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The Ferrotype
AND HOW TO MAKE IT
BY
EDWARD n ESTABROOKE
TWELFTH EDITION
THE ANTHONY & SCOVILL COMPANY
NEW YORK AND CHICAGO
1903
IHt l\\L'N YORK
ASTOR LENOX AND
TILDEN FOUNDATIOMS
R 1918 L
Entered according to Act of Congress, in the year 188U, by
E. & H. T. ANTHONY & CO.
In the Office of the Librarian of Congress, at Washington.
CONTENTS
Piai
CHAPTER I— Positive Photography, . . H -^
Definition of Term— Characteristics of Positive
Pictures— Reasons for Popularity of the Ferro-
type—Brief History of Photography.
CHAPTER II— The Ferrotype, . . . '-^-26
Its Superiority over all other Positive Pictures.
CHAPTER III— The Ferrotype Gallery, . . 5av-28
CHAPTER IV— The Glass Room, '"^-^
List of Requisites of Glass Room— Construction
of Glass Room— Top Light, effect of— Side Light-
Advantages of Combined Top and Side Light-
Devices to Exclude Sunlight— Best Method of
Shading Light— The Camera Stand— Camera
Boxes— Care of Plate-holder— Posing Chair-
Head Rests— Curtain Supports— Copying Stand-
Table and Table Cover— Ottomans— Finishing
Stand— Varnish.
CHAPTER V-The Dark Room, . 61-55
Its Contents— Construction of the Sink.
CHAPTER VI— Collodion, . . • . 56 «
How to Prepare Gun Cotton— Proper Solvents for
Gun Cotton— Direction for Selection of Ether
and Alcohol— Excitants— Choice of Excitants-
Bingham's Formula for Double Iodides and
(iii)
PUBLISHERS' PREFACE.
We do not feel that we have any apology to make to the
profession for the publication of this work; on the contrary,
our only regret is that we did not undertake it a year or
two ago. For the past ten years, so much attention has
been given to the Photograph, that the merits of the Fer-
rotype have been ignored as far as possible. Books have
been issued one after another devoted to the negative, and
printing and toning; and cameras, printing frames, and
apparatus have been constructed especially to aid in pro-
ducing the paper picture. Nearly all effort and thought
has run in this one direction.
About three years ago we observed many signs of dissat-
isfaction with the Photograph. In spite of all declarations
that it would not fade, nearly all that were made for the
public soon lost their value as a likeness or a work of art.
The people began to want something better and more per-
manent, and we found in our orders a strong and increas-
ing demand for Ferrotype goods. Manufacturers of appa-
ratus found it was for their interest to improve the Multi-
plying Camera. New styles and designs of mounting cards
have been introduced. Dealers have found it difficult to keep
sufficient stock to supply the demand. As an evidence
of the amount now in use, we received atone house, but a
short time ago, nearly two tons of plates in one shipment,
and we are selling at this time about as many goods for the
Ferrotype as for the Photograph.
With such a state of affairs, it is apparent to all that a
book of instruction on this subject is greatly needed, and
we claim to be the first who proposed publishing such a
(viij
viii Publishers' Preface.
work. Since it has been announced, we have received so
many orders from all parts of the continent, that we are
more than ever satisfied of the wisdom of its publication.
One word about the delay in its appearance. Our author,
Mr. Estabrooke, was not willing the book should be is-
sued until he had thoroughly worked up the subject in all
its bearings. There was a good deal of unavoidable delay
in getting the early history as complete as we desired it.
Mr. V. M. Griswold, who was preparing an account of his
invention and introduction of the Ferro-plate for this
work, was taken sick and died after a short illnass, when it
was nearly completed. We regard the items he contributed
as adding greatly to the value of this work, and believe all
will rejoice that the information he possessed has been
saved. Other parties, who were able to give us interesting
incidents delayed their answers, so that it is the historical
part which has hindered us. This has given the author bet-
ter opportunities to arrange and collate his facts and in-
struction, and we are confident the value of the book is
much increased by the delay. We hope it may greatly aid
and improve the production of the beautiful and enduring
Ferrotype.
^ THE PUBLISHERS.
PUBLISHERS' PREFACE
TO THE FOURTH EDITION.
The former editions of this work having been ex-
hausted, the undersigned, into whose possession the
copyright has fallen, have thought it desirable, in view
of the extent to which the Ferrotype is used, to issue
a fourth edition, which will be improved to the reader
by means of a concluding chapter, wherein any im-
provements in the art of making ferrotypes will be
detailed. Some remarks in reference to matters alluded
to in former editions, which, in consequence of lapse
of time and subsequent changes, are inaccurate, will
also be found.
THE PUBLISHEES.
PUBLISHERS' PREFACE
TO THE FIFTH EDITION.
It affords us great pleasure to place before the photo-
graphic public the fifth edition of this work, which has
proved to be one of the most valuable and popular publica-
tions that has ever been issued on any photographic subject.
THE PUBLISHERS.
12 THE FERROTYPE.
delicacy of chemical eifect and tone, and, (accord-
ing to the surface on which made,) their compli-
mentary tendency.
The Daguerreotype, to this day, is a marvel of
beauty and delicacy, because of the fine and pol-
ished surface on which it is made, giving bri'liant
contrasts of light and shade, and an unapproach-
able delicacy and finish to the whole picture.
The Ambrotype would probably be equal to
the Daguerreotype in all points but for the lack
of brilliancy caused by the absorption of light by
:',ollodion film and the glass on which the pict-
ure is made.
While the Ferrotype, however, approaches
nearer the Daguerreotype in all its points of ex-
cellence than any other picture of its kind, it is
still inferior in brilliancy to the latter, for the
reason that its surface is not finely polished, it is
less opaque, the varnished collodion surface will
not reflect light so perfectly as the polished sil-
ver ; but while it is not equal to the Daguerreo-
type in that respect, it has compensatory advan-
tages which have placed it far in advance of any
other product in positive photography.
The same excellencies that were claimed for
the beautiful productions of Daguerre, are now
claimed for the Ferrotype in conjunction with
other advantages, among which may be men-
tioned rapidity of production, greater portabil-
ity, adaptation to far more extended use, and last
but not least, cheapness — these qualities have
POSITIVE PHOTOGRAPHY. 13
made the Ferrotype the picture for the million,
for while a Ferrotypist can produce pictures
combining and exhibiting all the excellencies
which distinguished the most, artistic productions
of photography, there will not lack the culti-
vated and refined to admire the picture and pat-
ronize the artist — and while a number of such
pictures can be made and finished to the waiting
customer, there will be many hurried business
men, impatient travelers, anxious to catch a
train, friends about to part, and others, to whom
occasions and circumstances render a likeness ob-
tainable, at once, desirable ; keeping the gallery
thronged, and amply rewarding the skillful op-
erator.
While likenesses can be produced at a trifling
cost, there will be thousands in the humblei
walks of life desirous of gratifying that univer-
sal passion, the craving to possess some memento
of the passing moment in this world of change.
The desire to perpetuate the face and form upon
which Time is day by day doing its marvelous and
changeful work — so long, I say, as these feel-
ings, desires, and circumstances exist and exort
an influence on our lives, so long will the Ferro-
type be a popular picture ; and ever increasingly
so, as population shall multiply, as time shall
cause separation and changes, as families shall be
broken up and scattered over this broad land, and
in fine, while Death, the destroyer, shall remain
in our midst, taking from us the dear ones we
14 THE FERROTYPE.
love, the noble ones we respect, and the great,
who are the pride and admiration of the country.
Time, while working all these changes, shall
increase our knowledge, add skill to the artist,
and improve the artistic taste and judgment of the
people — but it is very doubtful if time shall pro-
duce any other style of portraiture which shall
supersede the Ferrotype, or reduce it to a lower
place than its present high position in popular es-
timation.
The productions of Positive Photography are
all of them famous? The Daguerreotype, as the
first, had a brief but triumphant day. It made
its advent as one of the wonders of the world,
and excited as much admiration, perhaps, as did
the telegraph, in the minds of the people; it was
welcomed as a greater boon to the masses than was
the telegraph, but unlike the telegraph, which
remains to us at this day, substantially as the la-
mented Morse sent it, to do its work of annihila-
ting time, the Daguerreotype has passed from
popular favor, has been superseded by other
methods of portraiture as far ahead of it as it
was in advance of the productions of the itiner-
ant miniature painters or silhouette cutters.
It is unnecessary that any account of the or-
igin of the Daguerreotype process should be given
in this connection, but it might furnish interest-
ing matter for thought to readers ; therefore we
copy the following from an authentic English
publication, which occupies on the shelves of our
POSITIVE PHOTOGRAPHY. 16
libraries, the place of greatest convenience and
access.
Photography may be said to date its origin
from the time of Baptista Porta, who invented
the camera obsoura in the 16th century. Between
this period and the time of Wedgewood and
Davy, only a few isolated facts bearing uj)on the
subject were brought to light at intervals. It
would profit but little to notice these in the order
in which they occurred, but it is nevertheless in-
teresting to observe in all great discoveries how
small are the beginnings, as will be seen by the
perusal of the following account of ^Vedge^YOod^s
discovery. The property possessed by the salts
of silver, when decomposed by the action of light,
was well known to the earlier chemists, and M.
Charles, a well known French physician, exhibited
in his lectures at the Louvre, a paper capable of
taking silhouette figures by the action of solar
light, but he has left no account of his process. Mr.
Wedgewood, therefore, was undoubtedly the first
person who recorded his attempts to use the sun-
beams for Photographic printing. In the year
1802 he published a paper in the Journal of the
Royal Institution, which he described as ^' an ac-
" count of a method of copying paintings upon
"glass, and making profiles by the agency of
"light upon nitrate of silver; with observations
" by H. Davy," a gentleman afterward better
known as Sir Humphrey Davy. From this pa-
per the earliest we are acquainted with, in which
16 POSITIVE PHOTOGRAPHY.
the discovery of these processes present them-
selves, the following extracts are taken : " White
paper, or white leatlier moistened with a solu-
tion of nitrate of silver undergoes no change
when kept in the dark ; but on being exposed to
the daylight, it speedily changes color, and after
passing through different shades of gray and
brown, becomes at length nearly black. The al-
teration of color takes place more speedily in
proportion, as the light is more intense. In the
direct beam of the sun, two or three minutes are
sufficient to produce the full effect, in the shade,
several hours are required, and a light transmit-
ted through different colored glasses act wiih dif-
ferent degrees of intensity. Thus it is found
that red rays have very little effect upon it ; yel-
low and green are more effective, but violet or
blue produce the most powerful effects.
" When the shadow of any figure is thrown
upon the prepared surface, the part concealed by
it remains white, and the other parts speedily be-
come dark. For copying paintings on glass, the
solution should be applied on leather, and in this
case, it is more readily acted on than when pa-
per is used. After color has been once fixed on
the leather or paper, it can not be removed by the
application of water, or water and soap, and it
is in a high degree permanent. The copy of a
painting or the profile immediately taken, must
be placed in an obscure place; it may, indeed,
be examined in the shade, but in this case, the
POSITIVE PHOTOGRAPHY. 17
exposure should be only for a few minutes; by
the lights of candles or lamps, as commonly em-
ployed, it is not sensibly affected. No attempt
that has been made to prevent the uncolored
parts of the copy or profile being acted on by the
light, have as yet been successful. They have
been covered by a coating of fine varnish, but
this has not destroyed their susceptibility of be-
coming colored, and even after repeated washings,
sufficient of the active part will adhere to the
white parts of the leather or paper to cause them
to become dark when exposed to the rays of the
sun. Besides the applications of this method of
copying that has just been mentioned, there are
many others, and it will be useful in making de-
lineations of all such objects as are possessed of
a texture, partly opaque and partly transparent.
The woody fibers of leaves, and the wings of in-
sects may be pretty accurately represented by
means of it, and in this case it is only necessary
to cause the direct solar light to pass through
them, and to receive the shadows on leather.
"The image formed by means of a camera ob-
scura have been found to be too faint to produce
in any moderate time, an effect upon the nitrate
of silver." To copy these images was the first ob-
ject of Mr. Wedgewood in his researches on the
subject, and for the purpose he first used nitrate
of silver, which was mentioned to him by a
friend as a substance very sensible to the influ-
ence of light, but all his numerous experiments
2
18 THE FERROTYrE.
as to their primary end proved unsuccessful. " In
following these processes, I have found that the
image of small objects, produced by means of the
solar microscope, may be copied without diffi-
culty on prepared paper. This will probably be
a useful application of this method ; that it may
)e employed successfully, however, it is necessary
that the paper be placed at but a small distance
from the lens."
Here we have the first indication of this great
discovery. Subsequently, about the years 1810-
11, Seebeck made some interesting discoveries as
to the production of color on chloride of silver by
solar radiations; the violet rays rendering it
brown, the blue producing a shade of blue, the
yellow preserving it white, and the red constantly
giving- a red shade to the salt.
Berard's Discovery. — In the year 1812, M.
Berard, brought the result of some valuable re-
searches before a commission, composed of MM.
Berthollet, Chaptal, and Biot, who state in their
report that M. Berard had discovered that the
chemical intensity was greatest at the violet end
of the spectrum, and that it extended as Ritter,
and Wollaston had previously observed, a little
beyond that extremity where he left substances
exposed for a certain time to the action of each
ray: he observed sensible effects, though with an
intensity continually decreasing in the indigo and
blue rays. Hence, they considered it as ex-
tremely probable that if h(! had been able to em-
POSITIVE PHOTOGRAPHY. 19
ploy agents still more sensible, he would have
observed analogous effects. To show plainly the
great disproportion which exists in this respect
between the. energies of different colored rays, M.
Berard, concentrated by means of a lens, all that
part of a spectrum which extends from the green
to the extreme violet; he also concentrated by
another lens all that portion which extended
from the green to the extremity of the red ; this
last pencil formed a white so brilliant that the
eyes were scarcely able to endure it, yet the ni-
trate of silver remained exposed more than two
hours to this brilliant point of light without un-
dergoing any sensible alteration. On the other
hand, when exposed to the other rays, which were
much less bright and less hot, it was blackened in
less than six minutes. After some further re-
marks on the importance of M. Berard's experi-
ments they proceed as follows : *' If we consider
solar light as composed of three distinct sub-
stances, one of which occasions lights the other
heat, and the third chemical combinations, it will
follow that each of these substances is separable
by the prism into the infinity of different modi-
fications like light itself; since we find by ex-
periment that each of these properties is spread,
though unequally, over a certain extent of the
spectrum, and we must suppose on that hypothe-
sis, that there exists three spectrums, one above
the other ; namely, a Calorific, a Colorific, and a
Chemical Spectrum. We must likewise admit
20 THE FERKOTYPE.
that each of the substances which compose the
three spectrums, and even each molecule of un-
equal refrangibility which constituted these sub-
stances is endowed, like the molecules of visi-
ble light, with the property of being polarized
by reflection, and of escaping from reflection in
the same positions as the luminous molecules."
From that time numerous experiments were
conducted by several eminent researchers, includ-
ing the discoveries of the more celebrated MM,
Niepce and Daguerre.
Daguerre and Niepce's Discovery. — To
the inventive genius of these gentlemen we are
indebted for the first application of this great dis-
covery, but, like most great conceptions of the
human mind, this art, as we have seen, advanced
by slow steps, and was indicated from time to
time by the isolated facts we have briefly al-
luded to.
The researches of M. Niepce were commenced
in 1814, but it was not till 1826 that he was
made aware by the indiscretion of an optician
employed by both, that M. Daguerre was pursu-
ing the same course of experiments. A corre-
spondence between the two philosophers was the
result, and henceforth their researches were pur-
sued in common, and, some years later, resulted
in the discovery of this branch of the art, since
known as the Daguerreotype.
In 1833 M. Niepce died, having communicated
all his discoveries to M. Daguerre, and in 1839
POSITIVE PHOTOGRAPHY. 21
that gentleman, with a most laudible abnegatiou
of self, communicated his discoveries to the pub-
lic.
As is well known, the Daguerreotype picture
receives its name from one of its discoverers ; it
is taken on a copper plate with a silvered surface.
We have seen that the paper process and after-
ward the glass-plates, coated with various or-
ganic substances, have greatly sujierseded the
silvered plate, especially in this country; but as a
branch of photographic art it forms an interest-
ing chapter.
The beautiful process by which the Daguerreo-
type picture is obtained was published to the
world in July, 1839, after the French Govern-
ment of the day had rewarded M. Daguerre with
a pension of 6,000 francs, and M. Isidore Niepce,
the son of Daguerre's colleague in the discover}^
with another of 4,000 francs, with a reversion of
one-half to their widows ; a liberal endowment,
worthy of imitation on the part of any enlight-
ened government.
Then follows a very lengthy and minutely par-
ticular account of the process for making Da-
guerreotypes, which would prove of no interest
to the readers of this work.
Of the Ambrotype, it is not necessary to say
more than that it, like the Ferrotype, is made by
the collodion process — the first on glass, the lat-
ter on Japanned iron — the history of the inven-
tion and manufacture of which is given else-
22 THE FERROTYPE.
where as being in harmony with the purposes of
this book.
As it is the intention of the writer that the be-
ginner shall find in these pages every thing that
may be useful for him to know, in order that he
may produce good work, we shall proceed to a
careful description of the pr(3cesses and manipu-
lations pertaining to the Ferrotype in the next
chapter.
CHAPTER II.
THE FERROTYPE.
From the time of the introduction of the col-
lodion process and photography on glass by
Messrs. Archer and Home of England, no one
invention or discovery has given a greater impe-
tus to the art, than the introduction of the Me-
lanotype or Ferrotype plate in the years 1856-57.
The Ambrotype, which at that time held the
field, was not calculated for a very extended use-
fulness, from the heavy, brittle nature of the
substance (glass) on which it was made. In
fact, Ambrotypes were only suitable for cases and
small frames, not at all for many of the pur-
poses that make the chief demand of the Ferro-
type.
The brittle character of glass, also unfitted it
THE FERROTYPE, 23
as a vehicle for a picture, which, however little
it may have cost originally, there are so many
contingencies under which its value to the owner
might become incalculable, not in money or other
earthly dross, but as the last memento of one, in
whose existence might have centered the hopes
and aspirations of many tender hearts, and upon
whom may have been lavished the holiest and
teuderest feelings of our nature.
Again, glass, besides being brittle in its nature,
is heavy and bulky, and, in consequence, was
not suitable for other than small miniatures,
such as were destined to be put in small cases or
frames, to be carried on the person or to lie on
the parlor table or mantel-piece. How many a
happy home there is, upon whose table may be
found these tokens of friendship or love, and
how much better would it be if those Ambrotypes
could be transformed into the imperishable Ferro-
type, and placed in the elegant parlor picture
album, thus placing them almost above the power
of accident or the possibility of loss.
Many of the readers of these pages, who, like
the writer, made Ambrotypes on white and after-
ward on colored glass, will recollect how rapidly
the glass plate gave way before the advancing
popularity of the Ferrotype, which, in a short
time, entirely superseded its older rival, and at
this present time bids fair to excel every other
branch of the art in the amount and magnitude
of the interests involved in its j)roduction.
24 THE FERROTYrE.
The Ferrotype, when first introduced, merely
took the place of the Ambrotype and other posi-
tive pictures; that is, they were made and fitted
in cases and frames, etc., in precisely the same
manner as the Ambrotype, Daguerreotype, etc.,
had been before, but for the Ferrotype there
were possibilities of usefulness and ap})lication
that were not open to its less fortunate predeces-
sors.
♦ There soon began to be a demand for them for
other purpose? than to enclose in cases, frames,
etc. The lightness of the plate and the ability
of the finished pictures to resist the efiects of
light, of dampness, and of friction, without any
protection to the surface other than varnish,
fitted them to be carried on the person without
cases, and made it possible to send tliem to
friends at a distance through the Post-office, for
which purpose many were made and called
*■ Letter-types.^' They also became very popular
as miniatures for lockets, ])ins, rings, etc., for
which purposes the extreme thinness of the plate
made them peculiarly well adapted, while the
brilliancy and beauty of the picture gives them
the first place in adaptation to such purposes.
In the shape and size of the "cartes de visite"
or album picture, they also soon became im-
mensely popular — in this size and also that of
the larger card, the " Imperial," the most beauti-
ful and brilliant effects are capable of being pro-
duced ; so much so, that when on the occasion of
TUE FERROTYPE. 25
the meeting of the '' National Photographer's
Convention/^ in Philadelphia, in 1871, the writer
exhibited in a very quiet manner an album full
of his productions in these two sizes they ex-
cited the utmost admiration, and increased im-
mensely the respect of some of the members for
the Ferrotype.
But it was in the shape of the " Gem '^ Ferro-
type that the greatest number of these pictures
have been sold. These ^^Gems'^ are made by
the multiplying camera with four or more lenses,
and two or more consecutive exposures, and they
differ in size from that of sixteen on a quarter
plate to four on the same. They are made very
quickly and sold very cheaply, ranging from ten
cents the dozen, unmounted, to fifty cents with
paper mounts.
The writer has made of these, with his own
hands, as many as one hundred and twenty dozen
in one day, and sold every dozen at fifty cents,
never having before or since sold a dozen for
less.
These pictures have a peculiar interest to the
children, and in the cities it is impossible to
compute the number or quantities which have
been made and sold since 1860. I suppose it
would exceed that of all other pictures put to-
gether.
As a branch of Photography, 'the production
of Ferrotypes has now attained to such magni-
tude that large establishments are fitted up and
26 THE FERROTYPE.
exclusively devoted to the production of this
popular picture — for the information of those
about to open galleries for Ferrotypes or any
other branch of Photography, we propose to
describe such an establishment, and to give an
account of the collodion process as a2)plied to
Ferrotypes.
CHAPTER III.
THE FERROTYPE GALLERY
Eequires a Reception Room or palesroora fitted
up for the reception of customers and for the sale
of the productions of the gallery, as also cases,
frames, and such other articles as are usually
sold in establishments of this kind. There
should be a counter show-case in which to expose
such articles, with sample pictures, etc., a desk
for the books of the establishment, chairs, tables,
etc.; leading from this should be a dressing-
room for ladies and another for gentlemen, each
appropriately furnished with conveniences of the
toilet, such as basins for water, mirrors, combs,
brushes, etc., minute details of which are un-
necessary. In the reception room some means
should be provided for the entertainment of
customers where delays occur, or when kept
waiting by others occupying the attention of the
THE FERROTYPE GALLERY. 27
artist — an effort to keep people in good humor
while waiting, always produces good results and
pays in the greater facility of pleasing them
when their pictures are made. For this purpose,
the walls should be tastefully decorated with the
samples of the best productions of the gallery.
As an example, some of the most beautiful and
artistic work in this country may be seen on the
walls of well-known galleries in this and other
cities. The reception room of the gallery may
be rendered pleasant, delightfully so, by this
and other means, such as a centre-table provided
with books, papers, and magazines, a musical
instrument, a stereoscope, or as in some a few
pots of choice flowers, a small fountain with
fish, an aquarium, or a few song birds. Various
means are adapted to this purpose according to
the taste and culture of the proprietor, or to suit
the character and means of the people it is ex-
pected to entertain and please.
An album filled with choicest examples of all
the different sizes of Ferrotypes may be kept on
the show-case, to be examined by customers for
sizes, style, and price. But, above all, an attent-
ive and obliging attendant should be in the re-
ception room to receive orders and wait upon,
talk to, and keep in good temper, the many im-
patient ones waiting their turn in the posing
chair.
A capable person, male or female, can earn
their own salary over and above the regular
28 THE FERROTYPE.
work of the gallery by careful attentiou *o
customers and a suggestion now and then.
The Glass or Operating Koom comes lext^
and should be furnished with
Backgrounds, Reflectors,
Camera Stands, Camera Box..*,
Lenses, Focussing Glasses,
Posing Chairs, Head Rests,
Copying Stand, Head Cloths,
Curtain, Curtain Stand,
Table, Table Cover,
Ottomans,
Finishing Table, provided with gas or naphtha
stove or dryer, varnish, colors, color brushes,
color blender, etc., etc.
CHAPTER IV.
THE GLASS ROOM.
There is no subject which so greatly con-
cerns the Ferrotypist as the construction of the
Glass Room, or operating room, as it is more
generally denominated in this country. The
construction and arrangement of the Glass
Room depends altogether upon the judgment
and experience of the Ferrotypist, and in most
cases he is compelled to decide as to the proper
THE GLASS ROOM. 29
shape and exposure of its lights or windows
without outside help or advice; and may not, as
in the case of apparatus, chemicals, etc., pur-
chase ready-prepared of manufacturers of es-
tablished reputation.
Those operators who may have traveled over
the country, practicing their art in small country
towns and at cross-roads, sometimes became very
ingenious in the management of the lights of an
ordinary window in a country tavern, or of the
no less difficult light of a canvass tent or travel-
ing saloon or car. This class of operator is
never at a loss for some method of overcoming
difficulties — they are fertile in expedients, they
understand very well the uses of paper muslin
and other fabrics suitable for the reflection of
light. There are many, however, who have
never been compelled to learn these things from
so expensive a teacher as experience, and there-
fore have never learned how much depends upon
the light in the production of good pictu-es, and
in facilitating the operations of the gallery.
A few words of instruction and advice will,
therefore, not be amiss in this connection.
In itifc construction of a Glass Room, then,
ihere are a few ihmgs to be taken into consider-
ation. viA., an aounaance of light, in order that
exposure mav be snort, -a steady light least
affected by snadowj. and ciondb. A diffused
light excluding direct ravs. A iigDt suliicienth
elevated to soften the sdaaows and to grive a
30 THE FERROTYPE.
more even illumination. A perpendicular fall
of liglit to give brilliancy to the eye, definition
to the drapery, etc., etc. A horizontal light to
give strength and solidity, and to soften the
shadows under the chin, nose, eyebrows, etc.
A light which will permit the operator to
cbtain from each face its best view and also its
most characteristic expression.
A light wliich can be modified to suit the
varying requirements of difierent faces, and can
be made a perpendicular, horizontal, or oblique
liglit at will; in short, a light which will
facilitate a regular and continued success on the
part of the operator.
There are, distinctively, but two kinds of
lights, viz., the perpendicular or top light which
comes from above, and the horizontal or side
light, that which comes from an opening or
window in the side of a perpendicular wall.
Neither of these two lights, separately, would
meet the requirements above mentioned; but
when built together, the lower end of the top
resting upon the side light, they compose that
particular form of light which the best photog-
raphers all over the country, and the world, per-
haps, have generally agreed upon as the best ;
and only in this shape, with a northern expos-
ure, can the varied requirements already specified
be fully met.
There are many instances, however, of the
impossibility of securing the advantages of the
THE GLASS ROOM. 31
" Combined " light. In many " out-of-the-way "
places, where the presence of the peri})atetio
photographer is a blessing, must he deny him-
self the profit he hopes to derive, and the
happiness he expects to confer, by the exercise
of his art, because he can not have the advanta-
ges of the best style of light? I say, no! rather
let him adapt himself to the circumstances, and
make the best use of the facilities procurable,
than to disappoint a community, some of whom,
the meanest effort of his art might render inex-
pressibly happy.
It is certain that the clever operator will
sometimes make good pictures under the most
unfavorable circumstances; in many cases diffi-
culties only stimulate to ingenuity in overcoming
them, and in no instance known to the writer is
there a greater demand for those qualities of in-
vention and ingenuity, which enables their pos-
sessor to rise superior to every difficulty, than in
the practice of photography, in any of its branches,
under a small top light or beside a window in
gome lonely, out-of-the-way place, where the peo-
ple are all sunburnt and rough-skinned, and even
the pretty girls are sadly tanned by exposure to
the weather.
The effect of a light falling from above, upon
the features of a sitter directly under it, would
be to exaggerate the projections of the brows,
cheek bones, and nose, rendering the eyes
cavernous or deep set, and throwing heavy
32 THE FERROTYIE.
shadows under the nose and chin ; in many
cases, the shadow under the chin assuming the
shape of a beard, and that under the nose might
look like a mustache if it were broader and more
conformed to the shape of the lip. Very few
operators would, however, think of posing a
subject directly under a top light — he would
shade the light, if it was plain glass, with a
white muslin curtain, out of which all starch
had been taken, and would be allowed to hang
loosely in the middle, "bagging down," as it is
called; this would give a diffused white light;
the subject to be lighted woukl be seated under
the ceiling, very near the opening through which
the light falls from above. Reflectors of paper
muslin or glazed cotton, as it is sometimes called,
might be used to throw a reflected light wher-
ever required, and in case the shadows under the
eyebrows and nose were still too heavy and the
cheeks appeared too hollow, a screen made o/
heavy paper stretched on a hoop or square frame ^
might be held over the head to intercept a poi^*
tion of the light from above, care being taken
not to spoil the catch-light, or small point oi
light in the eye, which gives brilliancy to thH
organ. By means of such appliances skillfull}
used, very good work may be produced, and great
variety of effect obtained. Indeed, the author v
ties to the contrary notwithstanding, mu-r>
better pictorial effects may be obtained from h
top li^ht skillfully managed than from a sidt
THE GLASS ROOM. 33
light, however capable the operator may be —
and yet much may be done to remedy the defects
of such a light by the use of reflectors within
the room and outside the window. Upon seat-
ing a person beside a window with one side ex-
posed, the oifect produced is called the '^ hatchet"
expression, the face assuming a wedge-like ap-
pearance, one side being illuminated and the
other in the shade; the illuminated side is
flattened by the strong light, and the opposite
side by the heavy shadow. Now, it would be as
ridiculous for me to instance such an effect as the
best that could be procured by a side light, as to
instance the deep-set eyes, the hollow clu;eks, and
dense shadows under the projections of the fare,
as the best that could be produced by a toj) light.
These effects are examples, merely, of the primary
and unmodified effects of these distinctive bVhts.
In the case of the light under consideration,
much may be done to change the character of
the '^ hatchet '' expression, and to remove the
unpleasant cat-like slit of light in the eye char-
acteristic of the side light. Outside the window
a reflector may be placed at such an angle as to
throw the light in an inward and upward direc-
tion, where it may be met by another reflector,
which might be )daced so as to throw the light
downward upon the sitter, and with a reflector
on the side opposite the light, the character of
the illumination might be very materially i'ji-
proved. By seating a person opposite and f/ont-
3
34
THE FEEROTYPE.
ing a side light or window, an illuminatioB
called a " front '' light may be obtained, by some
treated as a distinct variety of light, but which
appears to me to be only another application of
the side light. In combination with the top
liglit, the front light might be very useful in
some cases, but as a distinct style of lighting I
can not conceive how it could ever be tolerated,
as its effects take away all character and likeness
from the face, filling the eyes with light, illumi-
nating every line and depression equally with
the projections, and giving a flat and meaning-
less expression to all faces alike.
There may be circumstances under which the
Ferr()ty})ist, in erecting for himself a glass room,
will find it impossible to secure the combination
of top and side light, and where the top, or
indeed only a side light may be available. In
JJ
FIG 2.
FIG.3
such cases, modified forms of top or side light,
giving a much more favorable illumination,
miglit be adopted.
We give in diagrams 1, 2, and 3, views of the
side light, the top light, and of the combined top
THE GLASS ROOM. 35
and side light ; the double lines representing the
walls, the single indicating the glazed parts.
Fig. 1 represents by the single line on the
right side of the diagram, the side light, or that
forni of light which can be used as a side or front
light, a few hints for working which, have already
been given.
Fig. 2 shows the general shape of a top light;
the pitch may be made greater or less. It is
perhaps better that the top light be made with
considerable pitch, as by this means it more per-
fectly sheds the rainwater and we obtain a more
oblique light. In small towns, and in the
country, where the roofs of houses are not flat
but like the letter A, a light 10 or 12 feet square
let into the roof makes a very convenient and
satisfactory light.
Where top lights are erected, the top of the
room should be cut away so as leave a bevel or
slope, from the sash of the window, widening as
it descends, to the ceiling of the room, so as to
allow the light to spread out, particularly on that
side where the backgrounds are placed, to permit
of an equal illumination of the ground from the
bottom to the top. ,
Fig. 3 gives a view of the top and side com-
bination, than which no form of light is better,
and none other should be adopted where circum-
stances will permit. It is of equal import-
ance that the side window should face the north.
The size or dimensions of the lights are
36 THE FERROTVPE.
matters of no great importance beyond a certain
point; that is, the top light should not be less
than twelve feet square, the side being ot the
same width, extending from the top to within a
foot of the floor. In some galleries the lights
are exceedingly large, such as a length of 40
feet with a breadth of 20 feet from the top, ana
an equal length for the side — such an immense
area of glass is superfluous, as indeed may be
proved by work made in glass rooms of moderate
size. There is no better work produced than in
the galleries of New York, in no one of which
is there a light of greater dimensions than 16
feet, and some of the best have even less. The
light used by Mr. Kurtz, of New York, is the
combined top and side with northern exposure,
the top being placed at an angle of 45°, is 10
feet square, on wliich joins the side light, 10 feet
by 8 feet extending to the floor.
While the northern exposure is by far the best
for photographic purposes, it does not, nor can it
be constructed so as to exclude the sunlight;
various devices have been resorted to by diflerent
operators to obviate this difficulty, among whi(;h
board screens, awnings worked by pulleys from
the inside, and, lately, a form of blind similar to
the common outside window blinds with mova-
ble slats has been adopted, and found to be a
success — the slats are light frames of wood,
working on center pivots, and covered with
muslin, »^anvas, or. indeed, made entirely of
THE GLASS ROOM.
37
wood. (A good description of such an apparatus
may be found in the ^^Philadelphia Photogra-
pher," for August, 1871, page 269.) By the
use of these blinds, sunlight can be entirely ex-
cluded by setting them as we do the blinds out-
side the windows of our residences, so as to in-
tercept the sunlight and not to exclude diffused
light and air; they also serve the purpose of
shading the glass from Ihe extreme heat of the
summer sun.
Heretofore, one great difficulty with top lights
has been the leakage ; indeed, it seemed to be
almost impossible to secure a perfectly water-
tight Glass Koom, until some ingenious person in
Philadel])hia invented the sash, named after the
city where invented, of which the following dia-
i^ram shows an end view. The letter A shows
B
B
wr "^
c
the ridge between the glass in which the fasten-
ings which hold the glass are driven ; on each
side are the rests or supports for the glass, out-
side of which are grooves B, B, to receive the
water that may leak through. In connection
with this form of sash, the ends of the glasa
ehoukl be cut thus, the points extending upward,
88 THE FERROTYPE.
and lapped one over the otiier not more than one
quarter of an inch ; by cutting the glass in this
manner, the water is caused to flow toward the
sides of the glass, where if any passes through,
it falls into the grooves on each side of the sash,
and is carried outside and falls into the leader
or waste-pipe.
The best method of shading a light internally,
is by narrow frames of wood or iron covered
with paper or blue paper muslin, the frames or
shades to be each about one foot wide, and
fastened on pivots at each end so as to be easily
turned, somewhat after the manner of the slats
of a window-blind, one to overlap the other
slightly when closed. These shades are in use
in most first-class galleries. The next best plan
is to have spring roller sliades of blue or white
muslin, controlled by cords and pulleys.
There should be at least two back -grounds :
one white, the other scenic-exterior or interior,
and made as light in color or tone as compatible
with proper delineation. In cities, a rustic fence
with proper scenic grounds gives great satisfac-
tion, both for groups and single figures; and
reasoning from that, I should suppose that a
handsome interior, v/ith suitable accessories,
would give more satisfaction in country placCvS
THE GLASS ROOM. 39
There should be a reflector for each light; the
reflector should be covered on one side with
white, and on the other with blue paper muslin^
the glazed side out, and hung on pivots in a
light frame with casters, so that it may be easily
moved. It is to be used on the side opposite the
light, to relieve heavy shadows under projecting
parts of the face, and the shaded side of the
object or sitter.
One camera stand will generally be found
sufficient, but if business is brisk, with the
necessity of changing boxes, two will be found
very useful. There are a great many different
kinds of stands in use, and tht; purchaser will
rarely have any difficulty in choosing the best.
It will be well to secure one that will combine
lightness and durability.
Of camera boxes, owing to their importance to
the Ferrotyper, it will be proper to enter more
into dfetail; especially of the kind which, from
the facility by which large numbers of pictures
are produced by their use, are called
MULTIPLYING CAMERAS.
Before the invention of tlie Multiplier, Ferro-
types were made singly of the regular photo-
graphic sizes, and sold in cases or frames. As
the introduction of the cartes-de-visite in pho-
tography created a wonderful change and gi-owth
in the business, so did the invention of the Mul-
tiplying box, whereby from one to 50 or 100
40 THE FERROTYPE.
pictures could be made on one plate at the same
time, by consecutive exposures through one or
more lenses, increase and extend the popularity
of the Ferrotype. Any means whereby a dozen
pictures could be made in about the space of time
previously required to make one by the old
method, would enable the operator to sell a
dozen at or near the same price as he formerly
demanded for one— and then, a dozen ''Gem"
Ferrotypes could be made and mounted on cards,
or set in ])reservers, or merely cut apart, and be
sold for 50 cents, while very few artists ever
thought of charging less than that sum for one,
set in a case.
At the present time, no gallery can be con-
sidered to be furnished without a Multiplying
Camera box, for they are as useful in all other
branches of photography as they are in making
Ferrotypes.
It is claimed that the first Multiplier was
made, and a patent procured for the same, by
Mr. Albert Southworth, of Boston, Mass., and
however successfully that claim may be disputed,
it is not denied that the first boxes of the kind
were made and sold as Multiplying boxes by Mr.
Simon Wing, originally of Waterville, Maine,
under Mr. Southworth's patent, of which Mr.
Wing became the purchaser, in conjunction with
Mr. Marcus Ormsbee, of Boston.
For some ten or twelve years past, Mr. Wing
has manufactured these boxes in Boston, Mass.,
THE GLASS ROOM. 41
and has sold them only to those who were able
and willing to buy the patent right for the
town or county in which they wished to use the
same.
By such an illiberal and exclusive policy, he
has rendered it profitable for others engaged in
the manufacture of camera boxes to make and
sell innumerable infringements on Southworth's
patent, and thus entailed on himself numerous
law suits to maintain the validity and the rights
guaranteed by the patent.
It is conceded by the general public, and es-
tablished by law, that the man who invents a
new and useful piece of apparatus, a new and
useful machine, a labor-saving instrument or
engine, or who discovers a new process or novel
application of power or force, or a new combina-
tion of any kind, if he can establish and make
good his claim before the officers appointed by
law to inquire into such matters; shall be pro-
tected in the exclusive use, manufacture, or sale
of such invention or discovery, as far as the law
can so protect, for it can not be denied that
beyond a certain point the law is of no avail to
protect a man in such exclusive use or sale ;
indeed, the law is unable to protect the govern-
ment itself against the aggressions of those to
whom the law makes such aggression profitable.
Let the tax on any one article of importation be
made so high as to render smuggling profitable,
and behold with what difficulty smuggling is put
42 THE FEEROTYPE.
down ; let the tax on whisky be put at $2.00 a
gallon and we see the whole force of the govern-
ment paralyzed, and whisky sold in defiance of
law at less than the tax. So, too, with any pat-
ented article of great usefulness, let the price be
fixed so high by the patentee as to render in-
fringement profitable, notwithstanding the risk;
and infringements will be made. So it was with
Wing's Multiplying Camera box, manufactured of
the best materials expressly selected for the pur-
pose, under the eye of a practical photographer
and mechanic, serviceable and durable; the price
was fixed so high, and even more than that, the ne-
cessity of procuring a town or county right with
the box, rendered the manufacture of infringe-
ments so profitable, that thousands were made
and sold with impunity all over the country. As
a natural consequence, lawsuits followed; in one
of which. Wing, of Boston, against C. C. Schoon-
maker, of Troy, New York, after having been
carried to the Supreme Court of the United States,
the patent received its quietus by a tie vote of
eight judges, the Chief-Justice being absent.
It is to be hoped that the above may be a
warning to inventors who may be inclined to
ask too much for their valuable inventions, as is
in general the case, especially with photographers.
Multiplying Cameras may now be had of a
great variety of patterns, most of which are as
serviceable and useful in small galleries as tht
best made. The varieties most used, however
THE GLASS ROOM. 43
are those made by Wing of Boston, by the Amer-
ican Optical Company, of New York, and the
Success Camera boxes, sold by E. & H. T. An-
thony, also of New York. In principle these boxes
are the same, only differing in design or pattern
and in the indicators, and arrangements for mak-
ing the various movements. They are of all sizes
and suited to all varieties of work.
The half plate box, so called, (few are made of
a smaller size), will make with a single tube, one,
two, four, six or sixteen pictures on a quarter
plate by as many moves; with four tubes it Avill
make, on a quarter plate, four pictures by one
exposure, eight by two exposures, or sixteen
^^ gems'' by four exposures. On a half plate
eight pictures by two exposures, thirty- two by
eight exposures — with four tubes. The 5 by 7
Victoria box, with one tube, will make two Vic-
toria portraits by two exposures. One imperial or
cabinet size by one exposure, four cartes-de-visite
by four moves, and with four tubes, sixteen
gems on a quarter plate and thirty-two on a half
plate — with nine tubes, nine, eighteen or thirty-
six on 5 by 7 plate, according to size. The
4-4 or whole plate box is probably most useful,
as it embraces the whole range of sizes, both in
plates from 1-9 to 4-4, and in pictures from one
on 4-4, any size, to sixty-four on 4-4 plate.
There are other boxes made but they are useful
only where vast quantities of pictures are made
at exceedingly low prices, as if you were to make
44 THE FERROTYPE.
them by the bushel. These boxes are, or should
be, accompanied by prhited directions for making
the various movements for the diflPerent sizes of
pictures, or for selecting and placing the openings
or diaphrams, which are set in the back of the
box immediately in front of the ground glass,
through which tiie picture is made.
It requires some few days to become familiar
with the management of a good multiplier, those
made by \ying requiring rather longer to learn
than others; but when once learned, they are easy
to remember and practice, and are very accurate
in operation.
The multiplier is chiefly valuable to the fer-
rotyper to enable him to make pictures in num-
bers. Many ])refer the ferrotype to the photo-
graph, and would pay as much for a dozen good
ferrotypes as for a dozen cartes-de-visite ; and by
the use of this box the operator can make and
deliver to a waiting customer a dozen pictures,
which will afford more satisfaction probably than
twelve cartes-de-visite made at the same price.
We have undertaken no history of the multi-
plier in this connection, but only wish to inform
the fraternity that there are a variety of sizes and
patterns of these boxes, and to illustrate the fable,
the moral of which is, ^' Be sure not to grasp
too much, or you will lose allJ^
The multiplier may be used with one lens or
with four, six or nine. Generally the sizes lesa
than the 4-4 are not fitted to use more than four of
THE GLASS ROOM. 45
the small or Gem tubes, and one-quarter, half, extra
half or a quick acting lens of the two-thirds size.
The larger boxes are fitted with blocks of nine of
the small tubes, four of the quarter size, or one of
the 4-4 or larger sizes ; therefore the 4-4 box has
a greater range of usefulness, for by their use
one, four, eight or sixteen pictures can be made
on a quarter plate, and on the larger ones a pro-
portionate number, according to the size of the
plate. These cameras are generally provided
with two plate-holders, to the proper care of which
attention should be given. The frames for the
reception of various sizes of plates are not pro-
vided with glass or composition corners, bqt are
made with a rabbet all round, in order that every
side of the plate may rest firmly. A piece of
glass of the same size as the plate, is placed at
the back of the plate and forced closely forward
by the action of a spring on the door at the back
of the holder. When new these frames and the
holder should be placed in boiling oil and com-
pletely saturated, so that the silver solution may
not soak into the wood when in active use. An-
other good plan is to take parafine and apply it
in a melted state to the frames and holder; its
effects is to repel the silver and prevent its action
on the wood. The holders, when in constant
use, should also be varnished about once a week
with a solution of gum shellac dissolved in wood
naphtha, which is an excellent varnish, impervi-
ous to the silver solution, at the same tim^ pre-
46 THE FERROTYPE.
venting any chemical action on the plate from
contact with the wood.
Lenses. — There are a great many lenses in
the market, among which it is difficult to choose.
My experience proves that of the smaller Gem
tubes, those of Darlot a Paris are the best ; of
the other sizes there is no great diflPerence among
the cheap instruments, and if it is desired to pro-
cure a larger tube of the 4-4 size, or even larger,
then it is advisable to procure of the more ex-
pensive manufacture, always keeping in mind
that whatever lenses you may purchase, be sure to
make rapidity of action one of the qualities most
to be desired. A 4-4 multiplier, provided with
nine "Gem" tubes, four quarter and one 4-4 or
extra do, should be enough for most galleries
where the business is confined to the produetion
of Ferrotypes.
Focussing Glass. — The focussing glass is a
very useful article, and every camera box should
be provided with one. Their use is to magnify
the image on the object glass so as more easily to
secure a perfect focus.
Posing Chairs. — Posing chairs are now in
general use and are in great variety. In select-
ing, choose one of the most g-raceful design and
best tinitiii. A great revolution in the style and
finish of these useful chairs was made, I think,
in 1S66, by the introduction at that date of
" 8aiony's Universal Rest and Posing Chair.**
Mr. iSarony sold immense numbers of them, un-
THE GLASS ROOM. 47
til they indeed became universal in use. The
most popular poising chairs are now made in imi-
tation of the shape of the Sarony chair, with
which most photographers are already familiar.
Head Rests. — Head rests are also in great
variety of shapes, sizes and weight. The pur-
chaser can very soon make up his mind as to
his choice, after attempting to drag a sample of
each kind across the room. The rest is, and
should be so considered, indispensable in every
gallery, so much so, that sittings should never be
made without the use of the rest, except in the
case of children. Much attention is now being
given to the invention or discovery of means
whereby the exposure of plates may be very ma-
terially shortened, for it is only by the use of ex-
tremely sensitive preparations or very quick act-
ing lenses that we may be enabled to dispense with
the head rest.
Curtain Support. — A head rest with a long
iron rod, the top of which is bent at a right-angle,
is about as useful for the support of a curtain as
any other. The curtain, when of fine material
and properly used, gives much pictorial effect to
the Ferrotype. The use of the curtain is consid-
ered of so much importance that the National
Photographic Society, at their convention in St.
Ijouis this year, gave one of the medals designed
for the most useful inventions introduced within
this year, to Mr. BIglov/, for his imitation silk
curtain and graduating revolving back-ground.
48 THE FERKOTYPE.
Copying Stand. — The copying stand is an
important and necessary article of furniture in
the operating room. They are sold by most pho-
tographic stock and apparatus dealers in various
forms and designs, some of which are patented,
and otliers not. A copying stand, which is cheap
and as good as the best, is a narrow table strongly
made of pine, not over eighteen inches wide and
about four feet long. At one end an upright
piece of board about eighteen inches square should
be fastened perpendicularly, at a perfect right-
•'ngle with the table. Against one side of the
t-able a strip of board should be firmly fixed, to
form a guide to keep the camera in position,
when focused upon a picture about to be copied.
The picture to be copied is of course secured
against the upright piece of wood by two or more
tacks or sharp points kept for the purpose.
With such a stand much greater certainty is at-
tained, in securing more perfect copies. One or
more drawers may be fitted underneath the table,
to hold such centre stops and other articles as
may be necessary and useful for this part of the
business. I can not better illustrate the use and
value of such a stand, than by referring the reader
to an article on copying, on page 53 of " Photo-
graphic Mosaics'' for 1871.
Table Cover. — The table and cover can be
used with great advantage in many pictures, and
is quite indispensable in a well appointed gallery,
In selecting a table good taste, should be exhib-
THE GLASS ROOM. 49
ited in the choice. A handsome black walnut
table with ornamented top produces a very nice
effect. A small table with white marble top is
also conspicuously agreeable in pictorial effect.
The table is often necessary to support articles
required to be exhibited by the sitter or sitters,
and will be frequently used to support articles
required to be photographed alone. The table
cover may very frequently — if of suitable mate-
rial and color — be used as drapery falling over
the back of a chair or resting carelessly on the
floor to hide the foot of the head rest. There are
many ways in which its usefulness may be exem-
plified.
Ottomans. — Ottomans, or hassocks, are very
useful as low seats in the composition of groups,
and should be liberally provided in every glass
room. They can be made very useful in making
with them, fanciful seats for children, the table
cover or other drapery being thrown over the
ottoman.
In galleries where there is not ample space for
a furnishing room, a corner of the operating room
is generally set apart for that purpose — this cor-
ner should be provided with a table about breast
high, with a large and small drawer. Upon the
table should be placed a gas or naphtha stove; if in
a city where gas is procurable, naphtha should not
be used, but when gas is not to be had, naphtha
is the least objectionable substitute. Upon the
stove shoukl rest a wodge-shaped heater, against
50 THE FERROTYPE.
which the plates may be placed to dry, and again
after being varnished. The plate when dry is to
be colored or tinted. In the small drawer of (he
table should be kept a color box and brushes ; the
color best adapted for the face is Indian Red, with
a small portion of silver white carefully and thor-
oughly mixed with it. The cheeks and lips of
tlie picture may now be carefully colored, the super-
fluous color being brushed off with a small camePs
hair blender, which also serves to soften the out-
lines of the color, and blends it off gradually to
the white of the picture. The picture may now
be varnished and set up against the stove to dry,
a gentle heat being necessary to impart a gloss to
the varnished surface, as it becomes dry and hard.
A great many varnishes are advertised and sold
as peculiarly suitable to Ferrotypes, and many
-of the varieties are good and perhaps better than
the Ferrotypist could make for himself. Here
the question of economy comes in, and should
counterbalance any inferiority there may be in
the domestic manufacture. Where very little
varnish is used, however, it is better perhaps to
order from your stock dealer, and so also with
collodion and other mixtures. A very good qual-
ity of varnish may be made from shellac dis-
solved in alcohol. The alcohol should be the best
and strongest obtainable ; secure a wide mouth
bottle, which will hold one gallon. Get the best
quality of bleached shellac, break it up fine and
small, put one pound in the bottle and fill up
THE DARK ROOM. 51
with alcohol. Set the bottle away for a few days,
giving it a gojd shaking once in awhile; after the
gum has dissolved and settled, decant the clear
portion, after testing, to learn if it is thick enough ;
if not shake up and allow to stand — if too thick,
dilute with alcohol and use. By keeping the stock
bottle full, adding new shellac as required, you
have, with very little trouble, a fine quality of
varnish, giving with a gentle heat as fine a gloss
to your work as any it is possible to make.
Now, that the picture is dry, cut apart ; if more
than one, trim the edges, mount or place in envel-
opes, and they are ready to deliver.
CHAPTER V.
THE DARK ROOM.
The "dark room,'' as it is generally denomi-
nated, should not be in reality a dark room, it being
onl)'^ necessary to exclude the actinic rays of light.
Light, then, may be admitted to any extent through
colored glass, if that color is non-actinic. The
best glass for this purpose is orange or yellow ; the
whole room may be made of glass of this color, and
the work proceed without injury to the most sensi-
tive film. Care must always be taken to exclude all
white light — no cracks should be left open, doors
52 THE FERROTYPE.
should fit closely, and every other ingress for light
carefully guarded. That the dark room should be
the neatest and cleanest room in the building is
the usual theory, but it is only necessary that it
should be clean, free from dust, entirely so, and
with as few shelves as possible.
A small dark room is best for the Ferrotype
business, where every thing can be reached with
little motion, with space to turn conveniently.
This room should be furnished with a convenient
supply of water under immediate control. A
large trough-sink occupying the middle of one
side; on each hand shelves — that on the right for
the bath, the plate-holders and the developing
solutions; those on the left for the collodion bot-
tles and the plates. For a Ferrotype Gallery
where pictures are made in sizes, from one on a
quarter plate, to as large as 8 by 10 inches, the
furniture and supplies of the dark room should be
Ferro-plates,
Ck>llodion,
% Collodion Bottles.
Silver Solution :
Alcohol,
Ether,
Iodide of Ammonium,
Iodide Cadmium,
Bromide Cadmium,
Gun Cotton.
Nitrate of Silver,
Iodide of Potassium,
18 by 10 glass bath dieh,
with box and dipper.
THE DARK ROOM.
53
Developing Solution :
Protosulphate of Iran,
Acetic Acid,
Alcohol.
2 Decanting or Pouring Bottles^
1 Graduate, 8 or 16 oz.,
1 One-gallon funnel,
2 Small funnels,
8 by 10 glass dish, with box and dipper. |
Fixing Solution : . -r^ . -
^ Cyanide of Potassium,
1 Evaporating dish,
1 Actino Hydrometer, single degree,
1 Package of filtering paper,
1 Package of filtering cotton,
1 Back to hold wet plates,
Cotton flannel for cleaning plates.
The following diagram represents a dark room
and the location of the sink, etc.
A
C
ooo
-'•II I
+
'4-
rn 1 11 ^ -1
(D 1
; - n
3
1
A
0/IHK CLOSET.
SHELFw/tk CLOSL/C>.
In this diagram the * * =^ * show the posi-
tion and size of the sink, ^«hieh is a strong wooden
54 THE FERROTYPE.
tank made perfectly water-tight and resting on
the floor; the top is partly covered. On the left,
at A, is a shelf for plates ; C represents the posi-
tion of the collodion bottles, F the bath disli, the
top of which projects through the cover of the
sink, the box resting on a shelf below in the tank.
At E the holders rest on an inclined shelf, some- ^
thing like the; top of a desk. The plate, having
been coated with collodion, is placed in the bath
at F; taken thence when coated, and placed in the
holder at E, from whence it is taken to be ex-
posed. After exposure it is removed from the
holder and developed over the funnel B by the
,solution in bottles at G. After development
it is washed under a fiucet, which' is over aud
between B, the funnel, and G, the developer shelf;
it is then dipped in the cyanide bath at D (this
bath should always be kept covered except when
in use); the plate is again washed carefully and
taken out to finish. Across the side opposite
the tank, and across the end, are shelves under
which are closets. The tank extends from the
floor to a convenient height for developing over,
and should be so constructed, in order that it may
hold all the water likely to be used in one day ;
a waste-pipe passes through the side or end about
nine inches or a foot from the top, and bending
down extends in that direction to within three or
four inches of the bottom. In this pipe outside
the tank, should be a stop-cock ; the hole where
it passes through into the tank should be made
THE DARK ROOM. 55
water-tight. After a day's work, if the tank is
full, a small quantity of a saturated solution of
copperas (the commonest salt of iron) should be
thrown into the tank, for the purpose of precip-
itating the silver that may be in the water. It
should be left all night, to allow time for the pre-
cipitate to fall to the bottom. In the morning the
stop-cock should be turned and the water allowed
to run off, which it will do readily, the waste-
pipe acting as a syphon. It will be necessary,
however, that the tank should be full of water,
or at least that the w^ater should be above the
top of the waste-pipe, in order that it may run
out, for the water must be high enough to flow
through the pipe when the stop-cock is turned,
after which it will continue to run until all is
exhausted. A tank arranged as thus described
is the best silver-saving apparatus that can be
devised. It receives all the washings of the
plates, all the waste of the developing and fixing
solutions, all the silver solution that may be wasted
from the bath dish in raising the dipper many
times a day, all the drippings of plates, all the
films which should be rubbed from rejected plates
or off the edges of all plates after development.
These are all readily precipitated by the solution
of iron, Avhich costs but a trifle by the quantity.
The precipitate, which is a thick black mud, may
be taken from the tank once a year, or oftener if
the business is large, and given to competent
men for the reduction and separation of the sil-
ver it may contain.
56 THE FERROTYPE.
CHAPTER VI.
COLLODION.
Collodion, according to Webster, is "a solution
of gun-cotton in ether. It is strongly adhesive,
and is used by surgeons to close up wounds. It
is also employed in Photography."
Mr. Archer who, in conjunction with Mr.
Home, was the first to introduce this important
addition to the art, deserves our utmost thanks
for enabling us to obtain effects so utterly impos-
sible of attainment by any other means.
Collodion, as a Photographic medium, is, with-
out doubt, far before any other. The beauty of
the details obtained in good pictures, the exceed-
ing sensibility of the medium itself, and the com-
parative ease of its manipulation, place it at the
head of all Photographic agents.
Kesearches in the preparation of Collodion
might appear superfluous, now that it is supplied
of the best quality by so many makers ; but as
some persons of an independent turn of mind
still prefer manufacturing their own, and as an
article of uniform quality is always desirable,
and it being more economical for each photo-
grapher to prepare that which he himself uses, I
venture to bring forward the subject with the
hope of assisting them. I yield to the terapta-
THE COLLODIO^^ 57
tion to give, in this place, an account of the
process of manufacturing Collodion wool or gun-
cotton, which I have discovered in an English
work on photography ; because the possession
of a reliable process is desirable and quite in
harmony with the purposes of this book.
HOW TO PREPARE GUN -COTTON.
Five parts, by measure, of sulphuric acid and
four of nitric acid of specific gravity, not lower
than 1.4, are mixed in an earthen- ware or thin
glass-vessel capable of standing heat ; small por-
tions of water are added gradually (by half
drachms at a time, supposing two ounces to have
been mixed), testing after each addition by the
immersion of a small portion of cotton. The
addition of water is continued until a piece of
cotton is found to contract and dissolve on im-
mersion ; when this takes place, add half the
quantity of sulphuric acid previously used and
(if the temperature does not exceed 130°, in
which case, it must be allowed to cool to that
point,) immerse as much cotton, well pulled out
as can be easily and perfectly soaked ; it is left
in for ten minutes, taking care the mixture does
not become cold. It is then transferred to cold
water and thoroughly washed. This is a matter of
much importance, and should be performed at first
by changing the water many times, until it ceases
to taste acid, and treating it then with boiling
rain-water, until the color of blue litmus paper
58 THE FEKRUTVl'K.
remains unchanged ; the freedom from all trace
of acid is insured by adding a little ammonia
before the last washing. Cotton thus prepared
should dissolve perfectly and instantaneously in
ether containing a little alcohol, without leaving
a fiber behind, and the film it produces be of the
greatest strength and transparency.
Having obtained good pyroxyline by purchase,
or by the above process, the next point of inquiry
is with regard to the solvent; many experiments
have been made to ascertain the proper propor-
tions of ether and alcohol to produce the best
Collodion, having regard to all the qualities con-
sidered necessary to a good article. As ac-
cording to the definition at the head of this ar-
ticle, gun-cotton will dissolve in ether, it might
be asked why add alcohol, and be answered by
giving a variety of reasons: first, the solution in
ether alone could not be sensitized, and would
evaporate to dryness, or '^set^^ so quickly as to
unfit the film for immersion in the bath ; as, for
instance, a mixture containing one-eighth of
alcohol would prove quite unfit for photographic
purposes, it being almost impossible, even with
the most rapid coating and immersion of the
plate, to obtain a film of uniform sensitiveness
and opacity throughout.
It has been found that the proportion of three
parts of alcohol to five of ether produces the best
results, giving without the least difficulty a film
beautiful Iv uniform and highly sensitive, and at
COLLODION. 59
the same time perfectly tough and easily re-
movable from the plate if desired. These pro-
portions are, however, more satisfactory during
the season of cold weather, as it is found that the
film sets too quickly in hot weather, when evapo-
ration is so much more rapid. The surprising
improvement caused by the addition of a certain
quantity of alcohol, is referable to causes partly
chemical and partly mechanical, for, on examining
the films, it will be found in a sample containing
J alcohol, and occasionally, when a larger propor-
tion is used, that on immersion in the bath the
iodide of silver is formed on the surface, and can
be entirely removed by friction without destroy-
ing the transparent Collodion film below, while
in those Collodions containing a larger propor-
tion of alcohol (one-half or even more) the
iodide of silver is wholly in the substance, and
in this state possesses the utmost of sensitiveness.
This difference of condition is owing to the very
sparing solubility of ether in water, which, in the
first case, prevents the entrance of the nitrate of
silver into the film, consequently the iodide and
silver solutions meet on the surface, but on the
addition of alcohol in a greater proportion, its
solubility enables the two to interchange places,
and thus the iodide of silver is precipitated
throughout the substance- of the Collodion film
in a state of the utmost division.
It is most important, in the selection of ether
and alcohol, to form a solvent for gun-cotton to
60 THE FERROTYPE.
secure that which is pure. Ether often, in fact
almost always, contains alcohol, and sometimes
water. Alcohol is sold as 95 per cent, which
will not test higher than 85.
The quantity of alcohol contained in a sample
of ether, may easily be ascertained by agitating
the ether in a graduated measure-glass, (a minim
glass does very well,) with half its bulk of a sat-
urated solution of chloride of calcium. This
should be poured in first, its height noticed, arid
the ether poured on its surface, the thumb then
placed on the top, and the two shaken together ;
when separated, the increase of bulk acquired by
the chloride of calcium indicates the quantity of
alcohol present, and for this, allowance should be
made in the addition of alcohol to the Collodion
afterward.
Water may be detected either in alcohol or
ether by allowing a drop to fall into spirits of
turpentine, with which they ought to mix with-
out turbidity — this is produced at once if they
contain water. For detecting water in alcohol,
benzole is a more delicate re-agent than spirits of
turpentine.
A perfectly pure solvent having been secured,
we shall proceed to consider the materials nec-
essary to excite or sensitize the Collodion, so that
the film, when introduced into the bath, may ex-
cite a chemical action with the nitrate of silver,
producing iodide of silver, which is deposited od
and in the substance of the Collodion film.
COLLODION. 61
Those that are generally used are the iodides
and bromides of potassium, ammonium, cadmium,
and sometimes zinc and sodium ; of these, all but
the potassium have the great advantage of being
readily soluble in any Collodion, and may, there-
fore, be added at once to the solution of gun-
cotton, but iodide of potassium requires to be
dissolved in water, and even then must be added
to the alcohol before mixing with the ether, or it
will be precipitated in the form of a fine powder,
insoluble except by the addition of more water.
To produce a film that is best adapted to the
Ferrotvpe-plate, it is recommended to avoid the
use of potassium as an excitant; it has been
found that the film of Collodion prepared with
this iodide possesses too much transparency ; that
the smallest defect on, or discoloration of, the
surface of the plate may be observed in the
shadows of the picture. With a Collodion pre-
pared with ammonium and cadmium this is not
the case; the film is more opaque, and covers
many defects in or on the surface of the plate.
The iodides of zinc and ammonium give Collo-
dions that are equal to any others in sensitive-
ness, and in gradations of tone, and in all other
respects when first prepared, but after a short
time they lose those good qualities to a great
extent from the decomposition and liberation of
free iodine, while the iodide of cadmium is a cor-
rective of this tendency, and retains its original
qualities long after the others have lost theirs.
62 THE FERROTYPE.
The iodide of Cadmium, in addition to the
valuable property of giving a stable Collodion, is
likewise extremely soluble without being deli-
quescent, and being beautifully crystalline, is not
liable to adulterations or impurities, and is, there-
fore, deserving its good reputation.
Mr. Bingham, in the " Photographic World,"
vol. 1, page 173, gives some formulas for the
preparation of double iodides and bromides, the
use of which, for exciting or salting Collodion,
he very highly recommends, and which appear
to me to be valuable. For the double iodide of
cadmium and potassium his formula is as fol-
lows : ^
"Iodide of Cadmium, 182 grammes;
Iodide of Potassium, 165 "
Warm water 300 "
Shake well and filter; then evaporate in a small evapo-
rating dish over a slow heat.
" For ammonium and cadmium —
"Iodide of Cadmium, 149 grammes;
Iodide of Ammonium, 144 "
Water (same as before.) "
" Double bromides can be made as well by using
these equivalents.
"The great advantage gained is, of the potas-
sium, without any water to dissolve it, as the
double iodides dissolve very readily in alcohol and
ether.
" I use about the following proportions to salt
my Collodion, which works soft and beautiful :
COLLODION. 63
"Double Iodides, 5 to 6 grains to oi.
Double Bromides, or
Bromide of Cadmium 2J grains to oz.
Alcohol and Ether (equal parts)
Cotton about 6 grains to oz.
'' I believe the double iodides to be far superior
tc the simple iodides. I should like to have others
try them, and should like to hear what they think
of them."
The two following formulas will produce the
best Collodion for Ferrotypes I have ever used,
and I would recommend them as worthy of trial
by every Ferrotypist who shall read this book.
The first I have used for fully eight years ; the
second I have lately adopted :
Alcohol and Ether 5 ozs. each.
Gun-cotton, to make of suitable consist-
ency, to be immersed in Ether before
the Alcohol is added :
To every 10 ozs. of plain Collodion add
Iodide of Ammonium 40 grains;
Iodide of Cadmium ....* 20 grains;
Bromide of Cadmium 20 grains.
This Collodion can be used as soon as it has
settled sufficiently clear, and will keep exceedingly
well. The other is equally good, but in some
respects it is different, requiring more skill in its
use. It is more transparent than the first, and
will not, therefore, cover the defects on the sur-
face of the plate ; in fact it can not be used on
plates which have been cleaned, or that are
scratched or stained on the surface, whereas the
64 THE FERROTYPE.
first formula will produce a Collodion that will
cover a multitude of defects:
Iodide of Ammonium 30 grains ;
Iodide of Sodium 10
Iodide of Cadmium 20
Bromide of Cadmium 20
1 Ether and Alcohol 5oz.each;
Gun-cotton, (say) 6to8grs.
Or enough to make the Collodion as thick as may be, tc
flow evenly and smoothly over the plate.
I have found it highly beneficial to vary the
proportions according to the season. During cold
weather I use a greater proportion of ether, and
when the weather is very warm I use less ether
and more alcohol, ever varying the proportions
to suit the season. In the same way it is well to
use less bromide during the summer season, when
the sunlight is diffused — for instance, in July and
August it would be well to make up a sample
thus :
Iodide of Ammonium 40 grains;
Iodide of Sodium 10
Iodide of Cadmium 30 "
Bromide of Cadmium 10 "
Ether, (Cone.) ^ oz.
Alcohol oi oz.
Gun-cotton, (in suitable quantity)...
It may be well to observe that caution is nec-
essary in the use of an over proportion of alco-
hol, from the fact that it is likely to render th£
Collodion glutinous, and from its solubility in
water to sooner injure the bath. During cold
weather the proportions may be varied the other
COLLODION. 65
way without injury, except to render the Col-
lodion less sensitive.
Having learned how to make a good quality of
Collodion, it only remains that some instruction
be given as to the best means of preserving and re-
storing Collodion to usefulness when its virtues
have been destroyed by age. Those who make
their own Collodion should always calculate the
quantity required to last a given time. Cadmium
Collodion will keep good (in a cool dark place,)
for six months or more, and should it show any
signs of giving out, requiring lonoer exposure in
the camera, or should it lose its flowing qualities,
it should be at once set aside and new Collodion
prepared, when the old and the new may be mixed
in proportions to suit with excellent results; it of-
ten appears that the mixture was better than either
had been before. If a quantity of old Collodion
should have collected, it may be restored by the
following process:
Fill a pound bottle nearly full of the old
Collodion ; when it is very dark in color, you
may add a few drops — three or four — of strong
ammonia, and set it away to have its perfect
action, which will result in restoring it to its
original color — by neutralizing the acidity of the
old mixture; you may then prepare say 2} oz.
each of ether and alcohol, adding sufficient gun-
cotton to mid^e very thick, which you may
iodize with double the number of grains to the
ounce usually allowed; this mixture you may
66 THE FP:RrvOiYrE.
add to the old Collodion under treatnaent, where
it will be found to work satisfactorily. It will
be necessary, however, to observe while using
Collodion so restored, that the bath is not de-
prived of its faintly acid or neutral condition by
the introduction of an alkaline Collodion This
may be easily guarded against by frequent testing
with blue litmus paper, and the addition of a drop
of pure nitric acid, always remembering that for
Ferrotypes the bath should be neutral or but
faintly acid; indeed, the use of acid is to be
avoided, except when necessary as in such cases
as the above — as, in fact, in most, if not in all
cases, except when free ammonia has been added
to the Collodion, the silver solution has a ten-
dency to become acid rather than alkaline, both
from the frequent presence of free iodine in
the Collodion, which sets free nitric acid in the
bath, and also from the slow formation of acetic
acid from the alcohol and ether washed out from
the plates that have been immersed.
When Collodion has become very brown or
dark red in color, from excess of iodine which
has been set free by long keeping, producing the
color and rendering the Collodion insensitive, it
has been found that the addition of oil of cloves,
in the proportion of four drops to each ounce,
causes a surprising increase of sensitiveness.
The strength of the solution of nitrate of
silver should be proportionate to the quantity of
iodide in the Collodion, at least so far that it
COLLODION. 67
can not be diminished beyond a certain point
(depending on the Collodion used), without a
great loss of sensitiveness; or what is exactly
similar, if we use a bath of a certain strength,
the quantity of iodide can not be increased to
any amount, but must be limited by the propor-
tion of nitrate of silver. With a thirty-five grain
solution of the latter, four grains of bromo-
iodides, or iodides and bromides, answers very
well ; but if the quantity be increased to six
grains, there is a great loss of sensitiveness, the
effect being similar to that arising from an in-
sufficient amount of alcohol in the Collodion, in
consequence of the iodide of silver being de-
posited superficially, or even falling off the sur-
face into the silver bath. It will be well to note
here, that the formulas for Collodion herewith
given require a silver solution of at least 45
grains to the ounce, and will work much better
with a fifty grain solution.
By knowing the quantity of iodide contained
in a Collodion, it is easy to ascertain the amount
that the bath loses for each ounce, and thus to
know exactly how much nitrate should be mixed
to maintain the strengtli ; thus, with a Collodion
containing eight grains of iodide of ammonium
to the ounce, each ounce expended removes nine
and four-tenths grains of nitrate, but with iodide
of potassium, the quantity removed would be
slightly less.
For the purpose of pouring the Coll«vilion over
68 THE FERROTYPE.
the piates prepi^ratory to their being immersed in
the silver bath, bottles of various designs are
used, some of which are patented and others are
not. Most of them are designed so as to permit
the Collodion to flow outward quite easily from
an orifice just large enough to allow the surplus
Collodion to be turned back into the bottle from
the plate ; this is to prevent evaporation as much
as possible, while they are provided with covers
instead of stoppers to keep them free from dust ;
hence their name, " cometless bottles." There is
a bottle recently iii vented and patented which
filters all the Collodion used, but from its lia-
bility to excessive evaporation during warm
weather, its use is not recommended during that
season ; vhile for the cold season it is entirely
satisfactory. The larger sizes of the " cometless
bottles" are very useful, for when kept in con-
stant use all day, there is sufficient space in the
bottom I or all sediment which may form and be
deposited, to remain at rest without being dis-
turbed by the agitation incidental to flowing
plates.
81JL.VEB. 69
CHAPTER YIl.
SILVER. I
"This metal may be termed a photographic
mne qua non^ for it is more than propable that,
but for its existence, all the interesting phe-
nomena connected with photography would never
have been observed."
Among the various metals, silver holds the
second place in value and usefulness. It is also
regarded as one of the noble metals, because of its
resistance to the action of atmospheric air and of
fire. It is described as a soft, white, metallic
element, very malleable and ductile, and capable
of a high polish. Its specific gravity is 10.8, or
nearly eleven times as heavy as water. It occurs
pure in nature, and also in combination with
sulphur, arsenic, etc., and with ores of lead,
coj>j)er, and gold. It is found in veins, rarely in
beds, in crystalline slate rocks, gneiss, mica slate,
hornblende, slate, granite, syenite, porphyry.
It is mined extensively in Norway, Sweden,
Saxony, Bohemia, Hungary, Transylvania, Si-
beria, the Hartz, Baden, Tyrol, France, England,
Chili, Peru, Mexico, and in many parts of the
United States. Among the many celebrated
70 THE FERROTYPE.
mines of this country is the Comstock Lode,
in the territory of Montana, out of which
fabulous amounts are taken yearly.
Silver melts at a temperature of 1873° Fah-
renheit, and at a higher temperature it burns
with a reddish colored flame, and when fused by
a powerful current of electricity, the flame is of
a greenish cast.
This metal is so malleable and ductile that it
ranks next to gold in that respect, and its
tenacity is so great that it may be drawn into
wire of exceeding fineness, of which lace and
other delicate fabrics are made. It is capable of
a most brilliant polish; the ancients used highly
polished plates of silver as mirrors. For the
brilliancy of polish, as well as for other high
qualities, it is used in the manufacture of many
articles of beauty and utility. Mixed with
copper, in the proportion of 12J to 1, it forms
the standard of British coinage.
The earliest mention of silver is in the Holy
Bible, in the time of Abraham. We are not there
informed of the first discovery or use of silver,
either in the arts or as an article of value for ex-
change for other commodities as Abraham used it;
so that Tubal Cain, the first worker in brass and
ir©n, might also have been the first silversmith.
Silver as well as gold, and indeed most other
metals, may be dissolved in acid ; the acid being
evaporated, the silver remains in a state of crys^
tallizatio*^ as a salt of silver.
SILVER. 71
The different salts of silver are obtained from
the ores or from the metal itself. The
NITRATE OF SILVER
is obtained by dissolving the pure metallic silver
in nitric acid, and is that salt of silver npon
which all the processes of photography are
founded, and beside which there is no metallic or
other element by which primary photographic
impressions can be made, although there are other
substances which are sensitive to light. There
are many processes for obtaining the pure nitrate
of silver from the ore or from the metal, froni
among which the following is selected :
Pure nitric acid and water of equal parts
should be placed in an evaporating dish over a
gentle heat ; when warm, add the silver. This
part of the process should be carried on out of
doors, or where the draft of a chimney may cause
the fumes which arise to be carried off or be dis-
sipated. After the silver is dissolved, the solu-
tion should be evaporated to dryness by a slow
heat, less than will produce fusion of the salt.
When the salt is dry, it should be dissolved in
the least quantity of hot water; the solution
should then be set aside to crystallize.
The crystallized nitrate may be purified by re-
dissolving in pure water and allowing it to re-
crystallize.
Nitrate of silver thus obtained is a dry salt
composed of oxide of silver and anhydrous nitrio
72 THE FERIiOrYPE.
acid ; its chemical symbol is (AgO, N05), and
its equivalent, therefore, 170; its combining pro-
portion, 103 ; its specific gravity, 4,336.
Pure nitiate of silver is not changed by the
action of light, but when it contains organic
matter it soon turns black under the influence of
the sun's rays. Water will dissolve its equal
weight of silver, but a less proportion is capable
of being dissolved in alcohol.
If any substance, such as wood, ivory, cloth,
paper or a photographer's finger is first wet witl;
a solution of silver, and then exposed to sunlight,
the substance will be stained black, which stain
is metallic silver, reduced by the action of the
light, which will become apparent on burnishing
the stain on the wood or ivory. This black
stain is insoluble in all common fluids, and is on
this account made the basis of indellible inks.
The best ink of the kind is made by dissolving
an infinitesmal portion of silver in gum- water,
at^the time when required for use, when it can
be applied to a smooth surface with a pen ; upon
exposure to the light, it will turn black in and
through the fiber of the material marked by this
truly indellible ink.
Nitrate of silver is also used in the compo-
sition of hair-dyes, and by photographers it is
frequently used involuntarily as a dye for
clothes.
Nitrate of silver is precipitated from solution,
by salts of iron, copper, zinc, etc., in the form of
SILVER. 73
a metallic powder — with bicarbonate of soda it i*
precipitated as a carbonate of silver.
When desirable to reduce silver from a so-
Intion to a metallic state, the quickest and best
way is to measure the solution, and put in a -wide-
mouth bottle or into an evaporating dish, and for
every fifty ounces of solution add three ounces of
sulphuric acid, and three ounces of clean zinc in
strips — iron, if more convenient, would answer
the same purpose — the zinc or iron should be
placed in the silver solution first, and then the
acid part at a time ; this part of the process
should be done, out of doors, or in a strong draft,
to carry off the horrible fumes which arise ; the
precipitate forms rapidly on the zinc, and should
from time to time be rubbed or scraped off. As
soon as ebullition ceases, add more acid ; at the
last, it is well to test the solution to ascertain if
the operation is complete, which can be done by
taking a small quantity of the solution, a test-
tube, and add a drop or two of hydrocloric acid,
or a pinch of common salt; if a white precipitate
is formed, th( re still remains silver in the so-
lution, to reduce which add more acid and clean
the zinc.
After the silver has been precipitated, re-
move the remaining pieces of zinc or iron, and
allow the sediment to settle, after which pour
off the liquid, and wash the precipitate two or
three times with clean water until blue litmus
paper ceases to turn red iu the liquid, each time
74 THE FERROTYPE.
allowing the sediment to fall to the bottom before
decanting the liquid.
You have now in the washed precipitate a
grayish powder, which is comparatively pure
metallic silver, which, if you choose, may be
converted into solution again by adding nitric
acid sufficient to re-dissolve, or the precipitate
may be dried and placed in a crucible with a
small quantity of nitrate of potasli, and fused;
the potash will remove any trace of iron or zinc.
I have by this method converted an old and use-
less solution of silver into a good working bath
in a very short time, although it is better not to
do it in a hurry.
Nitrate of silver may also be reduced from
solution by evaporating to dryness ; at the last,
the heat should be very gentle, because in the
presence of organic matter the nitrate is easily
changed to pure silver, which would require to
be re-dissolved.
The fused mass presents a yellowish appear-
ance, and readily dissolves in water, leaving the
organic matter and residues of cadmium and po-
tassium in a thick, pasty mass of a dark color,
but which also contains some silver, and on that
account should be saved with other wastes.
It has been said that the fusion of the residues
of photographer's old silver solutions is attended
with some danger from the not improbable
formation of fulminating silver, a most power-
fully ex]>losive compound. Some idea of its ex-
SILVER. 76
plosive force may be obtained from one of
Charles Reade's novels.
The solution of nitrate of silver used by pho-
tographers for the preparation of sensitized sur-
faces, or surfaces rendered sensitive to the action
of light by the deposition thereon, upon immer-
sion in the silver solution of certain salts of sil
ver, such as iodides or bromides of that metal, is
the most important solution claiming the atten-
tion of the photographer.
The formulas for the preparation of such a
solution are almost innumerable, and they are as
diverse as are the minds of their authors or in-
ventors, and it would appear that minds of no
ordinary inventive powers have been engaged in
such labors, judging from published formulas,
which may be found in every library of photo-
graphic works.
''^'''^^ The preparation of a silver solution or bath,
however, is a matter of no small importance, as
upon its successful operation depends all the in-
terests of the establishment. The perfect opera-
tion of the silver bath is a matter of primary
importance to the o])erator, no matter how it
may be prepared, or by what formula.
There are various methods used in the prepa-
ration of nitrate of silver by manufacturing
chemists — each one may have his own favorite
process. One firm may take pleasure in pro-
ducing a quality that shall be remarkable for
the beauty and size of its crystals; another, for
76 THE FERROTYPE.
the peculiar whiteness and seeming purity of
their product, while yet another may pride them-
selves upon a high standard of purity, regardless
of the size of the crystal, or of the whiteness and
brilliancy thereof. The latter we would recom-
mend w^herever he may be found, and having as-
certained by fair trial the purity of such a
manufacture of silver, ever continue to use the
same. Avoid change, because of the uncertainty
which must surely follow. Eveiy change must
partake of the nature of an experiment, and ex-
periments should be conducted separately.
The quality of the nitrate of silver having
been ascertained and decided on, the next thing
to be considered is the purity of the water used,
in which the nitrate is to be dissolved. One
will recommend distilled water for absolute
purity ; another says rain-water is pure enough,
while others contend that ice-water is better than
either of the foregoing. This is a matter that
might well be left to the decision of each in-
dividual for himself. Water may be tested for
purity by dissolving a few grains of nitrate of
silver in a small quantity of the water about to
be used, when, if the water remains clear, and
there is no deposit thrown down, the indications
are in favor of its purity ; but if a gray or
whitish deposit takes place, or the water changes
its color to a white or milky appearance, it is not
pure.
In the preparation of a solution of silver for a
SILVER. 77
bath it is always best to procure the purest water,
but in the absence of such, or when distilled,
rain, or ice-water can not be procured, the
operations of the gallery need not cease.
The proper course to pursue in this case, would
be to take the water that is used for ordinary
purposes, and proceed as follows : In J gallon of
water, dissolve 4 ounces nitrate of silver, and
add 2 grains of iodide of potassium. Shake
well, and set in, the sunshine for three or four
hours — one hour of clear sunshine is suffi-
cient— after which filter and strengthen as
desired.
Forty-five grains of nitrate to the ounce of
water gives the most satisfactory results. The
bath is now ready for use, and in most cases will
work as perfectly as it ever will. Should it,
however, not work satisfactorily, coat a plate of
glass with Collodion and immerse in tlie bath;
allow it to remain there a few minutes, after
which, if the bath still refuses satisfactory results,
add a few drops of pure nitric acid, when you
will find all difficulties to have disappeared, and
the bath will work splendidly.
If the Collodion recommended in this book be
used with the bath made as above, it will remain
in good condition until it has been greatly re-
duced in strength, and shall have become so
saturated with alcohol and ether as to render it
quite difficult to flow the developer, when it will
be quite proper to replace with a new or fresh
78 THE FERROTYPE.
bath, which should always be kept on hand ready
for use.
We will now inquire into the condition of the
solution just relieved from duty, and ascertain
what is necessary to be done to again fit it for
use.
First, then, the solution contains among its
disturbing elements both alcohol and ether in
excess, which it received in small quantities from
each plate that has been immersed, and the
presence of which is indicated by a slower oper-
ation of the bath in coating the plate; and in the
operation of developing, by the difficulty ex-
perienced in flowing the developer evenly and
smoothly over the plate.
The solution may also contain iodide of silver
in excess, called free iodide, which it also receives
in minute quantities from the sensitized Collodion
with which the plates are coated before immersion
in the bath. The Collodion contains iodine,
which, upon the introduction of the plate into the
silver solution, immediately combines with the
silver to form an iodide of silver upon and in the
coUodionized surface; in this operation, portions
of iodine escape, and combining with the silver,
is held in solution in the bath until such time as
a greater quantity has been received than can be
held in solution, when the character of the iodide
changes from a state of solution to that of suspen-
sion, in which state, innumerable small particles
or atoms of iodide of silver are floating in and
SILVER. 79
through the sohition. Free iodide in the bath
is indicated by pin-holes in negatives, and by a
rough and sanded appearance of the plate when
removed from the bath, and by being covered
by black spots when developed.
The solution may also contain an excess of
organic matter, the presence of which is indicated
by a tendency to fog in the development, and by
an absence of transparency in the shadows, to
counteract which pure nitric acid is used. The
acid holds the organic matter in solution, but it
has also the evil effect of hastening the accumu-
lation of the cause of the first difficult}^, by
attacking the edges and unprotected portions of
the plates, and by taking up and holding in so-
lution s-uch particles of organic matter as may
collect in and upon the surface of the bath dish.
For this reason, the use of, nitric acid in the bath,
except in cases where it is absolutely necessary,
should be discountenanced.
We find, then, that our old solution is bur-
dened with a number of evil qualities, which we
will proceed to dispose of, and casting out, re-
store the solution to its pristine purity. For
that purpose, we will add to the solution suffi-
cient carbonate of soda or concentrated ammonia
to counteract the acid, barely enough to pre-
vent the change of color in litmus paper from
blue to red when immersed in the solution.
We will now pour into an evaporating, or other
dish, four fluid ounces of water, into which we
80 THE FERROTYPE.
will pour the half-gallon more, or less, of so-
lution ; tlie effect is to change the transparency
of the solution to a dense milky whiteness, which
is iodide of silver, set free by reducing the
strength of the solution. This sliould now be
filtered to remove the iodide, after which i1
should be returned to the evaporating dish, and
set over a fire, and boiled down to less than the
original quantity; this will effectually remove,
by evaporation, the alcohol and ether. There
will, also, during the process of boiling down,
be deposited a black, muddy sediment, which is
partly iodide of silver and partly organic matter.
The solution should be then diluted with cold
>vater enough to restore to the original quantity,
poured into a white glass bottle, and set in
the sunshine for a day, or until it is again re-
quired for use, when it should be strengthened by
adding fresh nitrate of silver, to restore it to the
standard strength of 45 grains to the ounce fluid.
During the summer season, when the sun is
bright and warm, it is not necessary to boil the
bath solution to remove the alcohol and ether.
The bath, when unfit for further use, should be
neutralized and set in the sunshine, after being
diluted wnth sufficient water to restore it to its
original bulk. It will be w^ell to notice that, in
diluting or adding water to an old bath, the
water should not be poured into the bath, but the
bath solution should be poured into the dish con-
taining the wa^er it is intended to add, the effect
Sir.VEE. 8 1
of which is to set free a greater quantity of the
iodide of silver. By pouring the bath solution
into the water, the first part of the sohition is
compelled to give up all or nearly all of its
iodide, while the last to go in will have to part
with as much in proportion as would the whole, if
the water had been added to the solution.
The heat of the sun will cause the ether and
alcohol to evaporate from the solution, which,
being free from acid, the particles of organic
matter are no longer held in solution. In which
state the light could have no effect; but being in
suspension, and being saturated with silver, the
light falling upon and passing through them,
causes a chemical change to take place in the
innumerable particles or atoms, the nitrate or
iodide of silver they contain is changed into a
metallic state, or into some other combination, by
which they become heavier and fall to the bottom.
The appearance of the solution during this
process is altogether changed from a total absence
of color to a light red, then a darker shade, and
then quite black ; the black particles then fall to
the bottom, and the solution becomes once more
colorless. When required for use, it should be
strengthened, and is then ready.
During the season of cold weather, it is neces-
sary, in order to remove the alcohol, to boil the
solution, as evajioration by sun heat at that sea-
son of the year would be a slow process. After
filtering such a solution the filter should be pre-
G
82 THE FERROTYPE.
served for the Silver which is contained therein
All other wastes of the dark-room, such as clotha
for wiping holders, paper on which plates are
drained when taken from the bath, and every
filing which has any trace of Silver upon it
should be kept in a receptacle for the purpose,
and after the collection of a sufficient quantity
should be treated for the recovery of the Silver.
The loss of Silver in washing pictures after
development, and in the waste of the solution of
cyanide of potassium, in which they are cleared
or fixed, may be prevented by having a water-
tight box or barrel, which will hold all the water
likely to be used in a day's work, placed under
the water faucet. Every evening a quantity of
solution of common sulphate of iron should be
thrown into the water, and in the morning the
water should be drawn off by a syphon, leaving
room for another day^s work, Avhen the same
process may be repeated. This ai)paratus costs
very little infringes no patent, and will save in
proportion to the amount of business done from
one to many pounds of Silver each year.
Much silver may be saved from the develop-
ing of plates by performing that operation over
a large funnel in which may be placed a loose
cotton filter, or, what is better, an old felt hat
may be used, by tacking the rim to a frame; the
solution will filter through, leaving all the Sil-
ver washed from the surface of the piate. The
developer may be received below in a wide-
SILVER. 83
mouth bottle, and can be used again with great
advantage in the proportion of two parts of old
to one of new. After using the hat for a year,
the deposit which remains, and is nearly all
metallic silver, may be recovered by the proper
means.
Every precaution should be taken against the
waste of Silver; time and money can not be
better invested than in devising and procuring
appliances for saving the Silver which would
otherwise be lost in the water that runs from
your dark-room sink. When it is taken into
consideration that of all the Silver used in photo-
graphic establishments, in making positives and
negatives, not more than ten i>er cent, of the
whole remains in the finished picture, either posi-
tive or negative, an idea may be formed of the
amount that passes into the sewers, unless in-
tercepted before it reaches the pipes conducting
thereto. This great waste of precious metal has
no excuse, neither can there be any excuse for it,
and, therefore, it claims and is receiving more
attention year by year; in fact, in the larger
cities every gallery has its apparatus for saving
the Silver
Two gentlemen have become famous among
photographers by the attempted enforcement of a
patent which they claimed for recovering the
salts of silver from solution. Their claim cov-
ered every known means of precipitation of
nitrate of silver from solution.
84 THE FEEROTYPE,
Glass Bath. — To hold the Nitrate of Silver
solution, nothing can be so surely depended upon
for chemical purity as glass. No other descrip-
tion of bath dish affords the same advantages.
The most desirable dish is the " solid glass," of
which sizes from 6. by 8. to 14. by 20. inches, are
neatly inclosed in light wooden boxes, with
hinged covers, to exclude light and dust. These
bath dishes are, however, quite expensive, and
this to the ferrotypist who makes pictures for
profit, is a very important consideration. They
are also, unfortunately, very liable to break, and
the breakage of one of these baths, especially
when filled with silver solution, is no laughing
matter.
There is another quality of glass bath which is
made of pieces of plate glass, cemented together
with marine glue or other substance capable of
resisting the action of silver solution, and incased
solidly with wood. These also are expensive,
and are very heavy.
Another and less expensive bath dish has lately
been adopted in some galleries. It is a light box
of suitable shape, made of clear pine, free from
knots or blemishes, the pieces joined with either
asphaltum, coal tar, or pitch, and screwed firmly
together. The box, w^hen complete, is filled with
hot coal tar, such as is used for roofing, and after
a time is emptied and allowed to dry. The edges
of the cover and the top of the box are carefully
saturated with the tar, and when thoroughly dry
SILVER. 85
are varnished, and the box is then fit for use,
and is, when properly made, cheap, durable, and
efficient.
It is not considered necessary to describe the
qualities of porcelain, rubber, or photographic-
ware baths, as their good qualities are few and
their bad qualities are not })roperly describable
The bath dish should always be scrupulously
clean, and when in use should be kept covered.
When the solution requires filtering, the dish
should be cleaned with a swab, to remove the
sediment from the bottom and sides.
86 THE FERROTYPF
CHAPTER yill.
DEVELOPER AND DEVELOPMENT.
Proto-Sulphate of Iron as a Developer.
The developing solution, is an aqueous solution
of iron with acid, and sometimes alcohol. The
form in which iron can be used as a developing
agent is that of a crystalized salt. This salt,
often termed copperas or green vitriol, is a sub-
stance formed in abundant quantities, and is used
for a variety of purposes in the arts. Commer-
cial sulphate of iron, however, being prepared on
a large scale, requires re-crystallization to render
it sufficiently pure for photographic purposes.
Pure sulphate of iron occurs in the form of
large transparent crystals, of a delicate green
color. By exposure to the air they gradually
absorb oxygen, and become rusty on the surface.
The sulphate of iron, colorless at first, afterward
changes to a red tint, and deposits a brown
powder. This powder is basic persulphate of
iron ; that is, a persulphate containing an excess
of oxide or base. By the addition of acetic acid
to the solution, the formation of a deposit is pre-
vented, the brown powder being soluble in acid
liquids
DEVELOPEE AND DEVELOPMENT. 87
The action of sulphate of iron upon the nitrate
of silver solution is to change its character by
converting the silver of the solution to a metallic
state, in which state it is deposited in the form of
a grayish powder, the character of the deposit
being somewhat affected by the acid.
Various acids are used in the developing so-
lution. The most prominent are acetic, glacial
acetic, nitric, citric, gallic, and pyrogallic acids.
The last three, however, are more used in the
process of re-development of negatives. The
first is, for many reasons, the best, and is gen-
erally used in solutions for the primary develop-
ment of negatives and always for positives.
Acetic acid is a product of the oxydation of
alcohol. Spirituous liquors when perfectly pure
are not affected by exposure to the air, but if a
portion of yeast or nitrogenious organic matter of
any kind be added it soon acts as b. ferment, and
causes the spirit to unite with oxygen derived
from the atmosphere, and so to become sour from
the formation of acetic acid or vinegar. Acetic
acid is also produced on a large scale by heating
wood in a close vessel. A substance distills over,
which is acetic acid contaminated with empyreu-
matic and tarry matter; it is termed pyrolig-
neous acid, and is much used in commerce.
The most concentrated acetic acid may be
obtained by neutralizing common vinegar with
carbonate of soda, and crystallizing out the acetate
of soda so formed. This acetate of soda is then
88 THE FERROTYPE.
distilled with sulphuric acid, which removes the
soda, and liberates acetic acid, which, being vola-
tile, distills over and may be condensed.
The use of acetic acid in the developing so-
lution, besides its preservative effect upon the
solution itself, is for the purpose of retarding the
action of the iron in the reduction of the salts of
silver to a metallic state, also favorably affecting
the character of the deposit. Alcohol is used in
the developing solution for the purpose of caus-
ing it to flow evenly and smoothly over the sur-
face of the plate.
\¥hen new silver is used for coating the plate,
the developer requires no alcohol, but as every
plate which is immersed in the silver solution im-
parts to it a portion of ether and alcohol from
the collodion film, the silver bath soon acquires
enough to change somewhat the character of the
sensitized surface, giving it the power to repel
the developing solution. By the addition of
alcohol to the developing solution this repelling
power is overcome.
We will now describe the process of develop-
ment. The correct definition of the last word of
the title at the head of this article, according to
Webster, is, " The act of developing or disclosing
that which is unknown," and beautifully describes
one of the wonderful processes of our art.
A ferro-plate is coated with collodion and im-
mersed in a solution of nitrate of silver. After
being allowed to remain a few minutes, it is n?-
DEVELOPER AND DEVELOPMENT. 89
moved and placed in the shield or plate-holder.
This operation must be done in a dark chamber,
or in one the light of which is of non-actinio
character; for so sensitive is the plate on being
removed from the bath, that the smallest ray of
white or actinic light falling upon it, leaves its
mark. Tne plate when removed from the bath
is found to be changed in appearance; the glossy
black surface no longer shows through the trans-
parent collodion film, but, instead, a beautiful
creamy opacity hides the surface from view. The
plate-holder is now taken to the camera and ex-
posed to the action of light reflected from some
object animate or inanimate; after which it is
again removed to the dark chamber. If now it
be subjected to the most careful examination, no
visible change can be noted. It has the same
rich yellounsh white color, and is as opaque as
before. A very important change has, however,
taken place in the character, if not in the appear-
ance, of the surface, which change can only be
made apparent to the eye, and the chemical action
of light on the sensitized film can only be made
known through the action of the developing so-
lution in the process of development.
The plate may now be removed from the
holder, and being held by the left hand between
the thumb and fore-finger, the other fingers acting
as a brace to support it and keep it steady, a so-
lution is poured gently but quickly upon the end
and corner nearest the hand, and caused to flow
90 THE FEIUIOTYPE.
evenly over the whole surface of the plate, with
out allowing it to rest at any part until the whole
is covered ; and for that purpose the plate should
be held so as to incline downward, and always
away from the holder. After the whole surface
shall have been covered, the solution should be
caused to flow backward and forward, by gently
rocking the plate, taking care not to allow any
of the solution to run off, either when pouring on
or afterward, until the process is complete.
The solution will hardly have covered the
plate before an image will begin to be developed,
at first slowly, then quicker and more plainly it
will appear, until in a short time the perfect
image will stand out boldly, when the develop-
ment is complete.
It is the process of development, and the chem-
ical and other changes which take place under
the action of the developing solution, which it is
desired to explain and make clear to the intelli-
gence of the reader.
First, then, we will try to explain the chemical
action which takes place in the sensitized collo-
dion film, when exposed in the camera. The
collodion plate, upon being taken from the silver
} ath, has received in and on its surface a deposit,
more or less dense, of iodide of silver, which,
upon being exposed in the camera to the action of
light reflected from an inanimate object or from a
person sitting for a portrait, is converted to a
8ub-iodide by the loss of oxygen, chlorine, etc.;
DEVELOPER AND DEVELOPMENT. 91
or as it is otherwise explained, the iodide of silver
contains a portion of oxygen, which it is known
has but litte affinity with the noble metals. By
the action of light the iodide of silver is caused
to give off a portion or all of its oxygen, and
the silver with which it was combined is at once
reduced to a metallic state, but in so small a pro-
portion as not to affect the appearance of the
plate to the eye.
The change that has taken place, then, is that
the image of the sitter is impressed on the sen-
sitized film, the light parts, such as the face, hands,
and parts of the clothing reflecting light; by
a change of the iodide of silver to a metallic
state, the dark portions, such as hair, eyes and
shadows of the dress having no effect, or very
little if any, upon the film.
The plate being now taken to the developing
stand, the developer, an aqueous solution of iron
with acid, is flowed upon it, the effect being that
the iron and acid act^ upon the nitrate of silver
with which the plate is still wet, and causes a
deposit of pure metallic silver upon all parts of
the surface which is prepared to receive it, which
parts are those that have been touched by light and
have been converted into a metallic state, so that
the development causes a greater deposit of me-
tallic slv^r upon those parts only where metallic
silver ha& been formed by the action of light.
At this stage, when the development is complete,
we find that all portions of the plate that have
92 THE FERROTYPE.
not felt the action of light, remain as opaque as
before exposure, and with very little if any change
of color, remaining in the same state as when
taken from the bath, that is, iodide of silver ;
but the image, which now stands out plainly, ia
composed of metallic silver in the light and in-
termediate part, and iodide of silver in the shad-
ows. If the plate is now immersed in a solution of
cyanide of potassium (which is a powerful solvent
of the iodide of silver), it \\i\\ at once be dissolved
and removed, leaving the image, which is in the
light parts metallic silver, in the dark parts the
black surface of the plate showing through the col-
lodion film; so that the action of light in the
camera is to produce on the surface of the sensit-
ized plate, an image of the object in focus in
metallic silver, which serves as a basis upon
which to deposit more metallic silver in the pro-
cess of development. And as metallic silver in
this process will not deposit itself except upon a
metallic surface, we can easily understand why an
image may not be developed upon an under ex-
posed plate, as the exposure will not have been
of sufficient duration to have formed a basis. An
over-exposure, in like manner, will have destroyed
the proper gradations by extending the primary
change into the shadows.
The development of the latent image comes
second only in importance to the posing and
lighting of the subject preparatory to the ex-
posure of the plate, to which I concede the first
DEVELOPER AND DEVELOPMENT. 93
place only for the reason that if the lighting is
faulty and the position is bad, the best develop-
ment will not make a good picture.
The whole treatment of this manipulation de
raands from the operator a judicious appreciation
of the nature of the subject — the time of exposure,
the temperature, the nature of the component
parts of the developing solution, and the exercise
of a good judgment, a quick eye, and a steady
hand. In fact, very great importance attaches
itself to every particular of this process, as much
to the quality of the materials used as to their
true proportions and harmonious effect ; all of
which is particularly true of the development of
Ferrotypes, for upon this process depends all the
brilliancy, the beauty, tone, and all that makes
^.he picture desirable.
In the preparation of a developing solution for
•ferrotypes, we must first consider that we desire
■o produce a different effect in the positive
picture from what is requisite in a negative; that
ihe effects we want in the positive would be un-
desirable in a negative, and, therefore, the solu-
tion that would develop a negative properly would
be unsuitable for a Ferrotype, and vice versa.
The Ferrotype, to be admired, must be full of
detail, as much so as the negative. The shadows,
also, should be as transparent and clear, but the
lights should be pure and as white as the pure
silver will make them ; for upon the purity of
the high lights and the transparency of the
94 THE FERROTYPE.
shadows depends the brilliancy of the pictures,
that quality which above all others makes the
Ferrotype the rival of the Daguerreotype. The
proper solution for developing Ferrotypes is the
one which will produce these effects in the highest
degree, and will also produce the most satisfac-
tory effects with the greatest certainty, wdth the
possibility of its modification to suit the ever
varying exigencies of the dark room.
It has always been the good fortune of the
writer to find the most encouraging results pro-
ceeding from the simplest causes, or, in other
words, the simplest processes in the e very-day work
of the gallery produced invariably the best re-
sults— probably because where there are a few
things to learn and understand properly, they
can be better learned and more thoroughly un-
derstood than when there are many.
The formula for developing solution, given be-
low, will be found by careful trial every thing
that can be desired for Ferrotypes, and it is
hoped that it will, if adopted for use, be always
used as directed :
Water 64 oz.
Protosulphate of Iron 4 "
Acetic Acid 4 "
Alcohol 4 «
The four ounces of iron should be put into a loose
filter, and the water filtered through, which will dis-
solve the iron readily. The acetic acid need not
be added until required for use. The alcohol need
DEVELOPER AND DEVELOPMENT. 95
not be added at all, if the solution flows readily
on the plate ; it is, however, better to add it at
once to make sure.
To use the solution, the proper way is to de-
velop over a funnel large enough to receive all the
waste solution that may run off the plate in flow-
ing, allowing it to filter through cotton into a
bottle below, being careful always to drain the
plate under development of all surplus solution
before the development is complete, so that all
the solution will be saved, and being filtered free
from the silver taken up during the development,
falls into the bottle below and is ready for use
again, which may be done by adding two-thirds
of the old solution to one-third of the new. It
will be seen that, in order to use so large a pro-
portion of the old solution, it will be necessary
that at least two-thirds of all that is used should
fall into the filter, but by giving attention to the
directions above a larger proportion can very easily
be saved. By this process we obtain a solution
that will produce the best chemical effects in the
Ferrotype, with the least outlay for materials,
for it will be seen that we are using only one-
third the quantity of new solution that would
otherwise be expended, so that if Ferrotypes are
made for profit, here is a large saving, which is
a piofit, of two-thirds of the ordinary expense
for developing materials.
This solution n>ay also be modified to suit all
degrees of temperature, and all periods of ex-
96 THE FERROTYPE.
posure, by varying the proportions of old and
new. If we have given too ranch time in ex-
posure, we may weaken the solution with the
old ; if too short an exposure has been made, we
3trengthen with new. If it is desired to produce
a white ground and purer high lights, the plate
may be flowed with a small portion of the old
unfiltered, which gives a heavy deposit of silver;
this, however, should not be done until after the
plate is partially developed by the ordinary so-
lution.
An excellent -filter has been before described,
but is worthy of more careful attention in this
connection. A soft felt hat may be stretched on
a frame, or placed in a large glass funnel, over
which to develop all pictures; the surplus solu-
tion falling into the hat is more perfectly filtered,
and the deposit which remains in the filter, after
enough shall have collected to interfere with its
usefulness, being all silver, may be recovered in a
metallic state by any of the processes usually em-
ployed for that purpose, among which the follow-
ing will be found the most economical, and,
perhaps, within the means and ability of a
greater number than would by any other pro-
cess :
The residue may be taken from the filter, and
placed in a porcelain evaporating dish containing
a solution composed of equal parts of nitric acid
and water; the whole should be gently heated
until the action of the acid has ceased, when the
DEVELOPER AND DEVELOPMENT. 97
heat may be increased, and the product evapo-
rated to dryness; it may then, again, be dissolved
in water, converted into a metallic state by the
process described in the article on silver, and
re-converted into nitrate.
This process will give a perfectly pure nitrate
of silver, and is probably the most economical
and certain in its results of all the different
methods for recovering silver from photographic
wastes.
It is recommended that the process of develop-
ment should be carefully studied by the Ferro-
typist, principally becnuse so much of the success
of the establishment depends on the production
of a brilliant and pleasing pictorial effect, which,
in turn, depends on the development, so that a
habit of noting every varying phase of the
process, and of applying corrections here, ac-
celerants there, and checks and aids wherever
required, will be found of incalculable advan-
tage.
This constant watchfulness might well be ex-
tended to and include every manipulation and
every process that goes to the production of the
picture ; but nowhere else is it so necessary, and
in no other place will it result in so much good,
as in the dark-room, while watching the appear-
ance of the image as it emerges from obscurity
and nothingness; for here we have under our
observation the plate ; we are to judge at this
time, the sufficiency of the coating of iodide
7
98 THE FERROTYPE.
derived from the bath, of the time of exposure,
whetiier too long or too short, of the propnety of
the lighting and posing, and of the action of the
developing solution ; in every particular of which
there is an endless variation which taxes every
power of the mind, and the study of which is an
endless source of pleasure and excitement. It is
well, also, to accustom the eye to note, and the
mind to judge of the strength of light passing
through the lens, and thrown on the ground or
object-glass, so that it will not be necessary to
guess at the proper time of exposure. This may
be made a matter of certainty by a course of
careful observation, and of noting all mistakes,
and remembering all successes.
In this connection, I am tempted to give ex-
pression to a feeling of contempt which I have
always felt for mere guess-work in this or any
other art or business. It betokens the lack of
that careful habit of study and observation,
without which no considerable degree of success
can ever be attained. What would be said of
the watchmaker, to whom you had taken your
watcli, if he could not indicate the exact nature
and CM use of the stoppage or the variation you
wished corrected? So of the Ferrotypist, if he
could not tell wherein his picture was defective,
and had not the ability to apply the proper
remedy. Of course, all this must be acquired,
but it can never be acquired without nuich
DEVELOPER AND DEVELOPMKN F. 99
pains-taking study. Again, I say to the Fer-
rotypist,
Observe, and remember !
Experiment, and remember!
If you make a mistake, i-emember !
Or are successful, remember !
Remember every thing!
Fixing Solution. — A bath dish of the same
size as that used for the silver solution, large
enough to take the largest plate exposed, should
be used for the cyanide of potassium, or fixing
solution ; the plates should be fixed or cleared up
by dipping them into the solution in the same
manner as the collodionized plates are immersed
in the silver bath. The cyanide dish should
always be covered, to avoid the deleterious fumes
which arise from that solution, and it is for this
reason, as well as its greater convenience, that
such a bath dish is recommended.
Rubber dippers are the best for both the silver
and the fixing solutions, as the vulcanized rubber
has no appreciable effect on either.
Cyanide of Potassium, and its use as a
Fixing Solution. — The sensitized plate having
been exposed, and the image developed, it re-
quin3S to pass through yet further treatment to
render the image indestructible by light. It is
true that the developed image is permanent, but
it is surrounded by, and contains in its shadows,
the unchanged iodide and other salts of silver,
which, upon exposure to light, would be de-
823466
100 THE FERROTYPE.
composed by its action, and the picture would be
thus lost or rendered useless. It is, therefore,
necessary to remove this salt by applying some
chemical agent capable of dissolving it.
Cyanide of potassium is a compound of cyano-
gen gas with the metal potassium. Cyanogen is
not an elementary body, like chlorin or iodine,
but consists of carbon and nitrogen united in a
peculiar manner. Although a compound sub-
stance, it reacts in the manner of an element,
and is, therefore, an exception to the ordinary
laws of chemistry.
The cyanide of potassium is the salt most
frequently employed in fixing. It occurs in
commerce in the form of fused lumps of con-
siderable size; in this state, it is usually con-
taminated with a large percentage of carbonate
of potash, amounting in some cases to more than
half its weight. By boiling in proof spirit, the
cyanide may be extracted and crystallized, but
this operation is scarcely required, as far as its
use in photography is concerned.
Cyanide of potassium absorbs moisture on ex-
posure to the air, and is ver}" soluble in water,
but the solution decomposes on keeping, changing
in color, and evolving the odor of prussic acid,
which is a cyan'de of hydrogen. Cyanide of
potassium is highly poisonous, and should, there-
fore, be used with caution.
Solution of cyanide of potassium is a most
energetic agent in dissolving the insoluble silver
DEVELOPER AND DEVELOPMENT. 101
salts ; far more so in proportion to the quantity
used, than the hyposulphate of soda. The salts
are in all cases converted into cyanides, and exist
in the solution in the form of soluble double
salts, which, unlike the double iodides, are not
affected by dilution with water. Cyanide of po-
tassium is unadapted for the fixing of positive
proofs upon chloride of silver, and even when a
developer has been used, as in the case of a
Ferrotype, unless the solution is tolerably dilute,
it is likely to attack the image and destroy it.
CHAPTER IX.
THE CX)LLODION PROCESS.
Having made the reader fn miliar with the
various instruments and apparatus which are
used in the glass or operating room, and given
complete directions for the preparation of the
various solutions used in the dark chamber, ex-
plained their nature and properties, and the pur-
poses for which they are used, it now remains to
describe the various manipulations necessary for
the production of a picture by the Collodion pro-
cess. In the first place, we will imagine that the
operator, having every thing in complete readi-
ness for the day's work, is waiting for his first
102 THE FERROTYPE.
morning customer. The reception-room has been
nicely swept;, the various articles of furniture
have been neatly dusted and disposed around the
room with an eye to effect. The pictures on the
walls are free from dust, the glass cleaned, and
every object in the room showing care and atten-
tion. A lady enters. She looks around the
walls, sees that neatness and order are apparent
in the arrangement of the furniture and in the
care of the room. She at once feels that she has
come to the right place ; that the taste and skill
exhibited in the placing of a chair, or in the
arrangement of a table or a show-case, in the re-
ception room, will not be lacking in the more
important requirements of the pose, choice of
view, ilhimination, or lighting of the subject, or
in any of the various operations of the glass-room
in which the j)Ossession of good taste and a
knowledge of the principles of art are so very
necessary, and give to the possessor so many
advantages.
You immediately become aware, on entering
into conversation with the lady, that a good im-
pression has been made, and that she has had a
feeling of confidence inspired within her by the
appearance of the surroundings. She is unre-
served, makes her wishes known in a frank and
liberal manner, and, being met with courtesy and
attention, she gives her order. She intended to
have one card Ferrotype made to send to a friend,
but she likes the attention bestowed upon her and
THE COLLODION PKOCESS. 103
the samples of work shown her, and decides to
take half a dozen instead of one. If you do a
large business, you immediately fill out a blank
with her order, and the amount it will come to,
doing it plainly, and passing it to her in such a
manner that she may take notice of the order
and the price, requesting her, at the same time,
to give it to the operator or artist in the glass-
room when he is about to make her picture.
This is for the purpose, in the first place, of sys-
tematizing business. All orders should be given
at the desk or appropriate place in the reception-
room. The orders should be written on checks
or tickets, with the amount in money plainly ex-
hibited in figures, so that there may be no mis-
understanding in regard to the price, and it will
also be a hint to pay in advance, which, in my
opinion, ought never to be insisted upon, how-
ever desirable it is ; the hint, in a majority of
cases, is sufficient, the money is paid, when the
ticket is marked *^ paid," and, being numbered,
secures the lady a sitting in her turn. You
politely request the lady to prepare for her sitting,
showing her to the dressing-room, making what
explanations may be necessary for her guidance.
We now pass to the dark-room, where we
find the next part of the process is carried on,
that of coating the plates with collodion, and
then immersing them in a silver bath. We select
a plate of the desired size, see that the surface is
flat, brush it carefully with a wide, soft brush,
104 THE FERROTYPE.
to free it from dust which may have settled on the
surface, and holding it firmly between the thumb
and fore-finger of the left hand, the remaining
finger acting as a brace to support and steady
the plate, we pour from the buttle, held in the
right hand, a portion of collodion upon the end
or part of the plate farthest from the fingers,
allowing it to flow gently over the plate and
toward the left lower corner, and thence to the
right-hand lower corner, where we allow the col-
lodion to flow off the plate into the bottle held
in the right hand. As soon as the collodion has
commenced to flow from the plate, it should be
turned first to the side and then to the end, or
vice versa, so that the collodion film may be even
and smooth ; for if it is allowed to flow off the
plate steadily in one direction, there would appear
a series of lines or ridges in the direction of the
flow, but by tilting the plate the direction of this
flow is changed, and these lines are destroyed.
This is of much importance, an even and homo-
geneous film being necessary to the production of
a good picture. After the collodion has ceased
to flow from the plate into the bottle, the latter
should be set on the shelf or stand and covered,
after which the plate is changed from the left to
the right hand, all this time being kept in motion,
until tlie film has set ; that is, become hard enough
to break when touched by the point of the finger,
on the corner from which the surplus collodion
was allowed to run. As soon as it has become
THE COLLODION PROCESS. 105
firm and dry enough (by the evaporation of ether
from the surface,) to bear the touch of the finger,
without flowing over the place touched, it is
ready to be • immersed in the silver bath, where
it is allowed to remain about two minutes, or
until the surface has become coated with iodide
of silver. When it is withdrawn it presents a
smooth yellowish white appearance. Should there
appear on the surface oily lines in the direction
of the dip, the surface is not sufficiently coated
and should again be placed in the bath ; and if
necessary to hasten the action of the bath, the
plate may ])e moved about a few seconds, when it
will be found to have become smoothly and evenly
coated. It may now be taken from the dipper
and placed in the plate-holder or shield, after
it has been held over the bath long enough to
allow the surplus solution to run ,off. The plate-
holder is now to be taken to the camera stand
and placed in its appropriate rest, until the pose
of the sitter can be made and the proper illumina-
tion secured. For directions as to the illumina-
tion position, etc., etc., T would direct the reader
to the chapter under that head on page 171.
It is proper, prior to seating the subject, to
ask if there is any favorite position or style which
would be preferred. If not, it devolves on the
artist to decide as to the proper size of the head,
the portion of the figure to be taken, the best
view of the face, the best illumination to bring
out good points and to hide defects, and to devise
106 THE FERROTYPE.
means to secure good expressions, all of which
having been done, the camera is placed in proper
condition, and the ground glass in the rear ad-
justed. The correct focus is next to be secured.
To this end a cloth, which is kept for the pur-
pose, is thrown over the camera and the head,
shutting out all the light from the object-glass,
enabling us to see the image of the sitter, in
an inverted position, on the glass. The focus is
adjusted by moving the lens with the right hand
from or toward the object-glass, until the correct
focus is found, which is the place of most perfect
definition.
Plenty of time should be devoted to the ad-
justment of the focus. The operator should
always make a perfect certainty of securing a good
focus. If it is found that parts of the figure
project too far forward, or otherwise, to include
them in the range of the instrument, the position
ahould be changed so as to bring all parts of the
figure into such a position (consistent with ease
and grace) as to secure a distinct image, every
part of which shall be equally sharp in definition
on the ground glass. The plate-holder may now
be pushed into position, or, as in some boxes, the
ground glass may be removed and the plate-
holder placed in the position it had occupied,
the lens being first covered with a cap provided
with each lens for that purpose, or by the cloth
used in focusing. After the plate-holder is in
position, the sitter is directed to look toward
THE COLLODION PROCESS. 107
some object. Some remarks may be made about
expression, or any little alteration of position or
of the arrangement of the drapery, before the im-
pression is secured. It is well, just previous to
the removal of the cover from the lens, to review
the sitter, taking note of the way the light falls,
and the effect on the drapery and face, and to
make at this time, in as rapid a manner as pos-
sible, any changes which may suggest themselves
to the mind. Every thing being ready, the slide
of the plate-holder is drawn out, the hand is
placed on the cap or cover of the lens, and with
a cautionary word always spoken, so as to make
a pleasant expression or to pleasingly affect the
sitter, the coyer is removed and the exposure
of the plate commenced, to continue as long as it
may be considered . necessary. And in this part
of the manipulations the mind should be accus-
tomed, by a system of careful observations, to
judge correctly, from the illumination of the
image on the object-glass, as to the time necessary
for the action of the light on the sensitive plate.
Great proficiency may be attained in this impor-
tant part of the business by careful attention and
observation. The time necessary for the ex-
posure of the plate having elapsed, the cover is
replaced on the lens and the slide of the plate-
holder returned to its proper position, and the
holder removed and taken to the dark-room,
placed on its stand or rest, the door at the back
opened, and the plate taken out on the left hand
108 THE FERROTYPE.
by turning the holder with the right hand, so
that it will fall out. If it is a large plate, the
glass (which was at the back of it in the holder)
is now taken in the left hand, the plate resting
on it. The operator turns to the developing stand,
and taking the bottle containing the developing
solution in the right hand, a portion of its con-
tents is poured over the surface of the plate ; or,
rather, as this is a very nice operation, the solu-
tion is poured on the extreme corner nearest the
right hand, or on the end or side of the plate next
the right hand, and by a quick but steady motion
of the left hand the solution is caused to flow over
the whole surface of the plate without stopping,
allowing none, or as little as possible, to run off
the opposite edge of the plate. This operation is
a difficult one at first, but by careful practice the
necessary skill is easily acquired. The plate,
while the developing operation is going on,
should be kept in motion, to cause the solution
to flow backward and forward over the surface;
or when the solution flows reluctantly, the plate
may be taken between both hands and violently
agitated in a horizontal direction, care being
taken to retain all the solution on its surface
until the image is brought out distinctly, and all
the folds of the drapery begin to show. Careful
attention must be given to the general appearance
of the image at this stage, and particularly to the
high lights, contrasting them with the shadows
of the hair, the projections of the face, and the
THE COLLODION PROCESS. 109
drapery. A little practice gives one the ability
to decide when the development has proceeded
far enough. Just before this point has been ar-
rived at, the surplus developer which remains
upon plate is allowed to drain into the funnel over
which the operation has been performed, for a
second or two after which the image must be
watched, as the development still goes on; and
when sufficiently advanced, the plate is held un-
der the water until all trace of the developing
solution has been washed away, which may be
known by the plate assuming a smooth, glossy
appearance, but while any trace of the developer
remains on the surface, it will have a streaked or
mottled appearance, as if oil had been poured
on — some such appearance as it presents when
too soon withdrawn from the nitrate bath.
During the development of the plate, if one
part comes up quicker, or if there is more than
one picture, and the time of exposure has been
difficult and one picture develops quicker than
the other, the action of the developer may be
checked on that one by holding it under running
water, allowing the water to touch only the par-
ticular part where the effect is to be produced. By
holding that portion of the plate lower than the
other, the development may still go on, on the
remaining portion of the plate, and the pictures
may thus be made alike in tone and brilliancy.
The plate having been develo})ed and washed,
is now to be fixed or cleared, for which purpose
110 THE FERROTYPE.
it is pJaoed in a bath of a solution of cyanide of
potassium. This bath, for reasons given else-
where, should be kept in an upright bath-dish,
inclosed in a box having a close fitting cover.
The solution should be sufficiently strong to dis-
solve the remaining iodide of silver from the
surface of the plate in from three to five seconds,
when the plate should be taken out and again
subjected to a still more careful washing, in order
that every trace of cyanide of potassium be re-
moved from the plate. If the picture had, by
over-exposure in the camera or over-development,
been made too light, it may be improved by al-
lowing it to remain for a longer time in the fix-
ing solution ; or it may be dipped in the cyanide
and held over the flame of a lamp or gas-burner,
that the heat may accelerate the action of the
cyanide on the Collodion film, or on the silver of
which the image is composed.
The action of the cyanide is, first, to dissolve
the iodide of silver, after which it will attack the
metallic silver of the image, and by reducing
the deposit of silver in the high lights and else-
where on the plate, it has the effect of darken-
ing the image; or, by thinning the deposit of
silver, what remains is less opaque, thus allow-
ing the black surface of the plate to show through
the shadows and half-tones.
The plate having been perfectly washed, is now
taken to the light and submitted to the inspeo-
tion of the lady and her friends, if she is accom-
THE COLLODION PROCESS. Ill
panied by any. If it proves satisfactory, it may
be finished at once; or if not quite pleasing to
the sitter, it may be placed in a rack and an-
other plate prepared and exposed in the same
manner as before, introducing such changes as
the sitter may suggest as desirable, always taking
care to ascertain the exact nature of the change
required, unless it is quite apparent to yourself
from the defects of the picture already made. In
such case, it becomes the duty of the operator —
to himself as well as the lady — to make another
sitting, suggesting and making such alterations
as may appear desirable.
A satisfactory picture having been secured, it
should be thoroughly washed, taken to the dry-
ing stove, and the water evaporated from its sur-
face by heat. All Ferrotypes are, or should be,
colored or tinted, which is done by applying
finely pulverized dry colors to the pictures with
a soft camels hair pencil brush. Ordinarily only
the cheeks and lips are tinted, which takes but
a few moments as the color is applied quickly,
the brush being ])ressed more closely to the
parts where the color is to be strongest. The
surplus color is then brushed off with a soft
blender, which also blends the color on the
cheeks from the highest softly down to those
parts requiring none at all. After the coloring
the pictures are varnished, and again subjected
to heat, unless the varnish is of a self-drying
nature. Most Ferrotype varnishes require a
112 THE FERROTYPE.
gentle heat to produce the glossy finish so ne
cessary to the surface.* The varnish having
become perfectly dry, the picture is trimmed;
that is, the edges are cut, reducing the plate to
the proper size, and fitting it for the envelope
case, or frame in which it may be placed. This
operation, as well as all others described, requires
to be done neatly. If the picture is to be put
in an envelope, the edges should be cut perfectly
straight, the corners neatly clipped, and, as far
as possible, a finished appearance given to the
work, remembering that " anything that is worth
doing at all, is worth doing v/ell ;'' which is a
good motto for the Ferrotypist, who shouit.
always strive to improve the quality of his
work. In many cases it takes no more time to
do a thing in a first-class manner than to do it
in a careless and slovenly way ; it may only
require the thought and ambition to excel.
Trifles make up the sum of perfection, as was
justly remarked by the celebrated sculptor who^
* There have been a large number of varnishes pre-
pared and sold for the purpose of protecting the sur-
face of ferrotypes, but none of them have sustained
the reputation that is accorded to Anthony's Diamond
Varnish. It possesses high gloss, is almost entirely
colorless, and does not turn yellow as most others do.
Those, however^ who prefer a spirit varnish may be
as well pleased with Anthony's Flin^ or theMountfort
VadTiish, both of which are quite good for the purpose.
THE COLLODION PKOCESS. 113
liaving showed a piece of work to a friend, af-
terward spent six months hard labor on it.
When the friend came again he admired the
wonderful perfection of the statue, but could not
imagine when or how the artist had bestowed so
much labor on it until it was explained.
The Ferrotypist being compelled, by the na-
ture of his business, to work rapidly should
work deliberately ; that is, with thought, putting
brains in his work. A quick stroke may be
an efficient one ; a slow stroke may be very care-
lessly and aimlessly delivered. The difference is
that the former is, as it w^ere, delivered by brain
force, the latter mechanically.
The Collodion process, to be worked success-
fully, requires thought, care, and skill, and it
should be the aim of every intelligent Ferro-
typist to improve his work, not being satisfied
even with better than he has ever heretofore
done; but let his aim be onward and upward,
and his motto Excelsior.
114 THE FERROTYPE.
CHAPTER X.
FOG, AND OTHER CAUSES OF FAILURE.
The practice of photography, in any of its
branches, is beset by almost innumerable diffi-
culties, especially to the student. Many of these
difficulties are merely the result of his slight ac-
quaintance with the properties of the substances
which he employs, and of their combinations.
His knowledge of those substances, however,
will rapidly increase, and with the increase of
knowledge, the recurrence of fogs and other
technical errors and causes of failure will be less
and less frequent, until, perhaps, they cease alto-
gether.
It is expected that those who adopt the
methods and processes recommended in the fore-
going pages, and exercise a conscientious care in
all the various operations, as directed in the
article on the Collodion process, will be com-
paratively free from failures of any kind, even
from the first; yet still, as these disturbances
sometimes trouble even the most experienced, it
is hoped that the few concise directions given
hereafter, as to the mode of procedure in such
cases, will enable the operator to overcome all
such difficulties and their causes. Careful and
observing operators very larely " get into a fog;"
FOG. 115
they are of the class of men, who, when " things
do not work well," begin to look intelligently for
the cause, and in most instances do not fail to
find it.
We have in the Collodion process a very im-
portant trio of essential parts — the nitrate bath,
the Collodion, and the developer; these three
must strictly harmonize to produce good results.
The silver solution must be of a suitable strength
for the Collodion, as the Collodion must be salted
or excited to accommodate the number of grains
of silver to the fluid ounce of the silver solution,
and the developer must so harmonize w^ith the
sensitized plate, as to flow evenly and smoothly
over the surface ; in fact, to amalgamate with the
surface during that process. To do this, it must
not have too much alcohol for a new bath, or too
little for an old one. Again, this trio is so in-
timately and closely related, that a watchful care
must always be kept to maintain the proper
balance of its parts. If the proper strength of
the nitrate bath is 45 grains to the fluid ounce,
we should hardly expect good results from a 25
grain solution with the same Collodion. Care
must be bestowed in keeping the bath at its
proper strength ; Collodion which has been kept
for a time is likely to become decomposed, thus
settling free iodine, giving it a deep reddish color;
accompanying this, is a loss of ether by evapo-
ration ; these things must be attended to accord-
ing to directions in article on Collodion.
116 THE FERROTYPE.
We also have been tauglit, or know by ex-
perience, that the developing solntion should
have certain fixed proportions of iron, acid, and
alcohol, to produce certain effects. What folly to
expect as good results from greater or less pro-
portions ! and thus, as I have said before, a more
Hitimate knowledge of the properties of the
nitrate of silver, of the qualities of salted or
excited Collodion, and of the developing effects
of iron, w^ill soon do away with many of the
difficulties and causes of failure under which the
photographer labored at an earlier day.
Theoretically, we should use for our silver and
other solutions ingredients which are chemically
pure ; but, practically, this is not the case, as we
very rarely use water which is chemically pure —
even distilled water is not so. Our nitrate of
silver, in a great many cases, is adultered ; in
fact, a certain amount of adulteration is necessary
to produce the beautiful whiteness and brilliancy
of its crystals, before it is considered fit for the
market. And so with other chemicals and so-
lutions used in photographic studios; they are
all more or less impure. To this adulteration or
impurity, then, as w^ell as to inharmonious action
of the various solutions, may be attributed many
of the technical errors of our processes, and, in
fact, from these fruitful sources arise many of the
failures incidental to the practice of the Collodion
process.
FOG. 117
What we call " Fog/^ is a general obscuration
over the whole plate ; it may arise from the silver
bath, from the Collodion, or from diffused light
in the camera-box, the plate-holder, or the dark-
room.
A silver bath, newly prepared, will in many
cases produce ])ictures entirely or partially ob-
scured by fog, in which case the fog is occasioned
by organic matter held in suspension in the bath,
which, being deposited on the plate during the
process of coating with iodide, on exposure turns
black, because it is more sensitive to the light than
the pure iodide of silver. To correct the tendency
to log on the part of a new bath, add a few drops
of chemically pure nitric acid, the effect of which
will be to change the organic matter from a state
of suspension (which is that of floating in and
through the solution in innumerable fine atoms)
to a state of solution, which is to be dissolved in
the same manner as the nitrate of silver is dis-
solved by water. With a new bath, fog some-
times proceeds from an insufficient supply of
iodide of potassium, of which every new bath
should have nearly if not quite as much as it
will take up. (See directions for exciting the
bath in article on silver.) Sometimes old Collo-
dion will work well with a new bath, when a
sample of new will not work at all.
When the end or side of a plate is fogged, it
pnbably comes from the holder; the remedy is
118 THE FERROTYPE.
to dry and varnish the holder with naphtha var-
nish.
Fogs from the admission of light into the
camera box, the holder, or the dark room, are
not the same in appearance as fog from the bath,
being of a lighter qolor, and being apparently in
the substance of the film, while that from the
bath appears to lie upon the surface, and can
frequently be removed with a piece bf cotton or
a soft brush.
Fogs are caused sometimes by the developer,
more often in hot weather than otherwise, and by
foreign substances getting into the developer.
To ascertain the cause of fog, first see that
your camera-box and plate-holder are tight, and
that the dark room admits no light ; then change
your developer, cleaning the bottle carefully, and
if the weather is hot, cool the developer ; next test
the bath, and if neutral, add a drop or two of acid.
On trying a plate, you will probably find that the
fog has disappeared.
Transparent spots, or as they appear on the
ferro-plate, black spots, are produced by particles
of dust adhering to the surface of the plate.
Very often, brushing the plate to remove dust
from the surface, produces an electrical condition,
which causes it to attract and hold small particles
of varnish, which chip off the edges, and parti-
cles of dust also adhere to the lip of the Collo-
dion bottle, and upon coating the plate they
become incorporated with the film, and produce
FOG. 119
black spots on the plate when developed. When
these occur, the remedy suggests itself: clean the
Collodion bottle, and remove all the dust from
the shelves where the plates stand.
Comets are particles of dust which fall upon
the surface of a coated plate, or are received from
the bath, on the ])late being dipped. These spots
of dust or dirt adhere to the surface of the Collo-
dion, and when the developing solution is applied,
they form neuclei for heavier deposits of silver,
little tails of silver forming in the direction of
the flow. Remedy : filter the bath, and keep
always covered, and keep the dark room free
from dust.
The silver bath receives from each plate that
is immersed a portion of its iodide. After the
bath becomes saturated, and can take up no
more, this iodide forms itself into innumerable
particles or crystals of iodo-nitrate of silver, com-
monly called ''free iodide." This free iodide
deposits itself on the surface of the plate, pro-
ducing (on the negative) what is called " pin-
holes," and in the ferrotype the whole surface is
covered with tiny black spots. For remedy,
see article on silver. If not conveuient to
change the bath at once, reverse the dipper and
turn the Collodion surfiicc of the plate down-
ward.
Perpendicular streaks are caused most gener-
ally by the bath being either too strong or too
weak for the Collodion. An okl and sh'ghtly de-
120 THE FERROTYPE.
composed Collodion causes streaks. Streaks will
show themselves on plates which have been dipped
before the Collodion has properly set, and also
on plates which have not been perfectly coated
with iodide of silver.
Horizontal lines are caused by the stoppage of
the motion of the plate when first dipped ; it is
sometimes advantageous to immerse a plate very
slowly, but the motion should not cease until the
plate is submerged, as every stoppage will make
a fine line parallel with the surface of the solu-
tion.
Crapy appearance of the film always proceeds
from a watery Collodion — oblique lines, in the
direction of the return of the surplus from the
plate, very frequently show themselves when such
a Collodion is used. Coat plates very quickly
with such a Collodion, and keep the plate in-
cessantly in motion from the side to the end.
White spots are caused by excess of nitric acid.
Sometimes when this acid is used to remedy a
fogging bath, too much may have been added,
in which case it manifests itself in white spots
on the picture.
The developer should be flowed very gently
upon the plate, and always on the end where the
Collodion film is thickest, (the corner from whence
the surplus is run off,) otherwise a bright spot or
space like a fan in shape, will extend from the
corner toward the center of the plate. A plate
which has been exposed the usual time, and the
FOG. 121
image upon which will not develop clearly, ap-
pearing to be under-exposed, has not received a
perfect coat of iodide of silver. When plates
are moved about in the bath, to accelerate the
coating, they sometimes present a smooth surface
before they are perfectly coated. Better, where
time will permit, to allow the plate to rest in the
silver bath until coated.
If the Collodion film slips from the plate after
development, the fault is most likely \\ith the plate.
A greasy or im[)erfectly cleaned surface will some-
times not hold the film. If the plates are first-
class, a drop of water in the Collodion will make
it hold, or it may sometimes be sufficient to
breathe upon the plate just before coating with
Collodion.
When the developing solution is too strong, too
warm, and sometimes when there is a deficiency
of acid, it will leave a scum, often called a veil,
over the pictures. When the film repels the de-
veloper, add a little more alcohol to the latter.
Small white circles often appear on plates which
have been imperfectly cleaned. In fact imper-
fectly cleaned plates are a fruitful source of de-
fects and f}^ilure. Oily spots or lines appear on
the surface of a plate that has been dipped and
im mediately withrawn before the ether on the
surface of the plate has had time to be washed off.
These lines look like a confusion of fine circles,
presenting a mottled appearance. Stains ofteD
122 THE FERROTYPE.
appear on the plate when the holder or slide ia
dirty.
In view of the many defects that arise from
dust and dirt in the dark-room, in the plate-holder
and in the other vessels and receptacles, it can
not but strike the attention of the reader that
the best way is to keep every thing perfectly clean,
and the camera-box and plate-holder in thorough
repair and good working order. The number of
"take overs'' which are rendered necessary in a
good many establishments, every week, by dust
from the dark-room, stains, etc., from the plate-
holder, and by diffused light in the camera-box,
holder and dark-room, cost a great deal more than
would suffice to keep these things in first-rate order
and scrupulously clean.
Another source of failures and annoyance, is
finger-marks on the surface of the plate. If the
operator himself cuts the plates, these can only
be entirely avoided by wearing gloves while so
engaged. But when the plates are purchased cut
to the regular sizes, there is no excuse for such
marks and stains, as the plates should always be
handled in the most dainty manner imaginable, by
the two edges, unless when " flowing" with Collo-
dion, or during the process of development, and
then the' smallest portion of the corner, only suf-
ficient to afford a safe hold, should be taken be-
tween the thumb and finger, as stains and streaks
very frequently result from contact of the de-
veloper with the thumb during development.
COMPOSITION AND JLLUMINATION. 123
CHAPTER XI.
COMPOSITION AND ILLUMINATION.
Among Ferrotypists, and I might say among
Photographers generally, there is less known of,
and consequently less skill exhibited, in composi-
tion and illumination than in almost any other
particular of the art. More and more is the at-
tention of photographers being drawn to this sub-
ject ; and justly so, for this has been the neglected
ground, while other, less productive fields, have
been thoroughly and almost exhaustively culti-
vated.
We find in photographic manuals and books of
reference long chapters treating of lenses, silver
baths, Collodions, etc., etc., but few give any in-
struction on the more important subjects of this
article; and even they, in such a scientifically ob-
scure manner as to afford very little information
or assistance to the operator in posing, draping,
and lighting a subject in order to produce an ar-
tistic effect.
It is certainly a good thing to know how to
make gun-cotton', to understand fully the proper-
ties and qualities of ether, alcohol and the salts
used for exciting Collodion ; how to compound or
124 THE FERKOTYPE.
to separate and to test for purity the varioua
chemicals and solutions used in the photographic
atelier. It is necessary that we should under-
stand intimately the qualities of nitrate of silver,
its changes under the action of light, and how to
facilitate that action, and render it certain and
permanent. These and a great many more of the
principles of our art we may be perfectly familiar
with, — tlianks to the untiring diligence with which
researches on those subjects have been conducted
by photographic experimentalists, and to the gen-
eral diffusion of such knowledge in works on
chemistry and the current photographic publica-
tions, but very little is written or said about the
aesthetics of photography. The one should have
and has been done, but the other should not have
been left iindone.
Photographers generally are a wide-awake class,
and know the importance and necessity of study,
and they undoubtedly make good use of the ad-
vantages they possess in acquainting themselves
with the exigencies of the situation ; it is, there-
fore, reasonable to suppose that had they pos-
sessed equal advantages for the study of illumina-
tion and the pose, the artistic helps to our art, as
they have had for that which relates to the more
scientific portions, there would have been a sooner
awakening to the fact that every effort has been
put forth seemingly with a view to make pho-
tography equivalent to an exact science; that is,
a photography of arbitrary rules and laws, rather
COMPOSITIOK AND ILLUMINATION. 125
fchan a photography cf artistic taste and judgment.
It would appear that the great object has been to
make processes certain in their results rather than
to make the results beautiful or artistic.
Photography has been spoken of in terras
of contempt, and the dilettantis of art have
turned away with scorn from the contemplation
of meritorious photographic productions, because,
they said, there was too much of the severe and
too close attention to minor details. No attempt
having been made to concentrate the interest and
to draw the eye to some central point of beauty;
they profess to find no gratification in the con-
templation of the " naked truth," as the Sun
picture has been called by one of this fastidious
class.
The time has now arrived when the demand
for something more than a mere likeness has
brought into the field some who have ^^ taken up
arms to conquer ;" and from the wonderful prog-
ress already made, it will not be strange if, in
a short time Photograph and indeed Ferrotype
portraits and miniatures will be produced which
slxill, in every point of excellence, rival the best
productions of the pencil and brush. Indeed, an
evident effort is being put forth to learn how to
veil the nakedness, to smooth the roughness, and
to soften the asperities of which we have so long
been uncomplaining, if not satisfied witnesses. It
is beginning to dawn on the minds of the average
photographic artist that the sun, all this time, has
126 THE FERROTYPE.
been merely doing that which untaught minds
and hands had prepared for him to do. He had
seized on, at our bidding, all the prominence and
all that obtruded itself upon the first sight, and
had very faithfully portrayed it on our silver
mirror. But at last some have awakened to the
fact that our all-able and all-willing artist is
quite as well pleased, and as capable, to do the
bidding of a Solomon as he is that of the mean-
est itinerant picture maker in the country — quite
as willing to heighten artistically the beauty of a
Scott-Siddons as to exaggerate the ugliness of a
Caliban — to hide in shadows the disagreeable, and
to smooth down the projections and wrinkles, as
he had been to force them with relentless exag-
geration upon our attention.
There is, then, an awakening to the fact that
instead of placing our patron bolt upright in a
seat, with his elbow on a table, his arm forming
an angle of a square, his face to the front, show-
ing one corner of his mouth turned up and the
other down, giving the appearance of a round
white spot, with two holes for eyes,* and a di-
agonal or oblique slit across it for a mouth. It
would answer the aims of portraiture as well to
place him at his ease on a handsome chair, re-
clining slightly for greater comfort, the good side
of his face turned to view, a little light to fall in
*See Mr. Whipple's article on "Educate the People," in
the " Photographic World " for August, 1872.
COMPOSITJON AND ILLUMINATION. 127
front to soften the lines, a graded back-ground to
give atmospheric effect, and the direct light re-
duced to give roundness and solidity, so that the
result might have some claim to be called artistia
Photography is a truth-teller, with or without
qualification, and it is said that the truth should
not always be told ; such being the case, we
should call our artistic qualities into play in
posing and lighting our sitter, and in the ar-
rangement of draperies and accessories.
When our long, gaunt, six-foot customer comes
in, and demands his picture taken standing, (full
length portraits are so popular with that class,)
we mildly — or otherwise — remonstrate. We tell
him that our artistic taste will be outraged by
taking his picture at his worst, instead of at his
best. We also tell him, when he expresses a
preference for a front view of his face, that- any
other is equally a likeness; that his is probably
seen as many times in profile, or three-quarters,
as in front, and we try to hint that the front
view of his face is not the most prepossess? iig,
and if he has any pleasing point of view of his
face, we would much rather look at it than that
his full and unmitigated ugliness should obtrude
itself upon our vision. We strive, by the aid of
posing, drapery, and lighting, to give character
to the sitter, and individuality to our work.
In all this, art comes to our assistance and
relief, and we are successful as far as w( under-
stand the application of art principles. In the
128 THE FERROTYPE.
subsequent manipulations we apply our scientific
knowledge, and it is in this latter, rather than in
the former, that we have made the greatest
progress. Art, then, as applied to photography,
is the effort to disguise the " naked truth,'' and
to change the dictum of the celebrated painter
that "photography was justice without mercy,"
making it, rather, "justice tempered by mercy."
Photography, takes the human form, sitting
bolt upright, without an effort to soften or im-
prove. Art comes in, and, behold ! the pose is
changed from rigidity to ease; the light is
tempered and made to fall with softening effect
upon the features ; draperies are employed to
give depth of shadow and brilliancy of effect,
and the resulting portrait, instead of being
barely tolerable — because of likeness to the
original — is praised and valued highly, and
secures for the skillful operator the gratitude as
well as the patronage of all concerned.
It is a difficult thing to form a system of rules
and regulations for the guidance of the uniniti-
ated in the application of the principles of art to
photography ; a tiling which I am not aware of
having been attempted yet, nor shall I attempt it
in this connection, but I shall endeavor to give
some hints which the reader may find of advan-
tage or not, as he may choose to follow them up,
or apply them in his daily practice. Under the
head of Composition, we would include posing,
draperies, and the arrangement of accessories.
COMPOSITION AND ILLUMINATION. 129
When called upon to pose the patrons of our
establishment, we should first inquire of each
individual their especial preference as to position
and view. If they have none, then it becomes
our duty to suggest; and to do this intelligently,
we should first scan the face, figure, and style of
dress of the subject, making up our minds as
quickly as possible as to which would be best.
To do this, we must consider with reference to a
etiinding position ; is he or she tall or short, or
of medium height, of light or heavy frame, of
smooth or wrinkled face, and with regard to
style of dress, whether it is new and handsomely
fitting or otherwise. *
The greatest difficulty will be experienced in
giving an agreeable and graceful effect to a
standing male figure. The attempt should never
be made without protest, except under the most
favorable circumstances, which are, first, medium
height, good figure, well-fitting clothes; second,
suitable accessories to fill the pictures; third,
ability on the part of the artist to so pose and
arrange, so as to take away from the sitter the
conscious look as of having a picture taken,
almost inseparable from the position.
With the female standing figure, there is much
less difficulty ; the lines of the dress tend to
support each other, and the drapery, gracefully
flowing, removes any appearance of stiffness in-
cidental to the ])Osition. For standing positions
of both males and females, some suitable support
9
130 THE FERROTYPE.
to lean against or ou, is a wonderful relief from
the worst difficulties of the position. Attention
must, however, be given to the proper balance
of the figure ; the center of gravity must be
maintained to the eye, or the effect would be
distressing.
Tall persons of either sex should never be
photographed in standing positions, unless three-
quarter or half-length views are taken. They are
also very difficult subjects in sitting positions,
when the whole figure is taken ; these can be
more satisfactorily treated in bust pictures or
half-lengths, sitting.
Short, fleshy persons should have bust pictures
or vignettes.
Very frequently, however, the most unsuitable
positions are chosen. In such cases, the chief
reliance (for producing a good effect), must be
placed in position and drapery, with suitable
accessories; no general rules can be given
suitable to all cases, except those of balance and
contrast.
In posing the figure, and in the arrangement
of the accessories, perpendicular and horizontal
parallel lines must be avoided as much as
possible; the lines of the fii>:ure and accessories
should converge to a point in a pyramidal form,
or in an oblique direction from below upward
and outward, with lines of support, etc.; as, for
instance, a soldier might rest upon his rifle or
sword, a gentleman might balance himself with
COMPOSITION AND ILLUMINATION. 131
his walking-stick. So important is the balance
of the figure, that it must not be neglected in
any style of picture, being equally necessary in
the vignette as in the full length.
When full length pictures are made, the
camera should be elevated to about two-thirds
the height of the subject; the same for half-
length, standing. For sitting pictures, the lens
should be about as high as the chin of the
sitter. The arrangement of the drapery should
always be carefully studied; curtains, table-
covers, etc., can be used with very good effect in
creating pictorial effect. A piece of dark dra-
pery can be made a contrast to some light por-
tion of dress; a handsome silk curtain or velvet
table-cover thrown over the back of the posing-
chair, falling in graceful folds to the floor,
affords a fine relief to the sometimes stiff lines
of a lady's dress, or to the perpendicular lines
of the male standing figure; a fold of drapery
can be used to good effect to cover or hide from
view the foot of the head-rest. For figures
leaning on the arm or over the back of the
posing-chair, the effect is much improved by
throwing the drapery carelessly over the arm or
back, as the case may be.
In making positions, to have every thing sub-
servient to the portrait is the rule, and a heap-
ing together of the odds and ends of the gallery
to make a picture, should be avoided as a grosa
violation of good taste, and an imposition of the
132 THE FERROTYPE.
patron who wants a likeness, and not a picture
of tables, chairs, flower-pots, busts, etc., etc., ad
nauseum.
When making a position, the artist shonld avoid
touching the clothes or person of the subject as
much as possible. The Ferrotypist can scarcely
keep his hands and person as neat and clean as
the professional positionist in a first-class gallery.
He should, therefore, recollect tliat in many in-
stances his fingers leave a stain wherever they
touch, no matter how clean they may look ;
besides, the hands are almost always wet or
damp. To take, then, the head of a lady
between the palms of the hands, as I have seen
done, is an outrage. The best way is to stand
some little distance off, and scanning the po-
sition, give the subject verbal directions for any
desired change of position. In case you can
not make yourself understood or obeyed, then,
by taking the head between the tips of the
fingers, torching the hair, and avoiding to touch
the face, the head may very gently be turned
as desired. In most cases, by touching one
hand to the side or back of the head, will be
sufficient to apply what force is necessary to
make the change. The Ferrotypist should
learn to make positions quickly. The assistant
should have the plate sensitized while the
position is being made.
A kind and obliging treatment of customers
is the best way to secure a good expression ; at
DEVELOPER AND DEVELOPMENT. 133
thfc same time, that nothing of an offensive
nature should be allowed any-where in sight,
such as a dirty spittoon, a broken piece of fur-
niture, or a dusty chair. One of the best artist
photographers in the country, on taking posses-
sion of an entirely new gallery, which was fitted
up in a gorgeous manner, regardless of expense^ —
glass-room carpeted with fine body Brussels;
walls and ceiling frescoed in most beautiful and
expensive manner; light of heavy plate glass,
in strips of ten feet long, by two or more wide —
ventured the remark that he was "going for
exj)ression " in his new gallery. In this case
every thing was so well calculated to please
and delight, that the remark was justified.
Much may be done by an attentive operator to
secure good expressions, even among poor sur-
roundings.
It has been almost universally the rule, here-
tofore, and is now to a great extent, to expose
the sitter to a flood of light from above, from
the side, and the front — light every-where ; the
consequence of which has been, pictures with-
out half tones, without modeling, and without
strength or brilliancy; the lights were all high
lights, the shadows all opaque. The j)rincipal
cause of this tendency, has been the desire to
secure rapidity of action, making short the ex-
posure of the sensitized plate, and proceeds from
an error in the expectation. Let the light be re-
duced; let at least two-thirds of the light be
134 THE FERROTYPE.
shaded, and the remainder illuminate the sitter
more directly, and it will be found quite suffi-
cient to produce properly effective high lights.
In reducing or shading the greater portion of" the
light, it is not expected that the light will be cut
off entirely, but that shades of a semi-transparent
character shall be used to diminish the amount
and intensity, and by diminishing to change its
character from direct to diffused. Thus, an illu-
mination of a sitter by diffused light lends a
softness and roundness to tlie figure that contrasts
ijeautifully with the effect of the few direct rays
in producing brilliancy of the high lights, and
transparency of the shadows, and what we lose in
time of exposure, we more than gain in artistic
excellence. A properly constructed photograpliic
light should be of northern exposure, top and
side lights combined, the side light reaching from
the floor to the lower end of the top light, which
should be at least ten feet from the floor, the top
sash having sufficient pitch to shed the rain-water
freely, so as not to leak. With such a light,
properly shaded, a great variety of beautiful
effects can be produced. To make this more in-
telligible, let us consider the side and top light
separately and combined.
The light from above, when alone used, gives
a flat, but soft and smooth picture, with heavy
shadows under projecting parts; it is a great
eradicator of wrinkles and freckles, and is as
effectual in removing tan and sunburn from the
DEVELOPER AND DEVELOPMENT. 135
complexion of the picture, as the sun is in pro-
ducing it in the original. The top light also
gives very good definition in the drapery, and
where circumstances deprive of the advantages
of a side light to be used in connection with
it, very good and satisfactory work can be pro-
duced by the aid of reflectors, etc.
The side light, when used alone, is a dreadful
destroyer of complexions. If a freckle has hid-
den so far under the skin as not to be visible or
scarcely so, to the naked eye, the side light drags
the hidden thing to light, and exposes it in much
exaggerated ugliness to the horrified gaze. In like
manner, it by giving a brighter high light in-
creases the density of the shadows by contrast.
AVhile the top light gives a flat smooth picture,
the side light lends strength, coarseness and
rotundity; while the top light smooths over the
imperfections of complexion, the side light mag-
nifies and increases them ; and, finally, while the
top light gives good definition of drapery, the
side light makes dark drapery a black mass, black
hair blacker still, and is altogether a difficult light
to manage alone, (that is, without a top light,)
even with the best appliances; but with the top
and side light together, and with a northern ex-
posure, we have the ^^par excellence^' of lights.
The top light serves to neutralize the bad quali-
ties of the side light, and vice versa.
Thus, our customer has a smooth face, small
features, and a black coat. Taken under the top
136 THE FERROTYPE.
light, we get a face without character, hair all
white on the top, and a coat that would appear to
have been very glossy at least. AVe will remove
the subject to the combined top and side lights,
and we have a decided change. By shading the
top light, so as to illuminate mostly from the
side, we give character to a rather insipid face,
at the same time that we have sufficient light
from above to soften and relieve the shadows.
The hair, too, which before was all too white
on the upper portion of the head, we can now
view of the exact shade we desire ; and the coat
that was all gray, we now have as black as can
be desired, consistent with good definition. Thus
we see, that when we want greater strength
and contrast, we have only to use more light
from the side than from the top ; and when we
want to take the picture of a blonde with golden
hair, we sit her well out under the top light and
shade the side quite close. Thus we correct the
faults of one light by the good qualities of the
other.
It will be very apparent, that a knowledge of
the properties of the top and side lights sepa-
rately, will be of great advantage to the Ferro-
typist in properly handling them when combined.
For such information see the article on '^Glass-
room." In this connection the principal object
is to show what can be done by the use of thes«
two lights to overcome the defects of nature, and
to give character to our work.
DEVELOPER AND DEVELOPMENT. 137
As an instance of what may be done, let us
take, for example, a lady or gentleman whose
face is freckled. These freckles are very un-
sightly in the Ferrotype, and we can not remove
them by any operation outside of the process by
which they are made, as the photographer does
when he " retouches'' his negative, a process by
which alabaster complexions can and pretty gen-
erally are given to all indiscriminately. They
may well exclaim. Great is the negative, but the
pencil is its profit !
The Ferrotypist must " come the artful " over
such cases ; and although he may not remove or
hide them altogether, he can do wonders with no
other agency than light. For that purpose we
will shade all of the side light, if the day is clear,
allowing just enough to relieve the shadows un-
der the nose and chin. We will shade half of
the top light, thus securing a larger portion of
diffused light to help to relieve the shadows and
to soften the whole. The direct light comes from
above, producing a high liglit on the top of the
forehead and on the nose, and passing smoothly
over the face, lights up all parts with an even
illumination, the result of which in the picture
will be to greatly improve the complexion and
please the patron.
The next person who requires our service is
an old gentleman whose face is much wrinkled.
That his portrait must })lease him it must not
exaggerate these lines of age, but rather smooth
138 THE FEREOTYPE.
them out if we may. How shall we proceed?
If we illuminate him by side light alone, we shall
make every perpendicular line a furrow, if by
top light, we shall produce the same effect with
the horizontal lines. We should, indeed, give him
"the furrowed brow, the wrinkled front of age,"
with a venoeance. Kather let us move the back-
ground and seat the gentleman facing the light,
directly or nearly so; the light will now tend to
render less prominent the signs of age, by light-
ing equally the depressions and the projections.
Some skill will be required to relieve the eye,
but a little thought will not fail to suggest
the proper means.
As a general rule, it is proper to take front
views of all persons who are " hollow-cheeked,"
or have long faces, and three-quarter views or
profiles for those who have round full moon
faces, or who are very j9eshy. There are many
exceptions to such a rule as the above, as for ex-
ample, a long faced person whose cheeks are not
sunken, a three-quarter view may give a very
handsome oval, and frequently round faced fleshy
persons will not bear a three-quarter or profile
view.
By a course of studying the faces that come
before the operator, he will acquire the ability
to decide almost immediately, on viewing the
subject, as to the best and most favorable pose of
the figure, and view of the face. This is the
only means whereby such a knowledge can be
DEVELOPER AND DEVELOPMENT. 139
acquired, as there is no possibility of forming a
system of posing suited to all figures and faces.
Common sense will suggest to the operator to
make the most of the good points, and to hide
or subdue, as much as possible, the bad ones.
If the subject has a fine figure, place in such a
position as to show it to advantage.
In the composition of a group place those who
are good looking in the most conspicuous position,
or where they will be in the line of the focus ;
the ill-favored ones will always be best suited if
placed in less conspicuous positions out of the
line of sharpest focus. Great attention should
be given in the formation of a group to preserve
a just balance of all the parts, both as regards
the size and height, as well as color and dress.
The tall members of the party, if they are to
stand, should be placed in the rear center; if
they are to sit, they should be placed on the ends.
Those of dark complexion and dress should
be placed nearest the light. I have known a
finely posed group spoiled by a black dress being
placed farthest from the light, so that when all
the rest developed beautifully, the black dress
was a dense mass of shadow. In the composi-
tion of a picture, where there is but one figure,
with certain accessories suggestive of action,
either in-doors or without, attention must be
given not to overload the picture wMth a great
quantity of furniture of fanciful articles, nor to
dispose those which are used in such a manner as
140 'I'HE FERROTYPE.
to ofleud the s'ense of the laws of gravity, the
artistic, or the beautiful. If the view is of an
outside character^ attention must be given to those
parts requiring more prominence than others,
that they be placed so as to receive it, and that
the character of the illumination shall not alto-
gether belie the effect of the picture ; or, in other
words, that the illumination may be from the
same general direction for the ground and sub-
ject, and not, as were the celebrated or rather
notorious ^^ spirit photographs,^' made at one
time in New York, by a man named Mumler,
the lighting of his sitter being in one direction,
and illumination of the picture of the ^^spirit"
(supposed to be of some relation,) from a contrary
direction, producing a very incongruous effect
indeed, and giving rise to astonishment in the
mind that people should be found so grossly
credulous as to be imposed upon by such trickery.
VIGNETTES, MEDALLIONS, ETC. 141
CHAPTER XII.
VIGNETTES, MEDALLIONS, ETC.
Vignettes are a very popular style of picture,
and every gallery should be prepared to make them.
They were formerly made by taking a piece of
glass, of the size of the plate on which the Vig-
nette is to be made, and holding it over a candle
flame, so as to blacken an oval shaped Vignette
in the center of the glass. Having exposed the
plate in the camera, return to the dark-room,
take the plate from the holder, place the vignette
glass over the sensitive surface, bringing the
opaque part as nearly over the head and shoulders
as possible ; then open the door and expose for
a few seconds to the light. Withdraw and
develop, when the light will be found to have
whitened all that part of the picture not covered
by the opaque part of the glass, thus producing
a Vignette by a very tedious process applicable
only to one at a time. The next pi jcess was a
patented one and required to be done in the
camera, by having an extra slide of glass, with
an. opaque center, to cover the head and shoulders
as before. The exposure having been made, the
tube was covered and the glass slide pushed in,
when the tube was uncovered ; and after a few
142
THE FERROTYPE.
seconds the slide is replaced, the holder with-
drawn to the dark chamber, and the plate de-
veloped. This process offered a little more cer-
tainty than the former, but was never generally
adopted, although applicable to the negative as
well as to the positive picture.
The plan generally adopted, and that which is
in use in all the best Ferrotype galleries, is to cut
an oval or other suitable shaped opening in the
center of a sheet of white card-board, the edge
of the opening to be serrated or toothed, so as to
cause the ground to blend softly with the por-
tions of the figure and drapery. The card-board
is commonly placed on a frame (made and sold
by stock dealers for that purpose), and being
placed between the sitter and the camera, at a
sufficient distance from the camera to cause the
proper softening of the outline, the exposure
is made as usual, and upon development the
card-board will be found to have blended beau-
tifully with the white back -ground, softening the
edges where it covers the clothing and drapery
of the sitter.
This process has the further recommendation
that many sittings may be made consecutively,
and all will be equally good at the same time.
The Vignetter may be adjusted to produce the best
possible effects, as it shows plainly on the object-
glass of the camera. When at the proper dis-
tance from the camera, and when showing the
proper portion of the shoulders, changes may
VlGiSETTES, MEDALLIONS, ETC. 143
be rapidly made to show more or less of the
figure by an adjustable stand, so that all varieties
can be produced with the greatest facility.
The usual method of adjustment is to stand
with the vignette in the hand, having placed it
at what you consider the proper place, and look
over the edge of the opening into the camera ^o as
not to obstruct the reflection of the sitter. One
will' easily see from that position if the Vignette
is too high or too low, or if too much to
the rio-ht or left; by moving it nearer to the
camera the opening is enlarged, showing more
of the figure, while by placing it nearer to the
sitter the blending becomes more abrupt and the
opening smaller, embracing the shoulders closely.
Vignettes can also be made two or three in a
group, by having the opening sufficiently large
or by placing it nearer the camera. There are a
variety of useful openings, among which are the
round, egg-shape, and half circle. All of these
are to be used with white grounds. They can,
however, be used with gray grounds, sometimes
with very good effect.
To make Vignettes by this apparatus, it should
be the endeavor of the operator to have the same
amount of intensity of light on the Vignette as
on the back-ground, in order that they may be
of the same shade or tone in the finished picture.
This is easily done by turning the Vignette to-
ward the light, either top or side, although it is
generally better to turn it toward the top light
144 THE FERROTYPE.
Vignettes with gray and dark grounds may be
produced by the same process, using a dark back-
ground, of course, instead of the white; and to
have the Vignette of the same shade as the
ground, turn it from the light. By looking in
the camera you can easily see when you have it
dark enough. Having arranged the Vignette
to satisfaction, proceed as before.
The best form of stand for the Vignette was
invented by Mr. I. H. Stoddard, and is manu-
factured and sold by E. & H. T. Anthony & Co.,
and can be had through any stock dealer. It
consists of a light wooden stand, with a hollow
upright piece, similar to the stand of the head-
rest. The frame upon which the card-board is
fastened is pivoted within another frame, which is
set on 3L piston, moving in the hollow upright of
the stand, so fitted as to remain in any position
without dropping. These stands are not patented ;
or if they are, the usual liberality of the Messrs.
Anthony is shown by the low 2")rice at which they
are sold.
THE MEDALLION FERROTYPE.
The Medallion Ferrotype is another instance
of the variety of beautiful effects possible to be
produced in these pleasing pictures, the fin-
ished and handsome effect produced is very at-
tractive, and recommends the picture at once
to the attention of the observer. When made
with care, the Medallion Ferrotype is quite
VIGNETTES, MEDALLIONS, ETC. 145
equal m effect to the photograph of the same
name, and can be produced with much more
ease.*
I believe it has not been more than two years
since this popular style was introduced in pho-
togra})hy, and at the present day there is not,
probably, a photographer in the country who has
not felt the demand for this pleasing style of
portrait and made an effort to comply with it.
In fact, so great has been the demand as to create
a new article of use, viz., the '^ cut-out," thou-
sands of which are made and sold every- where,
and the printed directions accompanying them
have probably been as eagerly sought after as any
thing else ; and as is always the case, the demand
for these simple disks of paper has stimulated
the ingenuity of the producers to the inevitable
result: (the patented article,) so that medallion
disks of metal and semi-opaque substances in con-
junction, to produce serrated and Mosaic borders,
which it is supposed would be a joy forever to a
Sandwich Islander, and well calculated to drive
an aboriginal South Australian into fits of admi-
ration.
The Medallion Ferrotype, however, is quite
another thing, it is not a patented article, neither
is the apparatus by which the effect produced,
and I hasten to lay the whole process before the
• See sample of medallion Ferrotype accompanying this
work.
10
146 THE FEIlPvOTYPE. .
universal American public, before that devoutly
to be detested consummation takes place.
The apparatus required, then, is the small re-
volving or the conical back-ground, but as both of
those articles are patented (!), let us have a light
frame of pine wood, upon which we will stretch
a cloth ground not more than four feet square ;
but I suppose that three feet square might be
large enough. Now, if it is desirable to produce
the effect of the revolving or of the conical
grounds, let us shade one-half of the ground by
passing something between it and the side light,
so as to make the part of the ground nearest the
light a shade darker than the rest. This can
verv easilv be done bv Dlacinp; a shade between
the ground and the light, advancing it flir enough
to throw the shadow where it is wanted. We now
cause the sitter to assume the desired position, ad-
just the drapery, and arrange the light so as to
produce the desired effect; having done which,
we place in front of the individual (whose por-
trait we are about to cause the sun to take for
us) another frame, which supports a large sheet
of white card- board, which is cut an oval
opening, sufficiently large to allow the head and
shoulders to be exposed, when the frame is placed
immediately over them, so as to be in the same
focus as the face of the person sitting. We have
now, to produce the desired effect, a white border,
with a sharp cut edge around the head and shoul-
VIGNETTES, MEDALLIONS, ETC. 147
ders, behind which, throwing it into relief, is the
darker ground.
This latter frame must be supported by braces,
at an angle which will allow the light from
above to illuminate the whole surface. By
means of these braces, we can regulate the
amount of light desired to produce the proper
effect. This apparatus may be made of the
lightest materials, and every artist should be able
ta make the frames for himself. If white card-
board may not be procurable, any other color can
be pasted over with white paper, and, if neatly
done, will answer the purpose equally as well.
Great care should be exercised in cutting the oval
opening to have the edges clean cut, and the oval
not too short or too long. Having procured your
frame, suspend the card-board or medallion
opening, with light cords running over the top
of the frame, and attached to weights sufficient to
balance it, so that in adjusting it over the sitter
it may be raised or lowered at pleasure, always
remaining where placed. AVhen not in use, the
whole may be placed conveniently aside, so as not
to be in the way, yet still ready to hand. The
ability to do the largest amount of good work in
the shortest time, so as not to oifend the patron
of your gallery by any appearajice of undue
haste, nor, in case you are crowded, to waste
valuable time by running here and there for that
which should be at hand, is sedulously to be cul-
tivated.
148 THE FERROTYPE.
Another and, in many cases, very pleasing
style of medallion, is made by using a white
ground, and having in the back of the camera a
suitable oval opening, which would give the head
and shoulders, relieved by a properly shaded
ground, surrounded by a clean black oval.
Sometimes very beautiful effects are produced by
this means. Ornamental borders are easily pro-
duced by cutting the edges of the opening in the
back of the camera, or in perforating it with
fanciful patterns sufficiently large to allow the
light to pass. To produce the best effect in this
way, the plate should lie as close as possible to
the opening, in order to get sharpness of outline.
THE JSrOlSr-REVERSED
FERROTYPE,
-A- ,
POSITIVE PHOTOGRAPHIC IMPRESSION
ON ADAMAN'TEAN FERRO PLATES,
WITH A FULL DESCRIPTION OF THE APPARATUS AND
PROCESS OF PROUdCTION. ACCOMPANIED BY
E. M. ESTABROOKE,
" The Ferrotype, and Haw to Make iC
I88:
Entered accoiding to Act of Congress in the year 1880, by
JOHN DEAN & CO.,
the Office of the librarian of Congress, at Washington, D. C
AUTHOR'S PREFACE.
Each copy of the previous edition of this book contained
two illustrative examples of a new style of picture
called the " Non -reversed Ferrotype," which were so
decidedly superior to any ordinary Ferrotype as at once to
attract a great deal of attention, and to cause many to
inquire why the method of tlreir production was not
given.
The answer to all such inquiries, was that the pictures
were made only by the Author of this book, and were the
result of much study and very expensive research and ex-
periment, and a description of their production was not par-
ticularly called for by the prospectus or title of the book.
The demand for information as to the method by which
these pictures were produced very soon became so great
that the publishers were induced to make a special arrange-
ment with the writer to obtain the desired information, that
it might be published in this, the second edition, of "The
Ferrotype and How to Make It," and which information,
including an account of the invention of the apparatus,
a description of the same, and all the details incident to the
successful production of Non-reversed Ferrotypes, is here-
with given.
The accompanying picture is intended to be an example
of what these formula and manpiulations will produce when
skillfully worked — and they are given as examples of fine
chemical effect, perfect focus, and graceful positions— con-
sequently it is expected that they will stimulate to renewed
efforts every Ferrotypist into whose hands this book may
come, to equal, if not to excel them.
(151)
152 AiTrHOR*s Preface.
To this end, a careful study of the book is recommended,
and also, as far as possible, the adoption of the formula and
manipulation, as well as the materials with which these
pictures are made.
Messrs. E. & H. T= Anthony & Co. prepare a collodion
which has no equal This may general!)' be procured through
any of tlie local dealers in photographic materials, or. if not,
of the manufacturers themselves. The plates used are the
celebrated Adamantean Plate, made by John Dean & Co^
which I have ahvays found uniformly excellent, and I again
cordially indorse the testimony of leading Ferrotypists to
their superior qualities. If these directions are followed, I
am confident you can scarcely fail to achieve complete sue-
NO.N-EEVERSED FEKEOTYPES. 163
NON-KEVERSED FERROTYPES.
In the year 1866, being then in business at
805 Broadway, N. Y., (in a building which has
since been removed to give place to one of the
lofty iron structures of the day,) I conceived
the idea of making pictures by the positive Col-
lodion process, which should not have the defect
of all such pictures heretofore naade, either by
the Daguerreotype or by the Collodion proc-
esses, viz., that of being laterally transposed —
it being an admitted fact that the greatest de-
fect of all positive pictni"es made directly in the
camera, consisted in this very transposition of
154 THE FERROTYPE.
the figure in the same manner as the reflection
of the form or face in a mirror, which, as every
body knows, makes the right side to appear as
the left, and vice versa, giving the parting of the
hair on the wrong side, etc., etc. In considering
as to the best method of overcoming this defect,
it occurred to me that there was but one way in
which it could be done, viz., by reflection. A
suitable reflector must be placed in front of the
lens, and, in practice, pictures must be made from
the image of the object, and not from the object
itself, for this reason. As the picture, of the
sitter, as now taken, is transposed in the camera,
this transposition can only be overcome by trans-
posing again ; and as we can not effect two trans-
positions within the camera, we must effect one
between the sitter and the camera lens. This can
only be done by means of a reflector. At this
time I commenced to experiment with various
reflectors. I remembered to have heard or read
a description of an apparatus that had been used
during the earlier days of Daguerreotypes, by
which this effect was produced, but with what
degree of success I never could learn ; but reason-
ing from tlie fact that I had never seen one used,
and that I had never heard of such instruments
being offered for sale, I concluded that it could
not have been of a practical nature. However, I
began to make inquiries among the stock dealers
about such an instrument, and, after considerable
trouble and persistence, I did find one which had
NON-REVERSED FERROTYPES. 155
been laid away upon the shelves of the old firm
of Daguerreotype stock dealers — Holmes, Booth
& Haydens. This instrument had passed from
the memory of every body in the store but one,
and by him it was considered of so little value
that he very freely gave it to me without com-
pensation. This instrument consisted of a trian-
gular brass case, one of the faces of the right
angle of which was uncovered ; the other had a
flange by which it could be screwed to the, front
of a camera lens. Having first removed the sliade
and cover, in the base of the triangle was fitted a
square piece of plate-glass, the under or back
surface of which was silvered. In use, this in-
strument rendered it necessary to turn the side
of the camera box to the sitter, thus bringing
the image of the sitter upon the glass in the re-
flector. I experimented with this instrument for
some time, but could produce nothing which
would prove satisfactory. I next tried a large
cheval glass, securing the most perfect surface
that I could. Upon placing the glass in front of
the sitter, and pointing the camera at the reflec-
tion, I succeeded better than with the small in-
strument; that is, I could make the picture in
slightly less time. But I was troubled in this ex-
periment in the same manner as in the first — by
double reflection — my pictures would develop with
two outlines. It took me some time to get at the
cause of this double outline, as I could see noth-
ing of the kind in the object glass of my camera.
156 THE FERROTYPE.
At last, placing my glass where there happened
to be a stronger light reflected from its surface,
I found, in a double reflection, the cause of all
my troubles. The glass of the mirror and also
of the small reflector being of very thick plate,
it gave a reflection from both surfaces — from the
front surface of the glass and from the silvered
back surface. Of course, the reflection from the
front or outer surface was faint, and only per-
ceptible in the double outlines; yet, by no means
at my command, could I remove or prevent it :
in consequence, I was forced to give up the mir-
ror and glass reflector. My attention was next
turned to a finely-polished metallic reflecting
surface, but with no better success — in conse-
quence, I think, of the difficulty, if not the im-
possibility, of securing a perfectly plain surface:
by which I mean a surface so perfectly even and
level as to reflect all rays of light in a direction
exactly parallel. It will very easily be seen that
any inequality, however small, in the reflecting
surface, would destroy the image: and this I
found impossible to overcome : and although I
had been very sanguine when I first attempted
the metallic reflector, I was forced to give it up
as unsuitable or unfit for the purpose.
The image reflected by one of these instruments
would often be so blurred as to be undistinguish-
able ; again, parts of the image would be perfect,
but not all. This resulted, I found, from the
inequalities of the metallic surface — such inequal-
NON-REVEESED FERROTYPES. 157
ities being produced by the tool used in burnish-
ing the metal — and thus I was forced to the con-
clusion, that until a metallic surface could be
ground and polished in a manner similar to that
by which glass is ground and polished, the me-
tallic reflector would not answer the purpose.
Pursuing my experiments, I procured a very
fine plate of Venetian glass, and attem])ted to
have deposited thereon a coating of metallic sil-
ver, sufficiently thick and strong to receive a
high polish, without being so thick as to allow
the burnishing tool to cause inequalities of the
surface. In this I also failed, and for a time I
gave up the idea. About this time I conceived
the idea of using a prism of glass, knowing that
it had the power of reflection. Upon communi-
cating my thoughts to a friend of mine, an opti-
cian, he confirmed my impression, and offered to
procure for me, from Paris, a prism of colorless
glass of a suitable size for my purposes.
Eagerly accepting his offer, I gave him the di-
mensions of one large enough for a half-plate
lens. The order was transmitted, and in due
time my prism arrived from France. I had it
fitted in a nice brass case, which was so arrano^ed
as to be screwed to the front of the camera tube
in place of the usual shade. The brass case I
caused to be lined with black velvet. With this
apparatus I succeeded in producing Non- reversed
pictures entirely superior to any I had heretofore
made. One great drawback, however, was the
168 THE FERROTYPE.
length of time required for exposure. I began to
cast about for means to shorten the time of ex-
posure.
Having already the quickest working Collo-
dion, etc., that I supposed it possible to produce, I
arrived at the conclusion that I 'could do nothing
in that direction, but must direct my efforts to
make the prism more effective as a reflectcr. I
had, I supposed, been using only its refractive
power as yet. One day, as an experiment, I re-
moved the prism from the case, and, taking out
the velvet, I inserted in its place a piece of white
card- board, and, to my surprise, on again trying
the exposure, I found that by this simple means
I was enabled to reduce the time of exposure
about one-half, and got quite as perfect an image.
This surprised me, as I knew that the surface of
the card-board possessed a very low reflecting
power, and also that its surface must be very un-
equal, but it seemed that the prism corrected any
defect arising from such inequalities of surface.
In this way I was at once put on the right
track to the long-desired object.
Taking my prism to the silver plater, I had a
coating of metallic silver deposited upon its
largest surface, which I caused to be covered
with a strong varnish to protect it from friction,
etc. I again placed it in its case, and, as may
be imagined, with trembling anxiety prepared to
try again its reflecting powers.
Upon coating a plate and subjecting it to an
iNON-KEVEESED FERROTYPES.
159
exposure of ordinary duration, l was overjoyed
to find my highest hopes realized — I had secured
a perfect reflector by which to produce Non-re-
versed positive pictures by the Collodion process.
The two cuts herewith given will convey a
perfect idea of one of my methods of mounting
the prism for work.
Fig. 1. Fig. 2.
Figure 1 shows the prism in its brass case as
it rests upon the camera box. This [)articular
reflector is of 4 inches diameter on the two
faces of its right angle ; the reflecting surface or
back is 4x5|^. It is mounted in a brass case
made to screw on the front of a f-tube, the open-
ings being made large enough to receive and
transmit all the light the 4 inch front will
admit.
160 THE FERROTYPE.
Figure 2 shows the prism screwed to the tube
and the cover resting on the box. This view ex-
plains the method of using tlie prism. The front
of the prism being turned toward the sitter, pre-
sents the side of the box, and brings the ground
glass and plate-holder at right angles with the
sitter. 'Jlie position is strange at first, but one
easily becomes accustomed to it.
Another method of -mounting the prism for
use with the wing multiplier, is to set the tube
well back in the box, and have the prism perma-
nently fitted to an extra front, which may be slid
into the front grooves of the box. By this
method the lens is entirely hid from view, and
a novel impression is conveyed by the appearance
of the apparatus. This last method is only pos-
sible with the win^ aamera ; the box-like front
of which affords a»^^:>le space for a tube as large
ag the box is intended for.
NON-REVERSED MEDALLION FERROTYPE. 16 J
THE NON-REVERSED MEDALLION
FERROTYPE.
This is tlie most beautiful of the various
styles of Ferrotypes; it is also the most difficult,
both because of the care required iu the adjust-
ment of the apparatus and illumination of the
subject, and also because of the necessity that the
positions should conform to and suit the style
of the opening which produces^ tlie Medallion ef-
fect.
The cut will explain the nature of the appa-
ratus used, and the manner of taking a Non-re-
11
162 THE FERROTYPE.
versed Medallion Ferrotype, better than many
words.
The apparatus consists of a light pine wood
frame or support, upon which is suspended a sheet
of white or gray card-board, through the center
of which is cut an oval opening. The back-
ground should be dark, and, if graduated in
sliade, the better. The one seen in the cut is"" a
Biglow graded revolving ground ; a dark-cloth
ground will answer the purpose quite well.
The background need not be more than four
feet square, and may be stretched on a light
frame. Through the center of the bar, which
should be across the middle of the frame, a hole
may be bored, by which it may be suspended on
the back of the head-rest, upon the rear end of
the rod which supports the head.
The medallion frame may be of light pine
wood, 2 inches by 1 inch, 6 feet high, and 30
inches wide. The one in the cut is 25 inches
wide; it is better to be wider.
The medallion matt may be of white card-
board, smooth or pebbled. The one in the cut is
gray, and pebbled, the better to imitate the
Photograph. A strip of white paper is pasted on
the edge of the upper left portion of the oval,
ind a similar piece, but black, on the correspond-
ing lower right.
The matt is 30x40 inches square, and glued
to a light frame of J-inc^ pi»e; the oval open-
ing is 16 X 22 inches.
NON-REVEESED MEDALLION FERROTYPE. 163
This Style of picture is much finer when made
with the Rembrandt effect of light. A very
beautiful effect is produced in this style of pict-
ure, after making the proper exposure, by cover-
ing the tube, and pushing the plate-holder about
J of an inch farther in ; then remove the cover
of the lens and replace it immediately. This
heightens the imitation to one of the best and
softest of Medallion Photographs.
The first cut explains the method of focussing
the instrument ; this one shows the exposure,
the position of the camera, the background, re-
flector, etc., etc. By it also an idea may be ob-
tained as to the method of illumination to pro-
duce the Rembrandt effect.
164 CONCLUSION.
CONCLUSION
'As proposed in the Publisher's Preface, such
improvements as have been introduced since
the publication of preceding editions of The
Ferrotype, together with a few references to
matters alluded to in the course of these pages
and in former editions wdiich, in consequence
of lapse of time and subsequent changes, are
inaccurate, will here be given.
Most photographers must have observed the
unpleasant yellowish tint which ferrotypes
show on their surface. These pictures would
be much more generally acceptable if the
whites w^ere produced pure. There are various
modes of producing this result, but they in-
volve a little extra trouble on the part of the
operator.
One mode of avoiding this is by using a
weak wash of tannin upon the plate before it is
placed in the fixing bath. The solution of
tannin eliminates all the sulphate of iron that
may remain in the film after development and
washing, and which, if left there, forms a com-
pound with the cyanide, which gives the yel-
low color.
Another mode of producing fine white, and
CONCLUSION. 165
rich, velvety black, with freedom from fog, is
to proceed as follows : Make a saturated solu-
tion of protosulphate of iron, into which drop
a solution of tannin, shaking the mixture all
the w4iile, until the precipitate of tannate of
iron ceases to be redissolved ; then ,add drop
by drop of a weak solution of nitric acid until
the precipitate is dissolved and the iron solu-
tion becomes of a clear bluish color. To one
ounce of this add ten or eleven ounces of water,
and as much acetic acid as may be found ne-
cessary. This constitutes the developer.
The patents of Wing and Southw^orth, alluded
to in pages 42 and 43, have finally been decided
invalid, and there is now no restriction in the
matter of making or using cameras with sliding
shields. This result was only reached after
years spent in litigation, and the expenditure
of thousands of dollars. In the meantime the
publishers have made and improved these
looxes, until they now^ not only excel in sim-
phcity, but in finish and ornamental character,
all others. These cameras are specifically
known as the "Success" Cameras, and the
large sale of them attests the correctness of the
name. They combine all the recent improve-
ments. A photographer who possesses a Suc-
cess or Climax Camera Box, a Dallmeyer Por-
trait Lens, a Bowdish Camera Stand, and a
Bowdish Chair, is provided with the most
effective instruments now known to the trade.
166 CONCLUSION.
The formula for making soluble cotton, on
page 57, has never been tried by the publish-
ers, and they therefore do not vouch fur its
value.
In the present edition we have omitted a few
lines which were formerly to be found on page
84, regarding them more or less redundant ;
but the experience of photographers, from
whom the proprietor of the patent endeavored
to draw an income, and the excitement caused
whenever he made his appearance at photo-
graphic meetings, would make an amusing epi-
sode in a photographic history. It is sufficient,-
however, to say, that at the present time Mr.
Shaw has ceased to annoy the members of the
profession by his demands. To any one in the
slightest degree versed in elementary chemis-
try, it is surprising in the extreme that a person
could be so little informed as to make the ex-
traordinary claim that was founded on this
patent.
One of the greatest improvements, so far as
the aesthetic aspect of a ferrotype is concerned,
has been the introduction of the tinted ferro-
type plate. The appearance of a picture on
one of these plates is far more agreeable than
;the old, ancient and unalterable black color,
'and ferrotypers are under great obligations in
connection with them to Messrs. John Dean &
Co., who are the sole manufacturers, the product
being covered by a patent.
CONCIiUSION.
167
Prisms, referred to on pages 157-160, are
now a regular article of commerce, and made
to fit any tube. They can be purchased through
any of the dealers, or direct from the pub-
lishers.
As to expense, the apparatus and materials
required in the making of ferrotypes have been
very considerably cheapened since the earlier
days, and the varietj^ increased, according to
the scale on which the business is to be con-
ducted. For instance, the cost of lenses usu-
ally employed for the purpose is greatly re-
duced, and in less degree the cameras also.
THE CLIMAX CAMERA, NO. 43, FITTED WITH FOCR ,'4 LENSES.
The iron plates, too, on which the pictures are
made, are very much lower than formerly, and
more attractive means have been devised for
168
CONCLUSION.
moLinting and delivery. These particulars,
however, may be all gleaiied from our illus-
trated catah)gue of photographic materials and
of card stock ; but lor convenience, we subjoin
illustrations of two of the instruments usually
selected, the first being what is known as our
CHmax Camera No. 43, which is of excellent
workmanship, and exceedingly popular on ac-
count of its comparative cheapness ; the second
-m(|lillliiiilnl i;iM,iiHTiipl||(f
CHE SUCCESS CAMERA O, FITTED WITH NINE ONE-NINTH AND FOITK
0NE-F0CI;TH lenses, both ok either OE. the SETS.
is our Success Camera, 0, similar in style,
thouirh more elaborately finislied. Being manu-
lactured in mahogany, or haril-word ebonized,
and provided with nickel trinimiri^s, the latter
are decidedly tlie l^est and most desirable cam-
eras of the knd in the market. Negatives as
well as ferrotypes can ho ina le with either of
them.
TllK rUHLISHERS.
author's addenda. 169
AUTHOK'S ADDENDA.
Each of the former editions of " Tlie Ferro-
type, and How to Make It," were ornamented
with one or more samples of ferrotypes, which
were intended to convey to the amateur, or
prospective professional, an idea of the best that
could be done with the materials provided for
the purpose by the most prominent stock-house
und manufacturers of photographic requisites
in the country.
"When it was decided to print a third edition,
it was thought advisable to again send out
with the book a specimen of the best work of
the special branch of the art to which it was
devoted, and it was also believed that such
improvements as have been introduced of late
years might in this manner be best illustrated
and brought to the attention of the reader.
Messrs. E. & H. T. Anthony A: Co., the present
owners of the copyright, being desirous that
the ilhistrations should be of the best, very
kindly placed the resoui-ces of their immense
establishment at my disposal, to select the
m»-terials from which to produce these pi<;-
ADDENDA
To Eemoye Silver Stains.
The following mixture will remove all silver stains. Mix
.together and keep in a bottle :
' Alcohol 20 parts.
Iodine 1 part.
Nitric acid 1 "
Hydrochloric acid 1 "
Apply this to the stain, and after a few minutes apply either
a solution of hyposulphite of soda or of cyanide of potas-
sium— ;the latter to be preferred . A second application is
sometimes necessary. After the stain disappears wash well.
Theemometer Scales*.
The zero of the Centigrade and of Reaumur's thermome-
ter each correspond to 32^ Fahrenheit.
To convert degrees of Reaumur into equivalent degrees of
Fahrenheit, multiply the degrees of Reaumur by 9, divide
the product by 4, and add 82 ; the result will be the degrees
of Fahrenheit. 9 Fahrenheit, 5 Centigrade, and 4 Reaumur
are equivalents. In Wedgwood's Pyrometer the zero com-
mences at 1,077° Fahrenheit; and each degree, instead of
being equal to 130° of Fahrenheit, as was supposed by its
maker, is only equal to about 20°.
Easy Rules for the Reduction of Scales.
To convert Reaumur into Fahrenheit, multiply by 2.25
and add 32°.
To convert Centigrade into Fahrenheit, multiply by 1.8
and add 32°.
Sizes of Camera Plates.
Stereoscopic 5^ by 3:^ inches, 6f by 3^ inches.
I 9th Plate 2* " 2
1 6th Plate 3| " 2f
1 Quarter-Plate . 4^ " 3^
i One-third Plate 5 " 4
i Half-Plate 6^ " 4f
I Whole Plate 8| " 6^
( 10 by 8 inches, 12 "10
J 14 "1
Extra Sizes ^ 14 " 12 " 18 " 15
I 24 "18 " 30 " 26
THE FERROTYPE.
TABLE FOR ENLARGEMENTS.
F0CU8
OF
LENS,
inchei.
2
TIMES OF ENLARGEMENT AND REDUCTION. 1
1
inches.
4
4
2
inches.
6
3
3
inches.
8
21
4
inches.
10
2i
5
inches.
12
24
6
inches.
14
2^
7
16
2f
8
inches.
18
2J
2^
0
6
7^
3|
10
3i
12^
3^
15
3
17i
2H
20
2f
22*
2||
3
6
6
9
^
12
4
15
3f
18
3f
21
3*
24
^
27
3f
3J
7
7
lOi
51
14
4f
17^
4|
21
4i
24^
4A
28
4
3H
3H
4
8
8
12
6
16
5i
20
5
24
44
28
4f
32
4f
36
4i
4^
9
9
13J
6|
18
6
22^
5t
27
5|
31^
5i
36
51
40*
5tV
5
10
10
15
7^
20
6t
25
30
6
35
5f
40
5f
45
51
H
11
11
16i
8f
22
n
27^
61
33
38.}
6A
44
6f
6t\
6
12
12
18
9
24
8
30
7J
36
71
42
7
48
6f
54
61
7
14
14
21
lOi
28
35
8f
42
8f
49
8i
56
8
63
7t
8
16
16
24
12
32
10|
40
10
48
Of
56
9J-
64
9y
72
9
9
18
18
27
13^
36
12
45
IH
54
63
10^
72
lOf
81
10^
The object of this table is to enable any manipulator who is about to en-
large or reduce a copy any given number of times, to do so without
troublesome calculation. It is assumed that the photographer know»
exactly what the focus of his lens is, and that he is able to measure accu-
rately from its optical center. The use of the table will be seen from tlie
following illuBtration : A photographer has a carti^ to enlarge to four
times its size, and the lens he intends employing is one of six inches
equivalent focus. He must, therefore, look fur 4 on the upper horizontal
line, and for 6 in the first vertical column, and carry his eye to where
these two join, which will be at 30— 7>^. The greater of these is the dis-
tance the sensitive plate must be from the center of the lens ; and the
lesser, the distance of the picture to be copied. To reduce a picture any
given number of times, the same method must be followed, but in this
case the greater number will represent the distance between the lens and
the picture to be copied ; the lesser, that between the lens and the sensi-
tive plate. This explanation will be sufficient for every case of enlarge-
ment or reduction.
If the focus of the lens be 12 inches, se this number is not in our columi
of focal lengths, look out for 6 in this column and multiply by 2; and ■»
on with any otner numbers.
ADDENDA.
WEIGHTS AND MEASURES.
IVoy, wr Apothecaries Weight.
I pound = 12 ounces ; 1 ounce = 8 drachms ; 1 drachm
— 3 scruples ; 1 scruple = 20 grains. (1 ounce Troy = 480
f raina, or 1 ounce Avoirdupois -|- 52'5 grains.)
Avoirdupois Weight.
1 pound = 16 ounces ; 1 ounce = 16 drachms ; 1 drachm
= 27*343 grains. (1 ounce Avoirdupois = 437*5 grains.
1 pound Avoirdupois = 7000 grains, or 1 pound Troy -|- 2^
Troy ounces + 40 grains.)
Imperial Measure.
1 gallon = 8 pints ; 1 pint = 20 ounces ; 1 ounce = 8
drachms ; 1 drachm = 60 minims. (A water-pint of water
measures 16 ounces, and weighs a pound.)
An Imperial gallon of water weighs 10 pounds Avoirdupois,
or 70,^00 grains. An Imperial pint of water weighs 1\ pound
Avoirdupois. A fluid ounce of water weighs 1 ounce Avoir-
dupois, or 437'5 grains. A drachm of water weighs 54*7
grains.
French Measures of Weight.
1 kilogrwmme = 1000 grammes = something less than 2 J
pounds Avoirdupois.
1 gramme = 10 decigrammes = 100 centigrammes = 1000
milligrammes = 15*433 English grains.
A gramme of water measures 17 English minims, nearly.
1000 grammes of water measure Zb\ English fluid ounces.
French Measures of Volume.
1 litre = 10 decilitres = 100 centilitres = 1000 militres
= 35} English fluid ounces.
1 litre = 1 cubic d^cim^tre = 1000 cubic centimetres.
1 c jbic centimetre = 17 English minims.
A litre of water weighs a kilogramme, or something less
than 2} pounds Avoirdfupois. A cubic centimetre of water
weighs a gramme.
THE FERROTYPE.
^A^EIGHTS AND MEASURES.
Apothecaries' Weight. — solid measttbe.
20 grains = 1 scruple = 20 grains.
3 scruples = 1 drachm = 60 "
8 drachms = 1 ounce = 480 "
12 ounces = 1 pound = 5760 "
FLUID. SYMBOL.
60 minims = 1 fluid drachm, f. 3
8 drachms = 1 ounce. f.
20 ounces = 1 pint. O. 3
8 pints = 1 gallon. gall.
The above weights are those usually adopted in formal».
All Chemicals are usually sold by
Avoirdupois Weight.
37|| grains = 1 drachm = 27i| grains.
16 drachms = 1 ounce = 437J "
16 ounces = 1 pound = 7000 "
Precious Metals are usually sold by
Troy Weight.
24 grains = 1 pennyweight = 24 grains.
20 pennyweights = 1 ounce = 480 "
12 ounces = 1 pound = 5760 "
Note.— An ounce of metallic silver contains 480 grains, but an onvM
of nitrate of silver contains only 437>^ grains.
French Weights and Measures,
and their equivalents in english.
1 cubic centimetre = 17 minims, nearly.
3^ « " ^1 drachm.
28*4 " " =1 ounce.
50 " " =1 ounce 6 drachms 5 minims.
]00 " " = 3 ounces 4 drachms 9 minims,
1000 "" "1 , , o. . .
or 1 litre, V = 35 ounces 1 drachm 36 minima
= to 61 cubic inches. J
The nnit of French liquid measures is a cubic eentimelre. A cubic cmH-
metre of water measures nearly 17 minims (16-896) ^ it weighs 154 grains, or
1 gramme. A cubic inch of water weighs 25Tf> grains. „,„• . . ^|,„, .
The nnit of French weights is the gramme. -- to 15 4 grains, thui a
drachm <6n grains) is nearly 4 grammes (3«8). An easy way to convert
gi amines into Kglish weight, is to divide the sum by 4, which givea tlM
»)iaivalent in drachms very nearly thus:
aaAMMES. DEACHMS. OZ. DBCHM. GRAINS.
100 -J- 4 = 25 = 3 . 1 -f- 43.
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ANTHONTS
Keu) ycrrotppe Collodion
Expressly ^for Ferrotype Work
IS UNEQUALED BY ANY IN THE MARKET
Its Sale Is Constantly Increasing
PUT UP INiHALF-POUND BOTTLES
TRICE PER POUND, $t,20
FOR SALE BY ALL DEALERS
Manufactured by
The (Anthony &> Scovill Co,
NEW YORK AND CHICAGO.
ANTHONTS
PURE CHEMICALS
^\:#i/4|>/ THE BRAND
/ ^af^m^ \ is a guarantee of the purity of the
//l| 1 1 ^^t^W ^ it^ chemicals. Use only these and
(5^t i IjlByJli^^ 1 5A you <will make sure of ha'ving only
%SB^3!^ THE 'BEST
rP^^f^^
SOLUBLE COTTONS,
CONC. SULPHURIC ETHER,
IODIDE OF AMMONIUM,
IODIDE OF CADMIUM,
ANTHONY'S VARNISHES,
C. P. SULPHATE OF IRON,
IODIZED COLLODIONS, PYROGALLIC ACID,
ALCOHOL,
BROMIDE OF AMMONIUM,
BROMIDE OF CADMIUM,
OXALATE OF POTASH,
CHLORIDE OF GOLD,
SULPHITE OF SODA.
Our Cfiemicats are endorsed by e'hery Photographer
of note in the United States
The Anthony & Scdbill Co.
NEW YORK AND CHICAGO,
5x7 IMPROVED VICTORIA CAMERA.
For making 5x7, 4X x 51^ and 3I4 x 4X pictures, and
reversible, and 4 or 8 on 5 x 7 plates with 4 Gem tubes. It is
handsomely finished in mahogany, has rabbeted shield and kits.
The camera has several improvements over anything heretofore
offered to the trade.
Price, without lenses $10 00
' ' with 4 X lenses on plate 23 00
DISPENSING SCALES AND WEIGHTS.
i
;^ii^"::,. iiiiiiiiiiiiiiiiiiiiiiiiiiiiiil
5 in. beam, for drams and grains $0 75
6 " " " " " I 00
8 " " " grains, scruples, drams and ounces i 50
No. 2, standard, S/4 in. beam, 2 in. brass pans, on walnut box,
scale packs in drawer.
Price, including a full set of weights $5 50
THE POLLY BABY CHARMER.
A mechanical bird, strong and well made — highly
colored and attractive in appearance — is so arranged
that, by winding up, it will swing backwards and
forwards on its perch, and raise and lower its wings
automatically. It is a great success with the little
folks.
Price $075
MANUFACTURED BY
THE ANTHONY & SCOVILL COMPANY,
NEW YORK.
Ferrotype Outfits,
We detail a few outfits for the benefit of those who are
unacquainted with the necessary apparatus and supplies.
FERROTYPE OUTFIT D FOR $60.
For 4 or 8 on 5 X 7 plate, with 4 tuljes, and i or 2 on 5 x 7
plate, with one tube.
15x7 Victoria Camera, fitted with 4 1-4 Tubes.
I >^ E. A. Portrait Lens.
50 10 x 14 Ferro. Plates.
500 No. II Envelopes.
1 Iron Center Camera Stand.
2 >^-pint Glass Funnels.
I Effective Collo. Vial.
I 3-0Z. Graduate.
I Alcohol Lamp.
I box Dry Colors and Brushes.
Yz pint jar Professional Paste.
I I -in. Paste Brush.
I Quill Duster.
I 7 X 10 Glass Bath.
I No. 5 Rubber Dipper.
I pint Silver Bath Solution.
I Lot Sundries, as follows :
I tall Centennial Head Rest.
i| lb. New Ferro Collo.
I lb. Acetic Acid.
I lb. Iron.
I pint Alcohol.
X lb. Cyanide Potass.
1 bottle Diamond Varnish,
2 oz. Absorbent Cotton.
I copy " Estabrooke's Ferrotype Manual."
FERROTYPE OUTFIT E FOR $87.50.
For making 4 or 8 on 5 x 7 plate, with four tubes and single
pictures from 8^^ x 10 to 3X x 4X. or two on 8 x 10, with one lens.
I 43 C Portrait and Gem Camera, fitted with 4 % Tubes.
i6>^x8^E. A. Portrait Lens.
50 10 X 14 Ferro. Plates.
500 No. II Envelopes.
I 9 X 12 Glass Bath.
I No. 5 Rubber Dipper.
I quart Silver Bath Solution.
I Lot Sundries, same as in Outfit D.
The Anthony & Scovill Company^
NEW YORK.
The Ascot Carrier with Ground.
A thoroughly practicable carrier, made with special
reference to where compactness and price are im-
portant. This carrier is made with socket joints, and
may be taken apart and packed away in very small
compass. It is fitted with a background sV^l ^^^t
square, on a best quality Hartshorn Roller, which
keeps ground in perfect condition, and is a most
valuable accessory to the amateur.
Carrier complete, with ground $5 oo
MANUFACTURED BY
The Anthony & Scovill Company,
NEW YORK.
Climax Portrait and Gem Camera
(No. 43C).
The best every-day camera in the market. With
carriage movement and swing-ing ground glass, im-
proved focus screw, extension bellows. With rabbeted
holder, 13^ x 13%, and kits for dry plate and ferrotype
work. A Benster holder may be used with this camera
if desired. With a single 6j^ x S}^ or 8 x 10 lens it will
make all regular work reversible, from 4^ x 6>4 size to
8 X 10 ; also two cabinets on 8 x 10 plate, or two 5x7
size on two 5x7 plates. With a 1-4 or 1-2 size lens,
copying and enlarging to 8 x 10 ; with four 1-4 Gem
lenses set in brass plate, it makes eight large bon-tons
or card size on 7 x 10 ; also four of the same size on
5x7, and eight small bon-tons on 5 x 7.
No. 43C. All complete, except lenses $24 00
Same, but with Benster Holder 30 00
Four % gem Tubes on brass plate, to fit either of
above cameras 15 00
MANUFACTURED BY
The Anthony & Scovill Company,
NEW YORK.
THE "BENSTER" PLATE HOLDER
The plate rests on pure silver wire, and there is a trough
with large bottle beneath, into which all the silver waste readily
finds its way. As the trough is raised, the upper ledge descends,
so that the center of the plate is at all times in the center of the
holder, no matter what size is used. This obviates the use of
inside kits, and adapts itself at once to any size of plate, from the
largest the holder will admit to one not under 3 inches square.
This is unquestionably the best gallery plate holder made. By a
recent improvement, the horizontal bars may be instantly fastened
for plates of any size, and there is also an attachment for the
vertical adjustment.
The prices of Benster Holders for Portrait Cameras are as follows:
For 8x10 plate and under, i2Hncheswide, 13! inches high, $10 00
8x10 " " i3f " 13I " 10 00
10x12 " " 15 " i5f " 16 00
11x14 " " 17 " 17I " 21 00
14x17 " " 20.^ " 21 *' 24 00
17x20 " " 23i " 24 " 27 50
18x22 " " 26 " 26i '• 30 00
20x24 " " 28 " 28i " 35 00
22 X 27 made to order only 40 00
25x30 " " " 4400
Special sizes, to order, will cost 20 per cent, additional.
MANUFACTURED RY
THE ANTHONY & SCOVILL COMPANY
NEW YORK
CLIMAX QNCINNATI GEM CAMERA.
FITTED WITH THE **BENSTER^' PLATE HOLDER.
For negatives or ferrotypes (admitting of pictures
8xio and tinder, two on 8xio, 7 x lo, or 5 x 7 with
one lens) with carriage movement on our Patent
Rollers and fitted with the " Benster " holder.
No. Price
43 B . Double swing $40 00
When fitted with four 1-4 Gem Tubes on plate, it
will admit of eight on 7x10, and four on 5x7.
Double swing, fitted with four tubes on plate. . .$55 00
MANUFACTURED BY
THE ANTHONY & SCOVILL COMPANY
NEW YORK
THE NEW YORK
Camera Stand
Without any Exceptions the Best ever Made.
STRONG! RIGID! DURABLE! CHEAP!
THE SIMPLEST STAND ON THE MARKET.
The least mechanism. No weights.
PRICES (F. O. B.)
No. I — To II X 14,
No. 2 — To 20 X 24, -
No. 3 — For larger sizes,
$18 50
26 50
38 00
The Anthony & Scovill Company,
NEW YORK.
THE KNICKERBOCKER STAND.
WITH KNICKERBOCKER TOP.
No. o, for 4-4 Camera. . ..$7 00
" I, " " .... 8 75
The Acme Top.
Each stand is packed in a
separate box. The tops are
attached to the upright
with screws, in metallic
ears, and the legs are firmly-
fastened with screws to the
center-piece, and are re-
moved when packed. The
tops of Nos. I, 2, 3 and 4 are
elevated by means of a
snake screw operating on a
cog-wheel, and this in turn
on the metallic rack of the
standard or upright. This
peculiar arrangement
greatly diminishes the fric-
tion ; and therefore very
little power suffices in
elevating or lowering the
camera. The tops of Nos.
o and I are inclined by
means of a cam operated
by a snake screw, while
that of No. 4 is after Stod-
dard's pattern. We annex
^a cut of No. 4 entire. Nos.
p2 and 3 have the Acme top.
WITH ACME TOP.
No. 2, for 8 X 10 Camera.. $9 50
3,
12 GO
No. 4, for 8 X 10 Camera, with Stoddard top $15 00
MANUFACTURED BY
THE ANTHONY & SCOVtt.L COMPANY,
NEW YORK.
IRON CENTER STAND.
This is now the favorite cheap stand. Being in
walnut, and the iron center bronzed, its general appear-
ance is quite pleasing.
Price, for 1-4, 1-2, 4-4 and 8 x 10 ^3 50
ANDERSON^S
Photo-Mechanical Processes
AND
GUIDE TO COLOR WORK,
THE MOST COMPLETE "BOOK ON THE
PHOTO-REPRODUCTION PROCESSES . . .
Three-Color Print, Phusochrome Chart, Half-Tone and
Full-Tone, and many other illustrations.
Price, - - $5.00,
THE ANTHONY & SCOVILL COMPANY,
NEW YORK.
Photographic Card and Ferrotype
Plate Cutter.
Photographers will find this a grand thing for
cutting ferrotype plates.
The advantages of this cutter are : With 12 in.
blades it will cut any size sheet. No other machine
ever made will cut a sheet wider than the length of the
blades. All the parts are made of best material and
are interchangeable, so that, if any part is worn out,
broken, or lost, a duplicate can be ordered.
Price, only $10.00 for a complete machine, with
adjustable gauges and latest improvements. Each
machine boxed, and no extra charges.
The Anthony & Scovill Company^
NEW YORK.
ADAMANTEAN FERROTYPE PLATES.
Earg-shell.
Glossy.
Box of 8 doz., Black or Chocolate Tint, 1-9 Size $0 80
$0 90
"8 " " 1-6 " I 25
I 35
"8 " " 1-4 " I 85
2 00
"4 " " 1-2 " 2 20
2 35
" 4 " " 4|x6^ Size. . . 2 20
2 35
"4 " " 5 X7 " .. 2 40
2 70
" 2 " . " 6^x8i " . . 2 40
2 70
" 2 '* "7 xio " . . 2 70
2 90
2CO Sheets " " 10x14 " ..2800
30 00
The best and most uniform plates in the market.
ARGENTIC DRY PLATES.
These are ferrotype plates for making positive pictures, and
are sensitized read}- for use.
Per Box of I "rice.
2 dozen," 3^ x 4:^ $-' 9°
2 " 4 x5 I 25
2 " 4ix5i
2 " 4jx6i
2 " 5 x7
2 " 5 x8
2 " 6^x8^ 3 75
2 " 7 X 10 4 00
2 " 8x10 450
I " 10 X 14 4 00
American Stock Solution No. 2, 12 oz. bottles o 25
I 50
1 So
2 00
2 25
The Anthony & Scovill Company^
NEW YORK.
For c/lnything
and Everything
USED BY
Professional and Amateur
Photographers
-#"#•
SEND TO
The Anthony 6 Scovill Co.
Complete Catalogue*.*
Mailed on Application
The Anthony 6 Scovill Company
NEW YORK
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