glasses, japanized paper, and sheets of iron (in these cases the picture is reversed) or at last in coating the proof with a black varnish.
The bitumen of judoc varnish ought to be applied on the proof only after having varnishing it with a thin dissolu- tion of tender copal in alcohol, or better in benzine.
If the proof is to be colored, it will be covered with a layer of gelatine, upon which the wet or dry colors are applied ; the black varnish is then spread on the back of the glass.
ON THE AMMOMACAL COLLODION.
BY P. C. DUCHOCHOIS.
The new preparation of collodion which was published in No. 3 of this journal, can be as well appropriated to dry processes that I tried to render it as perfect as possible. — Indeed I employed, with uniodized preservative, or with iodized gelatine and albumen, as well as without any kind of preservative, that collodion has often given as good results in the numerous experiments I have made : never any raising, never any blistering. However, it will be found of great instability, for it does not keep in good condition more than a week or two ; the ammonia decom- posing the pyroxiline so powerfully, that the film becomes without consistency, and very opaque. — It is therefore
74 THE AMERICAN
necessary to neutralize the action of the alcali in order that the collodion can keep as long as any other. The acetic, iodhydric and bromhydric acids answer very well that purpose and do not change the properties that render the collodion so propitious for dry processes. But what is equally important is, that whether the iodide and bromide of cadmium (or any metallic base, iron excepted), are em- ployed in its preparation, it does not thicken as collodion prepared with those iodides, according to the ordinary formula ; thus removing the only objection to the use of metallic iodides and bromides in negative or positive col- lodions, for wet and dry operations. — Even it seems that the very poreous and divided state of the film, is more propi- tious to the sensitiveness of the preparations, and determi- nate a greater intensity of the negative. — It is also worthy of remark that the ammonia rendering the collodion very florid, almost every soluble pyroxiline can be em- ployed to prepare it.
The new improvements made to the collodion are thus : — To prepare the plain collodion by adding a few minims of liquor ammonia, which is left to set 4 or 5 hours ; then, 1st, to neutralize with acetic acid if the collodion must not be iodized, and serve of support to gelatine or albumen, as in the process of M.M. Gaume, Bayard, Crookes ; 2d. if the collodion is to be iodized, to neutralize with iodhydric or bromhydric acid, and if one fears the effects of an excess of acid, to add some carbonate, and filter, after having shaken for one or two minutes. The modified formula for dry collodion, with or without uniodized preservative is
Ether, sp. gr. 0.T2 6 fluid drachms.
Alcohol, sp. gr. 0.809 2 "
Pyroxiline, (Seely's) 6 grains.
Liquor ammonia, 2 drops.
Bromhydric acid, - - - 4 to 6 drops.
Iodide of zinc, 4 grains
Bromide of cadmium, - - \ " .
Silver Bath, developes as in my first commuuication.
CAMERA SHIELDS-THE SILVER CORNER.
BY H. GARBANATI.
For a Journal, advocating the interests of Photography, it is just as necessary to make known improvements in apparatus, as in modes, processes and manipulations.
With the issue of the first number of the New Series of the American Journal of Photography, an invitation was freely given to manufacturers having improvements in appara- tus, to give a description of the same, the Editor reserving the right ot comment. Now, if manufacturers have no improve- ments, they cannot of course give a description af them ; but, if they have and are too bashful ! or modest ! ! why some one must do so for them, for the interest of the profession is paramount.
The Plate Shield is one of the most important articles of apparatus, since it is required to guard tbe Plate from the least influence of light until the proper time, and also, to re- tain the various sized plates in the same focus. In hurope, they are somewhat primitive and crude in this article, and produce cheap contrivances But we need not boast, in claim- ing a general advance in articles of Photographic Apparatus. Our first and most reasonable form of Shield for isolating the Plate from the wood work of the Shield, — excepting, at the cor- ners, where a small ytain would be hidden by the " Mat,:' — was by fastening pieces of glass by means of gum shellac, it was soon found the pieces become detached, winch, besides roaming- over the Plate to its damage, were the means of putting it out of focus and causing stains by coming in contact with the wood ; and also, the long stream of solution dropping from the Plate, mingling with the stains of the wood, would be drawn up the Plate and spoil the impression This was, and now is a serious inconvenience to operators, especially those in the country, having but one Shield, their business being much damaged whilst waiting for another. Messrs. Lewis obviated this diffi- culty by a solid Glass Corner which they patented, but which at first proved of very little advantage, by the corrosion of the screw that held it in place, they now dispense with the screw ! and gum and wedge, yet this narrow piece of wood forming the wedge must corrode shortly, by the action of Nitrate of
Silver, which renders wood brittle androtton. Messrs Seely & Garbanati then brought out their Silver Corner Shield : The silver being pure is entirely impervious to the action of the sil- ver solution, and is more likely to increase than decrease in size, the form of it prevents the accumulation of the liquid in the corners, which is likely to cause stains when the Plate is quickly put in the Shield, from splashes, which so much puzzle the tyro, it also, being driven into the face of the frame, serves as a key to hold the corners of the same, and will hold it together when the wooden key has corroded away. This Shield is also furnished with a Vulcanite anti corrosive spring the brass ones in common use, becoming corroded in a short time, soon fail to perform their office, and run the risk by their corroded shortness of breaking the Plate, or at least scratching it. The other improvement is a Yulcanite Slide, certainly one of the greatest improvements in the business ; the slide first adopted was of zinc, which became corroded in a short time, and at the same time amalgamating with the solution caused stains, this was very soon rejected for a wooden slide, a decided improvement, but, which also soon corrodes and is liable to warp, swell and crack. The Vulcanite being liable to none of these evils, and capable of outlasting the wood work of the Shield, appears to be a necessity ; being hard and smooth, it slides of its own weight into its place, and can be easily withdrawn without in the least shaking the camera, so liable in the case where the wooden Shield is swollen or warped. The silver corner Shield with Vulcanite Slide and Spring is no dearer than the common glass corner one — with wooden slides and brass spring, and will be a patented article.
A NEW VISE FOR CLEANING GLASS PLATES.
This Vise, of which the accompanying is the cut, is the invent- ion of Mr Griffin, one of the pioneers in the Art ; it is a very sim- ple and effective con- trivance, and is but little longer than the width of a whole size plate, it is made by a series of two sets of steps, apart the length of the different
JOURNAL OF PHOTOGRAPHY. 77
sized plates, one set of which rests on the ends of two springs, and is fastened to a base which can be fastened to the bench, the other set is fastened to the other ends of the springs. When a plate is to be cleaned, the end attached to the springs is sim- ply to be pressed down, and the plate put in its respective place, when it is held tight by the pressure of the springs ; they can be made to suit any size plate. To loosen it the same opera- tion has to be performed.
These Vises will soon be in the market.
A LETTER FROM AURORA.
Mr. Editor — You see I hail from Aurora, some folks say I'm a roarer since I make myself heard, read, I should suppose, as you know me best by black and white. People do say " A rolling stone gathers no moss,'' which if I fail in gathering, I make up for in in getting down, for I'm down again seeking after my moss, which consists of " rocks."
I took a sudden whim to see if there was an opening in Cairo ; having heard of Grand Cairo going down, I thought it quite possible little Cairo might go up by way of equivalent, but when I arrived I could not find the City, it was lost, miz- zled, perhaps in a mist, for it was missed one night by the in- habitants, who, intent on visiting their neighbors, found they had no neighbors ; or rather their neighbors were in tents. Some said the city was stolen, as robbers had been known to ramble in the vicinity with very capacious pockets, others that it had been sold for taxes, others again, that having met with a great loss it was pawned and stowed away in the garret of one Levy, who had levied on it and preferred not leav- ing it in its accustomed spot for customers to congregate in, but certainly it had travelled away at a tremenduous gait, taking with it gates, trees and other improvements. An opera- tor contended that it had been swapped for a "dry process," which I would have believed but for the fact that it was covered with water, island chimneys, and insulated steeples alone being visible. Not to be entirely disappointed, I had re- solved to point my Camera with a view of taking a sight of the City, only the site was lost to view, and the City was not to be seen ; after all, the most plausible reason for its loss is, that after a heavy rain one night, a high
78 THE AMERICAN
pressure steamer passed along its main street and pressed it out of sight, and thus desolation reigns supreme, and ill luck showers on its people
By the way. you omitted in my last, my Pen and Ink Por- trait of a " Process Peddler/' I do not blame you for the omission, since a man of microscopic mind might be an- noyingly litigatious, but in omitting my Star Quack, you should have added stars of your own to prevent the article looking lame.
By your last number it would appear as if you had shoes for sale, and one of your customers had got pinched. A man must be desperately hard up for a channel for spleen, when he asserts your journal is deteriorated in value, yet 3rou must not feel offended with him, since some of your new subscribers having through said anonymous man, an exal- ted opinion of your old series, may buy the back numbers at the low figure marked. But do let us know when and where you send that " Spelling Book ?"
An enlightened Daguerreotyper and Photographer in my travels was anxious to know ail the news. " What's that new instrument they crack up so now-a-days ? " Asked he. I suggested a number, real and imaginary, its " Meg something " says he, " Meg Merrilies " says I at random, and for fun, " Something of that sort " says he. I took pity and named " Megascopic Camera." He hadn't seen Charlotte Cushman. I am under huge obligations to you for those foreign journals you sent me. You seem to look after my welfare and I hope you may fare well for so do- ing. I remark how different the tone of them, so many, and yet full of contributions, each giving experience, all anxious to elevate the Art. In Europe they treat the Art as scientific and artistic, and it certainly partakes of the nature of both; the Photographic artist have as much room for groupings as the painter, yea more, since his means are limited by the want of " depth." In the Art, we Americans appear quite un- Anglo Saxon, since it is a practice of the Anglo Saxon mind to grasp at difficulties and overcome them.
Every week proves the Art has vast scope for science also, we trust now to the Camera for depicting the results of explorations rather than the pencil ; the pencil may err, travellers may spin yarns. - Bruce was doubted, — but the Camera is confirmation " proof as strong as Holy Writ." Only think of the "Water Camera," of taking the likeness of rocks and shrubs under the water if clear enough ; sinners had better look out, or schemes, plots, treasons and tricks.
JOURNAL OF PHOTOGRAPHY
and all sorts of rascalities will be depicted in their hatch ment and achievement, and handed in as proof to magis- trates and science, Then again, these foreign journals tell us that Photography has given a vast impetus to chemis- try, that some of the clearest headed men in Europe — some of the most celebrated chemists, have devoted much time to its improvement, and discovered new chemicals for its use ; chemicals also, of likely utility for therpurposes than Photography, and the clear headed men and Chemists are appreciated. Pah ! Pm disgusted at our mere money- sucking uses of the great Art, at the closeness with which we keep our improvements, the patent-seeking spirit with which we make known any variation of known modes. I realty feel as if I could preach a crusade against quacks, with a view of ennobling the. Art, only fancy " Gossip the Hermit," I tell you my task would be harder than Peter's, he had but to arouse natural prejudices and ram- pant ambition, I should have to wage war against pocket interest ; I am already appalled though Peter was not, my courage oozes out, I am merely
Gossip.
URBS IN RURE,
BY THE EDITOR.
A Chinaman's chopstick was once an object of great curiosity. It is only unfamiliar things which excite our wonder. The owner of a museum knows its value only by the interest it excites in others. Strangers are gene- ally acute observers. We are apt to take a superficial view of what is constantly before us leaving the interior to be explored by such as we might esteem ignorant adven- turers. Is it not always the rule that inventors, leaving their own trades or professions, poach successfully on their neighbors ?
Having shaken off the dust and care of the city, I find myself here among novelties,- -things c challeng-
ing wonderment and study ; yet my good farmer friends see only hay and corn in the fields and far little under the earth besides potatoes and angle worms. Some of these things (much, only speculation) I deem of sufficient perti- nence to Photography to write out for the journal,
80 THE AMERICAN
I am writing on a spot surmounted on three sides by a mountain prospect. The hills are mostly at such a dis- tance that we only see their blank form outlined by the sky and the intervening meadows and woods. Their color is outlined by a deep blue without a trace of yellow. But whenever the sun shines on the hill and not on the inter- vening objects, the parts illuminated are of a brilliant greenish yellow. Moreover, in that yellow light the objects on the hill are clearly discernable. Now in explanation of this curious phenomena I would only suggest that the re- flections from dust particles, or*possibly from particles of the air, may account for the indistinctness when the whole
landscape is illuminated. The reason of the yellow light from green foliage, coming through blue air is not so appar- ent. The particular pertinence of the case to Photography consists in its teaching us that if we desire a clear view of a distant object, we should seek a time when interven- ing objects are in the shadows of a cloud.
Why is the sky blue, plants green, flowers and fruits of such varied hues? are questions which my presence in this delightful region have suggested. Nature orders eve- rything for a season. There is no doubt a wise purpose for every tint we see. Nothing has been done in vain.
Sir Isaac Newton taught us that white light is a com- pound of seven colored elements, viz : violet, indigo, blue, green, yellow, orange, red, (named in the order of their separation or refraction by the prism). Moreover, it is known that these elements possess, in addition, chemical or actinic and illuminating power in varying proportions. We may assume that light performs its various functions by virtue of its elements and its properties. For example,
where actinic force is specially required there go the violet rays, — where heat, there red, all other rays being eliminat- ed and discarded.
Now we know that plants cannot live without the light. I assume for plainer illustration that light is food for plants. Plants eat or drink the light especially through their leaves; but they are dainty, — taking, in first the whole body of light, then carefully selecting what they can digest or as- simulate, they discard the rest. The color therefore which they emit, by which only they are seen of men, are their forces or excrements. The beautiful hues of the rose are the only rays which are useless to it. We hence easily learn what plants most love or hate. Plants are generally green. They abominate green, — they cling to everything else. We infer that the chemical and heat rays are gene-
JOURNAL OF PHOTOGRAPHY. 81
rally nutritious. We have found no leaves which re- jected these — no healthy leaves which were blue or red. Is the sky blue, that plants may feed from it, or has the air absorbed the rest to feed the plant in another way ?* Each plant has properties and color peculiar to itself. No doubt a careful examination would show that these bear some definite relation to each other. It is a notable fact for example, that plants with blue flowers are generally poisonous. I have noticed in my walks in the garden, that the plants of most rapid growth, and the young shoots of plants are of a livelier color, with more yellow. Such make more use of the blue rays, — and when plants are dying (fruits ripening) they become yellow, orange and red. Is it the recovering effort of nature, or is it the blue rays gradually prevailing to poison the life?
I have had here an excellent opportunity of confirming an observation I have made for some years, viz : that the progressive changes of color in nature, are in the order of refrangibility, as given above, (violet — red). The Photo- grapher is familiar with a very interesting illustration. If a silver plate be placed over the vapor of iodine, it passes successively through the series of yellow, orange, red, vio- let, indigo, blue, green, yellow, &c. The first color of col- lodion is yellow, changing by age into yellow, then red. Proto and her salts, if of different colors, are in the order indicated. Any one familiar with chemistry can recall many illustrations. Now as to plants — the green gene- . rally turns to yellow, often to orange, and sometimes to red. How beautifully these changes are illustrated in the pump- kin, tomato and fruits and berries generally ! Some cases as in the plum and whortleberry, progressing as far as the blue. Indeed I know of no exception to this rule of pro- gression, and I do not hesitate to declare it a law of nature. No doubt there is a reason, and a multitude of curious things underly the fact, which observation and study will disclose.
Northampton, N Y. July, 1858,
* I confess to some indefiniteness here. It may be plausibly contended that red rays only are absorbed by green leaves. On the basis of the common theory of three pri- mary colors, the text would have been different.
82 THE AMERICAN
We have received a number of London newspapers
with complimentary notices of the Niellograph as practiced by A. G. Grant, (Grant & Alcooke,)late of Broadway. Amongst others the Mechanics' Magazine, after a highly flattering notice, mentions that Mr. Grant is about obtaining a patent for his mode of working it.
We have all along considered the Niellograph a very superior picture when made by a skilful artist, and know no reason why it should not take first rank as a collodion positive.
Its lightness and exceeding pliability render it of much value for sending in letters to Europe, California, and other distant places. There was a time and perhaps is, when quite a large express business was done in the transmission of daguerreotypes, at a cost of one dollar and upwards for expressage, the certainty of damage rendering it use- less to send them without properly encasing. Artists need not fear any decrease in their business, through delivering pictures without cases, on the contrary, their availability opens an extensive field for increase, whilst the Niellograph will command as high a price without a case as the majority of artists in this cheap age obiain for a cased Ambrotype. Grant & Alcooke made money fast at Neil- lographs, why not others? Circulate your works, gentlemen, for by them you shall be known.
Gossip must consider the omission our printer's rather than
our own.
Stereoscopes are at last coming into vogue with us, we are
actually getting up a taste for them, this may be somewhat owing to the price ; since they can be bought for $1 50 per dozen, it were strange indeed if many parlors were without them, what is better adapted to engage the attention of a visitor whilst temporarily delayed, waiting for the appearance of the lady of the house? What a better interlude during an evening party than to fill up a pause with a glance at a fine Stereoscopic view? Certainly nothing better displays the beauties and marvels of the Photographic Art. No artist can fail in perspective. The failing of the 'kold masters" — if he studies the Storeoscopic productions of the camera, and no ar- chitect in outline, angle and lightness of design. It is mathematics demonstrated, and geometry an abiding proof.
It is a good sign that the taste has commenced in the right direc- tion— Landscapes, Architecture and Composition.
Our subscribers will please excuse any deficiency in this number, or want of punctuality. Serious sickness in the family of the Editor having called him out of town. This excuse must also apply to the lust number.
THE AMEEIGAN
[NEW 8 I » Bit.]
Vol. 1.] AUGUST 15, 1858. [No. 6.
NITRATE OF SILVER.
Jersey City, July 27, 1858.
Mr. C. A. Seely — Dear Sir, — It seems to me that your observations on the nitrate bath, as published in the last two numbers of the Journal, do not go quite far enough ; you do not inform photographers how or where to obtain good nitrate of silver. Simple as it may seem to dealers in photographic chemicals, it is not so to the practical photo- grapher ; he is, in most cases, not a chemist and purchases the article according to its label, in the same way as he purchases other things ; makes up the bath as you direct, when to his great vexation, he experiences but poor results where he reasonably expected fine pictures : the collodion is blamed, then the developer, the water, every cause of failure is suspected but the right one. The ni- trate bath is subjected to the usual tests of litmus paper, and the hydrometer ; it appears all right, the instrument indicating 35, 40 or 45 grs. to the ounce, and the color of the test paper is good. In this extremity he calls on his neighbour Mr. A., whose bath works well ; they compare notes, and it is found that the two establishments agree perfectly, but this only adds to the mystery ; he makes a picture with the suspected collodion in Mr. A.'s bath, and is astonished at the perfect result, he now concludes that something is wrong in his bath, and " bottles it up," makes another with Mr. A.'s nitrate, and finds it to work well, and lie is forced to conclude that his " nitrate is not good," but he cannot tell why, as they both purchase of the same furnishing house, and both have been told it was the " best nitrate."
The difficulty is that the "furnishing house" gets nitrate of different makers, and at different prices, often buying
r
84 THE AMERICAN
the cheapest to be had, and dealing it out for a good article when in truth they do not know a good article from a bad one. Let the nitrate be tested and in it will be found other nitrates than silver, as zinc, potash, lead, &c, which make up the weight, but detract from the photographic properties of the solution.
If you will direct the consumers how to make their own nitrate of silver, or where to get it of the right quality ready made, you will more than remunerate them for a permanent subscription to the journal.*
The following is a fair estimate of the cost of manufac- turing pure nitrate of silver :
One hundred and seventy ounces of pure nitrate of silver are composed as follows :
Silver, 108 oz •
Oxygen, ----- 8 "
Nitric acid, - - - 54
170 oz.
|
$151 |
20 |
|
2 |
00 |
|
10 |
00 |
|
10 00 |
|
|
4 |
00 |
The cost of
108 oz. silver at $1 40,
Nitric acid, Labor, rent, &c, 110 Bottles, corks, and labels, - Weighing, sealing, &c,
Cost of HO ounces of nitrate of silver, $171 20 or at about the rate of $1 04 per oz., while it can be bought at retail at about $1 05 per oz. at the furnishing stores.
I suppose they all sneak behind the great bugbear of competition, and claim that one must sell a cheap -article because the other does, but it is poor policy in any dealer. If any one of the furnishing houses will keep only a pure article, and charge accordingly, that house will have the trade within a short time. Very truly yours,
Joseph Dixon.
* We believe that any one who is not well skilled in chemical operations, will find it unprofitable to undertake the manufacture of nitrate of silver. As to " where to get it" &c , "modesty forbids" &c. Mr. Dixon's experience does not extend to all furnishing houses. — Ed.
JOURNAL OF PHOTOGRAPHY. 85
WOODWARD'S SOLAR CAMERA.
BY THE EDITOR.
Woodward's Solar Camera has enjoyed a high reputa- tion and is often considered a new and very ingenious contrivance, and the only one suitably adapted to its purpose. Many continue to use it with the highest appro- bation. One of our photographic journals has made it a special object of praise for the past year. The only objec- tion commonly appreciated is the price which the patentee has seen fit to charge.
Yet, per contra, this Journal has never approved the Solar Camera. The Editor as well as correspondents, have on several occasions, expressed a decidedly unfavorable opinion. I have many times demonstrated the fallacy of its construction, and even to the editor who has been so full of praise. The readers of the last volume of this Journal, and those with whom I have spoken on the subject are not likely to have been deceived. Chiefly for the benefit of our new subscribers, I have thought it worth while to present the matter again, and in a clearer light.
The essential peculiar^ claimed for the solar camera is a condensing lens, by which the negative being more high- ly illuminated, an impression is made in a shorter time. Let it be understood that no other advantage over other contrivances of working, is claimed for it.
Now admitting the claim, it is of very little value, when, by other simpler contrivances, any work required of such an instrument can be done within the space of one minute. One second is amply sufficient for a picture 22 x 17 inches, by the megascopic camera. How little then is the advan- tage of the solar camera, admitting that it can shorten the time even one half?
But I am prepared to make the admission only momen- tarily. I proceed to show that the solar camera requires more time of exposure than other instruments.
The largest condensing lens sold with the solar camera is 9 inches in diameter. Its available aperture, on account of its mounting, is somewhat less. Of course no more
light than falls on its surface can be used. It will readily be seen that the light passing through it cannot cover a 4-4 plate, even if the light were not at all condensed. (A 4-4 plate measures, diagonally, 10 inches). But the light is condensed, and although the instrument is called whole size, it is only intended for the half-size plate. Other instruments permit us to use 4-4 plates, and consequently more light. Any artist of experience will prefer to use 4-4 plates if he has a camera to make them. Very few smaller negatives are made ; it is the size convenient to handle, and with which we are all familiar. Moreover, much of the light which falls on the condensing lens is dissipated by reflection, and from that which passes through much chemical power is absorbed by the green glass. It is only necessary to add that the actual trial of instruments has confirmed the above reasoning. The work which the solar camera does, can be performed by other instruments in a time shorter by about twenty-five per cent.
It is often supposed that the solar camera can make a sharp picture. I proceed to show the error of such a supposition.
We have a perfectly sharp image on a plane surface, when all the raj^s from each point in the object are brought to a conjugate focus on the plane. It is generally known that if a negative be illuminated by diffused transmitted light, a very sharp image can be made by a good tube. Now what should be the effect if illuminated by the direct converging rays from a condensing lens ? The sun is an object to the condensing lens and its image is formed, diffused with and overlying the image of the negative, distorting and obscuring it.. This distortion and obscura- tion will also be increased by the necessarily imperfect form of the lens, and the fact that it is not achromatic. These statements can be easily verified by any one who has a solar camera. Observe that the sun's rays do form an image at a point near the front lens from which they diverge. Slide in a negative and you will find a consider- able range of distance of the screen in which you can dis- tinguish no difference of sharpness. Finally remove the condensing lens, substituting a ground glass, and you will find that you will have a sharp image when the screen is properly adjusted. You will have no uncertainty now about the position of the screen.
It must be remembered that a condensing lens collects heat as well as light. With a lens of nine inches diameter
JOURNAL OF PHOTOGRAPHY
refractory metals may be melted, and ordinary combusti- bles readily ignited. Who lias not heard of solar camera
boxes being set on fire and other damage done ? Who would long trust a valuable camera tube in such a heat ? Accidents from fire may be prevented, but the injury to the tube is certain..
The validity of the Woodward patent I consider of little moment, Whoever originated the, invention (and there are many claimants), deserved no credit for his knowledge of optics. The arguments of this paper will soon be gene- rally understood, and better instruments will take the place of the solar camera, which will be laid on the shelf with the magic buffs, Hillotypes and Hallotypes.
[See note on page 90.]
EN KOUTE.
\
Mr Editor, — I'm like you New Yorkers on the first of May. I'm on the move, though what has moved me to move, I can't exactly say. Perhaps the spirit prompts me, though not alcoholic, unless with a desire of using it combined with ether, but where I am going, I either don't know or can't tell. The fact is I'm ill in Illinois, by which token I can't make much noise, this time at least, not that I think my pop gun makes a cannon's roar, or my pen-whisperings sound like thunder
There is no doubt I have a slight touch of melancholy, and thinking I felt poetical, I tried to awaken my muse, but she was asleep, and could not amuse you, which set me musing, and made me musical, so here's for a sound on my own trum- pet. For I was asked the other day who's that Gossip, '•Gossip the Hermit."
Gossip, my dear sir. is a celebrated observer, censor and photographic critic. He is supposed to smell a quack a league off, and see humbug written on the forehead of a " process peddler," he is decidedly severe, and considered just. He is engaged by the proprietors of the American Journal of Photo- graphy, at a yearly salary of ten thousand dollars, payable when he can get it, (I named this sum it being the exact amount offered annually for talent by a cotemporary of yours no doubt able to double it of vast influence ; who is best known by the practice of informing some imaginary corre- spondent that " the book is not worth the money." A piece
of information suggestive of a vast fund of knowledge, and strictness of honesty of opinion.) My querist thought I was humbugging him, whereat I diifered with him, knowing the fact.
Now tell, is the Lover of Cleopatra the sole agent for the solar, and is the Wood worth the price charged ? People do say, the great Roman had been reading " Marmion," and stuck at k' charge, Chester, charge. "
Can you inform a rustic, and no donbt others unused to the ways of " Gotham," what the " Grthoscopic" Camera is, that Voightlander and Petzval — jaw-breaking, but scientific, — are fighting a printer's ink duel about Also if the Niello-graph is named after " Nelly Grey," the pretty young damsel who used to take daguerreotypes u down East."
I notice in one of your English journals, the case of a party who had made a contract with a wealthy firm, which firm could remember nothing about it when finished, and wanted the evidence, but the knowing contractor not wishing to risk the only evidence he had, caused the agreement to be photo- graphed, and sent them an impression, which made such an impression on the contractees that they paid up without fur- ther trouble Now I think the photographic art should be more generally used for such purposes. There are many documents of vast value a3 evidence, photographs of which, would answer all purposes of identification, until the real docu- ments were actually required in a court of law ; indeed photo- graph of wills and other such valuables might be admitted as evidence in case of loss or destruction of the original, provided the characteristics of photography were retained, and no at- tempt was made to counterfeit the original so that it might pass for it. Photography might be used much more extensively than at present, many small towns furnish inventors and patentees, that are too small to support, a draughtsman, able to take accurate drawings, and even if they are able, there is no mistake about a photograph, no exaggeration of beauty, or additions of ornament, it is perfect evidence of the real thing. Again, how useful in sending dresses and patterns of rich laces, shawls &c. The importer or manufacturer cannot afford to send a piece of lace or a rich shawl to each of his-likely-to-be-customers, but he might furnish a photo- graph if the artists would only make a business arrangement with him ; but unfortunately, whilst they are apt to undervalue the art, by taking single portraits below paying prices, they seldom offer facilities to the business man, to issue designs of his wares. In limited quantities photographs can be furnished cheaper than lithographs, or even wood-cuts, to say nothing of
JOURNAL OF PHOTOGRAPHY. 80
the time required to cut the block or draw on the stone ; some things are only of value when done without delay, and photo- graphy need have the least delay of an}^ branch of the art of i( counterfeit presentment." Nor let any artist say he may have to wait for a fine day, or he can't print without the sun. Let him make photography a commercial art for the purposes I have suggested, and ways can be found for cencentrating the light — any but a foggy day — indeed, Gossip himself fancies he knows some one who could furnish the desideratum.
I must avail myself of contributing a sentence of satisfaction at the success of the Atlantic Telegraph Cable. We — You and I etc., Mr. Editor, are amongst those who treat our art as a scientific one, and must therefore rejoice at the last and greatest triumph of Science. Photography in its time has been the dominant wonder, nor has its wonders ceased. It still keeps pace with its twin sister Electricity, it still is developing its capacity, it still is contributing to things useful as well as wonderful and ornamental for mankind, and though most of us more than once thought the Telegraph Squadron was an awkward squad, yet there are few but manfully acknowledge the greatness of the success, and rejoice at the triumph of the courage and perseverance