THE GETTY CENTER LIBRARY
THE
PHOTOGRAPH
AND
AMBROTYPE MANUAL:
A PRACTICAL TEEATISE
ON THE ART OF TAKING
rOSITIVE AND NEGATIVE PHOTOGRAPHS ON
PAPER AND GLASS,
COMMONLY KNOWN AS rHOTOGRAPHY,
IX ALL ITS branches;
CONTAINING ALL THK VARIOUS RECIPKS PRACTISED BY TilK MOST SUO-
CESSFUL OPEUATORS IN THE UNITED STATES.
BY N. G. BURGESS,
PRACTICAL PIIOTOGEAPUEK, AND MANUFACTUBER OF CIIEMICAIS
FOR THE ART.
SEVENTH EDITION.
NEW YORK:
HUBBARD, BURGESS & CO.,
7S EEADE AND 99 CHUECH STEEETS.
LONDON: TRUBNER & CO.
18C1.
I ■
Entered according to Act of Congress, in the year 1S58,
Bx NATUAN G. BUIiGESS,
la the Clerk's Office of the District Court of the United States for the Southern
District of New York.
THE GErrv CENTER
LIBRARY
PREFACE.
Thk publication of the Ambrotype Manual, by
tlie author of this work, a short tirae'since, and
the great demand for the same, has induced him
to enlai-ge that W(.>rk by the addition of the prac-
tice of Photogra])hy in all its branches.
It may not be inappropriate at the present
time to refer to the progress of this wonderfnl
art, since its first advent in 1839, and to note its
tendencies and its effects, to trace its lead ins:
features and results up to its present high posi-
tion in the scientific world; and, finally, to mark
out the commanding results which it is destined
yet to achieve in its onward progress to pei--
fection.
The Photogi-aphic Art was ushered into the
world on the day when the immortal Daguerre, in
1839, announced his sublime discovery to the
4: PREFACE.
French savans, and it Las steadily progressed from
that day to the present time.
It lias made many strides towards perfection,
and has astonislied all with its accomplishments.
In the short space of eighteen ^^ears, what has it
not done ?
"From the small and almost imperceptible im-
pression upon the silver plate first exhibited by
Daguerre, which cunld only be seen at a certain
anule of lio'ht, and that very dimly, and of a blue-
ish cold to*ne, to the magnificent photograph of the
size of life, with all the perfect delineations of
light and shade, wliat a wonderful advance ! And
tliese great improvements have been so gi-adual,
that few, if any, could mark the changes. Yet all
will acknowledge, that the art is just now begin-
ning to attest its true worth, f^^r wa now begin to
receive the homage of all true lovers of art. The
day has dawned in which the photographer can
command even the service of the artist, whose
highest pride should be to copy nature in all her
works. For now we can exhibit true works of art
drawn with the pencilings of the sun's rays, and
drawn with such an unerring cori-ectness that it
were sacrileo-e to touch it with the hand of the
artist. It defies the artist's skill. It fairly out-
PREFACE.
vies the creations of a Rapliael or a Rubens in
portraiture, and in the other certain works of the
pencil.
Tlie Photographic Art has become of such im-
portance in this country, that many persons have
embarked large amounts of capital in the manu-
facture of materials for the use of the photographic
artist. The inducement has been fully warranted
irom the fact that all these persons who have in-
vested in this branch of commerce have been fully
rewarded.
In view of these facts, it is thought proper and
necessary to embody in this edition of the work
a set of full and complete practical furmulae for
the production of all kinds of Photographs on
paper, as well as those on glass, known as Am-
brutypes. The aim will be tu gi\'e only such
known receipts as have been in actual practice b}''
the author and others, and to explain them in the
plainest and most explicit manner possible, in
order that the least practised operator may reap
the benefit from the perusal of the work, as those
of more mature experience.
The practice of the art of taking Photographs on
paper lias been attended with very diverse results
in the United States, owing in a great degree to
1*
6 TKEFAGK.
the fact tliat most persons who have embarked in
it have heretofore been Dasjuerreian artists. Thev
imagined thcit it only required the necessary skill
and experience of a Daguerreian artist to ren-
der them good Photographers. But this has been
soon found to be a fallacy. There are many who
are skilful in the process known as the Daguerreo-
type, who can produce specimens of that art which
would do credit to the profession, who nevertheless
utterly fail in this Jiiglier branch of Photography.
The reason is obviovis. They have vainly imagined
that only the same care was necessary in tlie paper
process that was demanded in the manipulation of
the silver plate. Put how soon have their hopes
of success been blasted ! Where the ordinary care
bestowed upon a Daguerreotype would produce
satisfactory results, the same care upon a Photo-
gi-aph on paper would produce a worthless picture.
Hence we see the necessity of looking into a higher
range of art fur the perfection of this branch.
And as we approach near the goal of perfection
in this sublime art, so much the more does it de-
mand of its votaries greater sacrifices on the altar
of patience and perseverance, more nearly resem-
Ijling the long and weary road of the successful
painter, who rises in his profession through many
PREFACE. 7
years of patient toil, with his pencil and his pallet,
to the highest eminence.
i\.nd the day ma_y nut be far distant when only
those who have been fur many long and weary
years followers of the Photographic Art, shall be-
come masters of their profession.
It is well, therefore, to fully comprehend the
greatness of the task one assumes who embarks in
this profession. And to become a perfect master
of it, will require all the known resources of his
perseverance. Therefore such aids as may be
found in the experience of others, will be given
here, and it is trusted may be found of essential
service to those who may purchase the work and
follow the art as a profession.
To the amateurs this work will no doubt be ac
ceptable as a practical treatise, leading them into
the more intricate fields of practice not found in
scientific works on kindred subjects.
Fortunately for this beautiful art, the number of
amateurs is increasing in the United States, and we
trust they may continue to augment until the num-
ber shall equal tliose of England and other Euro-
pean countries. For like all beautiful arts, the
tempting field of pleasurable labor here opened, is
beckoning onwards a host of fellow-laborers, which
8 PREFACE.
will render the task of ultimate success of very
easy accomplisliment ; and it is trusted they will
emulate those artists in England who have so will-
ingly opened their stores of knowledge to the pho-
tographic world, so that all may reap the benefit
of their valued experience.
CONTENTS.
PAGE
Preface 3
Introduction 0
CIIAPTEE I.
History and Prosrress of the Photographic Art— Its Introduction
into the United States — The Discovery or Uses of the various
Chemicals — Positive Photographs on Glass 19
CHAPTER II.
Theory of the Photographic Process— Negative and Positive Pic-
tures—Negatives on Paper and on Glass — Positives on Glass —
Theory of the Positive and the Negative Process 30
NEGATIVE PROCESS.
CHAPTER I.
On the Practice of the Negative Process through all its details—
The Manipulations— Cleaning the Plate- Coating with Collodion
—Drying tlie same— Time in the Camera— Developing— Re-devel-
oping for Intensity— Varnishing the Negative— Frames or Shelves
for Negatives— General Remarks on the Manipulation of the
Negative Process— Arrangement of the Light — Use of the Ca-
mera, &c., &c S^
10 CONTENTS.
CHAPTER II.
The Nitrate of Silver Bath for Negatives— Preparation of the same —
Formation of tlie Iodide of Silver for the Nitrate Bath — On the
practice of the Negative Batli — Observations on the use of the
Negative Bath — On the Intensity of tlie Negative— Color of tlie
Negative, &c., &c 43
CHAPTER III.
On Photographic Printing— Salting Solutions — Salting the Paper —
Silvering the Paper with Ammonia Nitrate of Silver — Plain Silver
Solution — To prepare the Albumen for Paper Positives — Silvering
Albumen Paper — On the practice of printing Negatives— Toning
or fixing the Print — Wasliing the Positive Prints — Drying the
Pictures — Varnishing and Mounting the Prints 56
CHAPTER IV.
To copy Daguerreotypes and other Pictures into Photographs — Od
Enlarging Pictures — To enlarge Pictures from Daguerreotypes,
Anibrotypes, or Photographs ; and to produce Photographs from
them — To make Life-size Photographs on Paper — Iron Plioto-
graphs, or Instantaneous Printing — On taking Stereoscope Pic-
tures, Photographic Views, &c., &c 69
CHAPTER V.
On the Preparation of Negative Collodions — The Formulae for Neg-
ative Collodions — Mixing various Collodions — Dissolving the Io-
dides— Double Iodide Collodions — The celebrated German Pro-
cess complete — The Negative Developing Solutions — Re-develop-
ing Process — Bichloride of Mercury as a Re-developer — Fixii^g
Solution — The Toning Baths — The Ammonia Nitrate of Silver
Solution 81
CHAPTER VI.
Details of the various Recipes in the Photographic Process— Quick
Method of Silvering and Printing Paper — Best Method of Salting
Papers-Test for good Collodion orGun-Cotton — Varnish for Posi-
tives on Paper — Instantaneous Printing Process — New Method of
CONTENTS. 11
varnishing Positives— To restore Prints that have changed color —
Cleaning Glass Plates— To varnish Negatives— Dextrine Paste for
mounting Pliotographs— Gum-Arabic and Gelatine— To restore
Silver from Old Solutions— To remove AVater from Collodion, and
to purify it— Test of Hyposulphite of Silver in Positive Prints —
Printing various Backgrounds 97
CHAPTEll VII.
Hints and Suggestions in regard to the Negative Process— Imper-
fections peculiar to Negatives— How to avoid them— Cautions in
taking Negatives— Hints and Suggestions in regard to printing
Positives on Paper— Cautions in regard to them— Imperfections
found in Positives — How to avoid them Ill
AMBROTYPE PROCESS.
CHAPTER VIII.
The Camera^Plate-holders necessary for the Camera— Prepanng
the Glasses— Plate-blocks for holding the Glasses— Cleaning Sub-
stances— Cleaning the Glasses — Cleaning old Glasses — Removing
tlie Varnish — Holding Glasses after they are cleaned— Glasses
used a number of times — Quality of Glasses necessary for Am-
brotypes 125
CHAPTER IX.
Apparatus for Anibrotypes — Chemicals used — Substances for finish-
ing the Picture — Preparation of the Nitrate Bath — To Iodize the
Bath — Filtering Process — Adding Acid — Neutralizing the Bath —
Full Directions for keeping the Bath in order — Renewal of the
Nitrate of Silver 131
CHAPTER X.
The Developing Solutions — Manner of Compounding them — Various
Formula} for Developing Solutions — Test of Acetic Acid — The
Fixing Solutions — Cyanide of Potassium — Hyposulphite of Soda
— Adding Chloride of Silver 141
12 CONTENTS.
CHAPTEE XI.
On the Practice of the Art in all its Details, from the Cleaning of
the Plate to the Application of the Fixing Solution — Drying the
Picture 145
CHAPTER XII.
Varnishing the Picture — Single Glass Process— Stereoscopic Am-
brotype — Trel)Ie Glass Process — Tiie Double Glass Process — Cut-
ting's Pateut-^The Patent-leather Process 151
CHAPTER XIII.
The Manufacture of Gun-Cotton — Test of the Acids employed —
Washing and Drying the Gun-Cotton — Preparation of the Collo-
dion— Its Nature and Properties^ — Ether and Alcohol— To Iodize
Collodion for Ambrotypes — Method of preserving Collodion, and
keeping it ready fur use — Tests of good Collodion — To remove
the color from Collodion 157
/
CHAPTER XIV.
Coloring Ambrotypes — Colors employed— Ambrotypes for Lockets
— Taking Views — Copying Daguerreotypes by the Ainbrotype
Process — Copying Engravings, Statuary, Machinery, <fcc 106
CHAPTER XV.
On the manner of Arranging the Light — The Falling of the same
on the Drapery — Use of a Diapiiragm — Light on the Eyes- — Using
Screens — Backgrounds — Eefleeturs— Diaphragm — Time in the Ca-
mera— Over-exposure, and Under-developing — Taking Children's
Portraits 174
CHAPTER XVI.
Alcolio'ic Solutions for pn-paring Collodion — Iodide of Silver Solu-
tion— Bromide of Silver Solution— Bromo-Iodide of Silver Solu-
tion—Saturated Solution of Iodide of Potassium in Alcohol— Of
Bromide of Potassium— To make Ilydro-bromic Acid 179
CONTENTS. 13
CHAPTEE XVII.
i'reparation of the Varnishes^White Copal Varnish — Gnm-Jemar
Varnish — Blaclj Asplialtiim Varnish — AVliite Varnish of Shellac
and Copal — Thickened Varnish for Cementing Glasses, in place
of Canada Balsam — Gum-shellac Varnish for Plate-holders — Ap-
plying the Varnislies 189
CHAPTER XVIII.
Causes of Failure in the Practice of the Art — Fogging the Pictures
— To detect the Fogging of Plates — Black and White Specks on
the Plates — Transparent and Opaque Spots — Impurity of Chemi-
cals—Spots or Streaks on the Glass Plates 194
CHAPTEE XIX.
Cautions with regard to using the various Chemical Substances in
making Gun-Cotton — Use of Ether and Alcohol — Use of Cyanide
of Potassium — Nitrate of Silver — Cleaning the Hands — Solution
for cleaning the Hands — Hints on the various Processes connected
with Positives and Negatives — To render Collodion highly Sensi-
tive— The Lampratype Process 202
CHAPTER XX.
Vocabulary of Photographic Chemicals — Acetic Acid — Alcohol —
Ammonia — Bromine — Bromide Of Potassium — Carbonate of Soda
— Cyanide of Potassium — Chloride of Gold — Hyposulphite of
Gold — Hyposulphite of Soda — Iodine — Iodide of Ammonia —
Iodide of Potassium — Iodide of Silver — Protosulphate of Iron —
Litmus — Nitric Acid — Nitrate of Potash — Nitrate of Silver— Sul-
phuric Acid — Properties of Ether — Properties of Water 211
Weights and Measures 233
INTRODUCTION
THE AMBKOTYPE MAT^UAL.
The Photographic Art, as known and practised
at the present time, is capable of a great variety of
modifications. Among these are positive pictures
on gh^ss, which, on account of their imperish-
ability, are denominated Ambrotypes — a name
given to them by Mr. Cutting, a successful artist
of Boston. They are said to be impervious either
to air or water.
It is by this name that all positive pictures on
glass are known in this country. They are attract-
ing the attention of the Daguerreian artists from
the peculiarity of their appearance, and the new
phenomena of their production, differing so widely
from the Daguerreotype process.
A desire has been often expressed that a work
written by a practical operator, and of a practical
IG INTRODUCTION.
nature, might be within the reach of those who
wish either to begin the study of the art at the
outset, or to modify and improve the practice in
which they may be ah-eady engaged. With a
view to meet this want, the present work has been
undertaken.
It is designed to present the resuhs of a long
practical experience, and of a uniform series of
experiments in all the details of the art, together
with receipts by the most skilful and successful
operators of the present day.
Ambrotypes being positive photographs on
glass, it will necessarily require some knowledge
of photography to fully understand the so-called
ambrotype process.
In this manual will be found such practical hints
on the various processes (divested, as much as pos-
sible, of technical expressions, which may tend to
mislead the inexperienced artist), as, with a little
practice under the supervision of one who has
some knowledge of manipulating, will enable any
person to master the art.
The patented process known as " Cutting's Pa-
tent" has tended in some ineasm-e to retard the
efforts of many who were desirous to work by this
process. At present, however, certain investiga-
mXKODUCTION. 1 7
tions are being made so as to undeceive the public
on this point, and we can see the good results of a
removal of this drawback to the successful prac-
tice of this beautiful art. Tliere are various other
methods of sealing the anibrotypes which will
answer as well as those indicated in the patented
process, if not better, which no one need be de-
terred from adopting.
In this work will be found detailed the many
various processes which have been adopted by
skilful artists. The whole operation from the first
cleaning of the glass plate to the final sealing af
the picture will be elucidated and explained in
such a clear and satisfactory manner, as that it
may be hoped that the amateur may make great
proficiency in his practice after the perusal* of the
work.
The process, however, is capable of such a va-
riety of changes, all tending to the same result,
and liable, also, to a slight variation, without due
care, that many, perhaps, who may adopt the
practice will meet with difficulties where none
were expected. But perseverance, which accom-
plishes great deeds in all things, will at length re-
ward the industrious student in this almost magic
field of science. We believe that the day is not
2*
18 LNTRODUCTION.
far distant when ambrotypes will be classed among
tlie most beautiful creations of the Photographic
Art, and command the wonder and regard of the
picture-loving public.
The art is capable of much greater variety of
effects than the long-practised Daguerreotype.
Here we may seal a picture with or without color-
ing, and make the same picture aj)pear to be
colored on viewing it on one side, and uncolored
on viewing it on the other side — in truth, viewing
two sides of the^face with only one portrait. Added
to which is the great reduction of the time in the
camera, by which moving objects and views may
be taken without reversing, and likenesses of young
children can be indelibly fixed on the glass tablet.
For the production of groups, this process oifers
many facilities not possessed by any other, from
the fact that the ordinary iron head-rests may be
dispensed with, if desirable, and an easy, graceful,
and natural position attained.
These and other considerations render the Am-
brotype in many respects superior to other photo-
graphic processes, and it will deservedly command
the attention of all artists who wish to excel in
this profession.
PHOTOGRAPHY.
CHAPTER I.
HISTORY AND PROGRESS OF THE PHOTOGRAPHIC ART
ITS INTRODUCTION INTO THE UNITED STATES
THE DISCOVERY OR USES OF THE VARIOUS CHEMI-
CALS POSITIVE PHOTOGRAPHS ON GLASS.
The history and progress of an art so pecnliarly
distinct from all other arts, demands from its vo-
taries a certain knowledge of its early stages, its
introdnction to the world, and its authors who
brought it into being.
The names of many of those who have been in-
strumental in jierfecting it, are fast passing aw^ay,
and it seems befitting that, if only as a tribute of
respect to their memories, some mention at least
should be made of their noble achievements in this
field of science — especially their long and weari-
some researches and labors in perfecting this ^won-
derful work.
To M. Daguerre, of France, whose name is so
20 PROGRESS OF PHOTOGRAPHY.
identified with the Photographic Art, from the fact
of its being associated with all those impressions on
the metallic plate, is the world not only indebted
for the first sublime idea, but also the first success-
ful result. Although Mr. Fox Talbot, of England,
who was prosecuting experiments at the same time
with Daguerre, claims priority of discovery, yet
the world would have slumbered in ignorance had
not M. Daguerre so clearly demonstrated that
light falling upon a certain substance known by
chemists as iodide of silver, would impress thereon
whatever image was presented for its magic work,
and reproduce its own image with all the fidelity
of an artist's skill.
The details of M. Daguerre's process, as given
to tlie world in June, 1839, were, of com'se, very
imperfect; yet the j)rinciple was thereby estab-
lished, and has been so successfully carried out
by his successors, that he is fully entitled to the
credit, and deservedly stands pre-eminent in the
ranks as the original discoverer or inventor of this
beautiful art.
All the photographic processes since made
known and practised, owe their origin, if not di-
rectly, at least indirectly, to the fact of his original
discovery.
PROGRESS OF PHOTOGRAPHY. 21
Pictures on paper, glass, &c., are in fact only
modifications of his great achievement. They in-
volve a change in the uatnre of the mere materials
used, and do not in any degree affect the original
^ fact that light mnst be brought to act upon the
substance known as iodide of silver to produce the
required result.
The researches of Wedgewood'and Sir Hum-
phrey Davy, in 1802, are familiar to most scien-
tific readers. These individuals were cognizant of
the fact that lio-ht actins; upon certain salts of
O CD J.
silver aftected its color. They engaged in these
experiments in order to fix the image in the camera
obscura at that early day ; yet owing to the imper-
fect state of chemical science, and the fact that
iodine itself was not discovered at that time, they
finalh' abandoned it, and left the field for such in-
dustrious and worthy investigators as Daguerre
and ]S"iepce, who successfully prosecuted their re-
searches, beginning in 1814, and finally announ-
cing their successful result in June, 1839.
Tlie world was astounded to be told that the
seeming evanescent image that had flitted so beau-
tifully before the vision of a dreamer's mind in the
camera obscura for so many long years, had been
caught and impressed indelibly upon a tangible
22 PROGRESS OF PHOTOGRAPHY.
substance ; that the long wished-for as]3irations of
an artist's soul had been realized ; that now it was
possible to transform the living pictures which
Portia, two hundred years before, had exhibited
to the gazing world as wonders of his genius; that
they could all be imperishably iiiipressed, and be
made to retain their beauty for ages.
Philosophers' in science prosecuted their re-
searches, and finally made additional discoveries.
We find Sir John Herschel as among the foremost
in the ranks. Hunt, Archer, and Mr. Fox Talbot
himself, made great progress soon after it was an^
nounced that Daguerre had finally perfected his
discovery.
Mr. Talbot, however, was unwilling the world
itself should profit by his discovery, and he forth-
with commissioned agents to all parts of the world
to secure patents wherever they could be obtained.
With what success he met in their sale may be
known from the fact that no one now claims any
interest whatever in them.
Mr. Talbot has seen proper of late to withdraw
all claims to a patent by his process, and for the
reason, no doubt, that it has been so urT'^as'n-aldv
superseded by new and more useful improvements.
A patent for any portion of this pz'ocess is almost
FOX talbot's patent. 23
conceded to be a misnomer. Certain it is that one
always militates against the successful practice of
it; and had M. Daguerre claimed one all over the
■world, his name would not have attained its present
fame.
Mr. Talbot has been very justly censured in
England for his long persistency in the claims to
his patent. Many litigations were the conse-
quences of it, in all of w^hich Mr. Talbot was not
declared the victor, but he always brought upon
himself the deserved censm*e of the photographers
in Europe.
M. Daguerre himself, very reluctantly, however,
yielded to the wishes of some of his friends, and
secured a patent in England, by taking advantage
of a peculiarity in the patent laws of that country,
yet it has been said he often regretted it.
Wherever any patent has been secured for any
peculiar detail of the Photographic Art, it has
always tended to bring discredit on its projectoi-s,
and render them odious in the eyes of the frater-
nity, as grasping and over-reaching in their endea-
vors to gain a few dollars and cents out of this
beautiful process, which seems to belong to a higher
race of discoveries than most others, partaking
almost of the things spiritual.
34 daguerre's pension.
France awarded M. Dagnerre a pension for life,
as well as one to M. Niepce, junior^ the father,
who was the original co-laborer with Daguerre,
having died in 1833. This pension was small, jQt
it evinced a noble and generous spirit in the
French government, and an example that is wor-
thy of emulation in other countries.
The process on silver plates soon made rapid
strides towards perfection, and in a few years we
find the art capable of producing specimens of
great beauty. The discovery of the use of chloride
of iodine, and bromine, and finally the gilding pro-
cess of Mr. Fizeau, resulted successfully in com-
pleting the whole j^rocess so perfectly, that few, if
any, material improvements have been made since.
This led others to investigate and essay experi-
ments on various substances instead of the silver
plate, that being an expensive article ; and, more-
over, as the daguerreotype could only be seen with
distinctness in a certain position, or angle of light,
while paper oflered such unequal surfaces, a natu-
ral desire was expressed to find some other sub-
stance to remedy these defects. This first led Sir
John Herschel to adopt glass as the readiest means
of obviating the difficulties. This was in the year
1844, and he obtained his results by precipitating
herschel's pkocess. 25
iodine and bromine, and chloride of silver upon
glass. With this he produced some good nega-
tives, which could be converted into excellent
positives,
Herschel describes his process as follows : "The
glass plate so prepared receives in the camera a
distinct negativ^e image, which appears either in a
natural position, or reversed, as you look at it in
front or behind. If a solution of hyposulphite of
soda is spread cautiously over the surface, and the
latter is afterwards rinsed with water, the picture
vanishes, but as soon as the plate is dry, it comes
again to light, when it looks similar in appearance
to a daguerreotyi^e, more especially if it is placed
on a dark ground, or blackened over the lamp,
whereby, indeed, the negative is made positive."
Here, then, we have the first germ of a positive
picture on glass. Ileischel himself was searching
after a negative picture whereby to produce a
positive on paper, nor did it occur to him to pro
duce a positive on glass. Had he done so, then
the far-famed Ambro types, or j)ositive photographs
on glass, w'ould have been of an earlier creation
than those of 1850 in England.
We see here the actual beginning of this art as
far back as 1844.
3
26 DISCOVEKY OF JUN-OOTTON.
The next improvement was made by ^iepce de
St. Victor, of France, in 1848, which consisted in
the use of albumen (the white of an egg), contain-
ing iodine and a small portion of water. This was
used for coating glass plates, and was practised
with good success. It was found to possess only a
small degree of sensitiveness. Yet it has been
since used for taking views, having a further com-
bination of bromine, with excellent results. M. Le
Grey, of Paris, was the first to suggest the use o^
waxed paper. This process, with albumen, gives
highly satisfactory pictures, and is only excelled
by the use of collodion. It was in 1850 that tha'
substance fii'st was known as the great desideratum
of the Photographic Art, and from its discovery
and foundation has been laid a superstructure
which commands so much admiration in the scien-
tific world.
Had not Professor Schonbein, of Basle, Switzer-
land, in 1846, made that curious, and at that time
almost useless, discovery of gun-cotton, we should
have groped our way in darkness in search of a
Gubstance that would render all our labors so sure
of success.
The use of gun-cotton as an explosive material
instead of gunpowder, was by some predicted
FIKST USE OF COLLODION. 27
when its discovery was first made known ; bnt it
was soon found to be useless as an explosive agent,
when happily a new element of its nature was de-
veloped in the fact of its solubility in ether or
alcohol. This produced the substance known as
collodion, from a Greek word signifying " to stick."
Its similarity to albumen soon caused it to be used
instead of that substance, when lo ! a servant was
obtained for the photographic artist at once so use-
ful and willing that he has ever since, and prob-
ably ever will, be subject to his rule.
Collodion was first used in 1850, several claim-
ing the origin of the discovery. Amongst the
number may be mentioned Messrs. Archer, Fry,
and Diamond, of London, together with Le Grey,
of Paris, and De La Motte. * The latter asserts
that M. Simon, an apothecary of Berlin, suggested
its properties to him in the spring of 1850.
After collodion had been established as a photo-
graphic agent of such vast utility, it was soon
found that positive pictures could be taken on
glass with greater facility than those on the silver
plate, and we find that many were sold in 1851 in
that manner in England; yet they did not com-
mand much attention, owing to their ^Jeculiar na-
ture— being taken with a thin film, and a weak
28 MR. cdtting's patent.
niti-ate bath, tliey did not possess that strength
which those of the present day exhibit.
The use of collodion was employed mainly with
a view to produce good negatives on glass, in
order to obtain from them satisfactory positives on
paper. It was not until positive pictures on glass
were taken in this country, that they elicited any
praise from the artist ; and we find Mr. Cutting, of
Boston, running with railroad speed towards the
Patent Ofiice in Washington, and securing the ex-
clusive privilege of sealing two glasses, with one
of them blackened, in order to render the pic-
ture apparent — the examiners at "Washington not
dreaming of the capital joke which was being
i:)layed on them, for it is well known that these
positives cannot bcseen without the black varnish.
The necessity of the second glass blackened has
since been entirely obviated by applying the var-
nish directly to the picture, and at the same time
rendering the picture more durable, by entirely
excluding from it the air or dust.
Since that patent was obtained, there Jiave been
many improvements made in the preparation of
the chemicals, and their use, all of wdiich have en-
tirely superseded those of Mr. Cutting's, whose
chemicals, strange to say, were also patented.
DAGUEiiRE AND HIS FOLLOWERS. 29
The name of Ambrotjpe was also given them,
and they are now so well known bv it, that it is
presumed they will be ever after called by that
newly-coined word, which of itself is perhaps as
suggestive and appropriate as any.
Thus we see the progress of photograjDhs on
glass has resulted in establishing an entirely new
name for pictures which owe their origin to the
immortal Daguerre. And although many of the
followers of the great master in the art claim
originality in many of the details of this art, and
they are indeed entitled to much praise, yet had
Daguerre and ISTiepce never lived, this art might
not yet have had an existence. But Daguerre de-
veloped and perfected an art which will be prac
tised as long as the sun shall shine.
3*
CHAPTER IT.
THEORY OF THE PHOTOGRAPHIC PROCESS NEGATIVE
AND POSITIVE PICTURES NEGATIVES ON PAPER
AND ON GLASS POSITIVES ON GLASS THEORY OF
THE POSITIVE AND THE NEGATIVE PROCESS.
The photographic process is one of the latest
arts inti-oduced to the world which partakes, in
some degree, of the arts of design, and from its
nature is really superior, in point of attractive fea-
tures, to many of the lesser arts. It seems to de-
mand a more elevated range of thought and taste
than others, being to a great degree allied to the
arts of painting and sculpture. Though in a meas-
ure mechanical, yet it possesses many peculiarities
which demand from its votaries more than the
limited judgment and skill necessary to the per-
fection of ordinary arts.
The theory of the process is said mainly to con-
sist in that certain action to which light is subject
of causing its own image or reflection to be ren-
NEGATIYKS ANO POSITIV! S. P>i
dei'ed apparent by that self-same reflection on sub
stances capable of receiving the impression.
The term Photography, ov painting hy lights is
snfHciently definite for our purpose, and all we
know about the actual theory is, that when certain
conditions are observed with regard to light, an
ini2:»ression may be obtained. But what is the
real or definite action which takes place upon the
surfece of the iodized plate, no man has been per-
mitted to know.
Photographs are known either as J^egatives or
Positives. They are positive in the Daguerreotype
and Ambrotyjje, and negative only in the glass
pictures or paper pictures, from which positives
are to be taken on paper, and on other similar
substances. Tliese terms should be well understood
by the operator who seeks success, as they form
the basis of all photograj^hy.
All pictures taken by the collodion process pos-
sess either of the foregoing conditions.
IS^egatives were first taken on paper, from which
posiiives were produced by the process known as
the Calotype, discovered and patented by Mr. Fox
Talbot, of England. From the multiplicity of its
in) perfections, it did not succeed, and no ])hoto-
graplis were api)7*eciated by a dl-eeriiinir ]iublic
32 THEORY OF NEGATIVES AND POSITIVES.
until those negatives taken on glass were produced
and positives exhibited from them which were
creditable as works of art.
Negatives possess all the various phenomena in
their production that are possessed by positives.
They are in some respects more difficult to be ob-
tained in great perfection, and in others are less so
from their peculiar properties. They ai'e, in fact,
only matrixes from which other pictures can be
obtained. Therefore they are not perfect pictures
of themselves, but only parts of a whole.
The manipulation connected with the negative
process is given briefly in this work, mainly with
a view to impart certain information with regard
to the positive process.
The theory of the positive and negative processes
IS the same, which consists in the reduction of the
silver to an oxide on the surface of the glass by
the action of light, and the subsequent application
of well-known chemical substances. Tliese several
conditions must be well observed in order to secure
good resnlts. The iodide of silver must be well
formed on the surface of the glass. The light
given must be only so much as will produce the
image, and reveal it after the application of the
developing solution, and this must be of just the
POSITIVES ON GLASS. 33
requisite strength to produce the reduction from
the iodide to tlie oxide of silver.
•The impression is therefore given solely by the
action of light, or by certain properties of that
mysterious body. Yet when the plate is removed
from the camera, there is no apparent change pro-
duced, but on applying the develoi5ing solution,
the sleeping and invisible image awakes and starts
into life, and commands from every beholder an
expression of wonder and admiration.
Fixing the picture is a subsequent operation,
and is no part of the process of production, only
so far as it may be necessary to render it perma-
nent, and also to remove the unaffected iodide of
silver, a portion of which is not at all changed by
the light. Only those parts are affected which are
necessary to produce the light and shade.
Positives on glass are taken with chemicals
varying slightly from those used in producing
negatives, and also by a much shorter exposure in
the camera. In fact, a positive is only a negative
with a less degree of exposure to the action of
light. All positives could of themselves become
negatives were the time of exposure prolonged
sufficiently to effect that result, though their uses as
a means of producing subsequent positives on
34 AMBROTYPES IN THE UNITED STATES.
paper is a matter of doubt, for there are certain
other conditions necessary for success in the pro-
duction of good negatives not known in the posi-
tive process.
These positives on glass are now so widely rec-
ognized as ATnbrotypes^ that we shall venture to
assume that name as one sufficiently significant
and appropriate for our purpose.
Ambrotypes are now so well known, that they
may almost be said to be identified with the prog-
ress of the art in the United States, and belong
exclusively to this country. Tliey are not known
as such in Europe. They are there classed under
the head of Photographs, and the public here are
frequently led into eiTor on this point, and suj)-
pose, in fact, that Ambrotypes are a new creation
— a new kind of picture only known here, while
in truth they were first taken in Europe, and are
merely photographs on glass, taken positively in-
stead of negatively.
Tiie details of the process, and the necessary
manipulations, are of course to be found only in
the practical portion of this work.
The whole art consists, therefore, in the careful
preparation of the glass plate, in the most scrupu-
lous cleanliness and accuracy of the employment
PHOTOGRAPHIC DIFFICULTIES. 35
of every material requisite to the process, and in a
most implicit obedience to such rules as are laid
down in tliis work for the guidance of those who
would insure success.
The results set forth in these pages were ob-
tained after nnich patient labor and investigation
on the part of a host of intelligent inquirers, who
have successfully overcome difHculties which, could
they have foreseen, would have appalled the most
patient and determined mind. Happily for the
photographer who now commences his operations,
he may profit by the experience of others, and be
spared the labor and investigation of earlier op-
erators.
The path for him is now rid of its most formi-
dable difficulties,' and should he be induced to ex-
amine carefully the abstruse philosophical princi-
ples upon which this fascinating art depends, he
mav, in his turn, become a contributor to its im-
provement and advancement.
The experience of the humblest may sometimes
furnish a suggestion, which investigations of the
most refined and cultivated may have long failed
to accomplish.
The art is greatly suggestive. It offers many
fields of speculation, and the great aim of all who
36 TRIUMPH OF AKT OVER NATURE.
practise it sliould be to perfect it as soon as possi-
ble, for, like all the creations of man's genius, it is
not yet complete. But the rapid strides it is now
making towards long wislied-for perfection are so
apparent, that we confidently look to the accom-
plishment of the greatest end sought — namely, the
reproduction of the colors of nature. This result
once obtained, the artist could lay aside his easel
and pallet. He could then retire from the arena
where he now stands contending so unprofitably,
in a pecuniary point of view, with the photogra-
pher.
But this seeming triumph of nature over art by
the pencillings of the sunlight — the sun himself
becomin«: the universal and sublime artist ! — is
really the triumph of art over nature ; for since
art, conscious of the weakness and imperfections
of her best eiforts, has had the tact and skill to
wheel the forces of nature into her own ranks, the
result should be set down to her own credit, as her
own victory.
PART I.
PRACTICAL DETAILS
OF THE
NEGATIVE PROCESS.
POSITIVE PHOTOGRAPHS ON PAPER.
CHAPTER I.
ON THE PRACTICE OF THE NEGATIVE PROCESS THROUGH
ALL ITS DETAILS THE MANIPULATIONS CLEANING
THE PLATE — COATING WITH COLLODION DRYING
THE SAME TIME IN THE CAMERA DEVELOPING
KE-DEVELOPING FOR INTENSITY VARNISHING THE
NEGATIVE FRAMES OR SHELVES FOR NEGATIVES
GENERAL REMARKS ON THE MANIPULATION Of
THE NEGATIVE PROCESS ARRANGEMENT OF THE
LIGHT USE OF THE CAMERA, ETC., ETC.
There are so many various plans suggested by
practical operators in the Photographic Art, all
varying so much in detail, that the author has
thouglit proper to simply confine himself to one
line of practice, which has been found to produce
the best results.
All negative Photographs at the present stage
40 NEGATIVE PHOTOGRAPHS.
of the art are taken on glass, and they are called
negatives from the fact that all the lio;hts and
shades are reversed — i. e. where the portrait in
life presents the high lights (or where the light foils
the strongest, and it should appear the lightest), in
the negative it appears the darkest. In like man-
ner, where the dark shades are seen in a positive
to be dark as in life, in the negative they are seen
light, or to present the high lights. They present
these peculiar phenomena only when viewed by
transmitted light, or light passing through them, in
which position they can only be seen with proper
effect. When viewed as a positive, laid on a
blackened substance, they resemble in some de-
gree a positive that has been too long exposed in
the camera. They cannot be viewed properly in
any other manner than by transmitted light.
However, they are never to be sealed up for
sale in any form, but are always reserved by the
artist to print from, any number of copies that may
be desired. And herein consists the great beauty
and perfection of this branch of photography.
We have the power of multiplying ad infinitum^
even far greater than if it were printed from an
engraving. The negative itself can be reproduced
and multiplied so that exact fac-sitniles could be
CLEANING THE PLATI-;. 4rl
obtained, and even thousands printed by every
negative, so nearly resembling each other, that
none could distinguish the first original positive
impression.
Regarding the manipulation of negative process
as a simple chemical operation, with certain chem-
ical auxiliaries, it is very easy of accomplishment.
When once properly understood, if certain rules
are observed, it is more sure of success than most
others in the art.
The first requisite to success is the cleaning of
the glass plate, which is easily done by I'ubbing it
with a piece of cotton-flannel dipped in alcohol,
slightly diluted with water ; and in case of using
the glass the second time, a small quantity of rot-
ten-stone, whiting, or tripoli poM'der, inay be
added.
Be careful to dust the glass with a flat camel's-
hair brush just before pouring on the collodion.
Holding the glass in the left hand, standing near
the bath, pour the collodion on with a continuous
stream from the bottle until there is enough,
which when flowed over the whole surface of the
glass will just cover it. Then let the superfluous
quantity run off at the right-hand corner into the
bottle, slightly moving the glass plate so that the
4*
42 TIMK IN THE CAMKRA.
cullodiou M^ill not .dry in lines or ridges ; a qnick
motion may be necessary to insure a perfect fiow
of it over tiie surface. On holding the. glass up to
transmitted light, it should appear perfectly clear
and transparent, as though no collodion was upon
its surface — at least, no lines, streaks, or spots. If
any are visible, the negative will be faulty.
Let it dry until it appears almost free from
moisture ; now darken the room ; then place it in
the bath for one or two minutes, or until the iodide
of silver is perfectly formed on its surface, which
can easily be ascertained by raising the plate from
the bath. If the surface presents a uniform ap-
pearance, clear and witliout any lines or streaks
like grease or oil, then it is ready for the camera:
a slight motion of the plate will produce this re-
sult.
The time of exposure in the camera is entirely a
matter of judgment and expeiience. No definite
rules can be laid down; but usually, in a strong
light, with the ammonia collodion and the neutral
bath, from fifteen seconds to one minute will an-
swer.
The time of exposure can easily be ascertained
by a trial plate.
DE\rRLOPING OF THE NEGATIVE. 43
THE DEVELOPING OF THE NEGATIVE.
This requires great care and mnch practice, for
if the process in all its details is correctly followed,
and only a slight variation in the developing of
the image, the resulting negative will be of no
avail.
As soon as possible after the light has acted
upon the plate in the camera, remove it to the de-
veloping-stand,or it may be held in the hand, and
pour the solution well filtered upon the surface, but
only just enough to cover it, retaining all the fi-ee
r.itrate of silver which had adhered to the plate on
its removal from the bath. The silver itself acts
as a means of darkening the negative.
The developing solution of protosulphite of iron,
on page 89, will be found the most useful, and in-
deed the only one recommended for good nega-
tives. After allowing this solution to remain on
the surface for a few seconds, the outlines of the
negative will appear. Then, if not sufficiently in-
tense, pour off the develo|)er, and cover it again
two or three times, until sufficient intensity is ob-
tained. The negative should gradually appear
first in the high light, then the drapery ; and,
lastly, it should seem to fade partially away.
44 VARNISHING NEGATIVES.
FIXING THE NEGATIVE.
Always fix the negative in a strong solution of
hyposulphite of soda. This will of course remove
the iodide of silver slowly, but tlie collodion is less
liable to be attacked by the use of soda than by
cyanide of potassium. A saturated solution will
remove the iodide of silver more readily, although
a less quantity of soda will answer. It is found
that whatever quantity is employed, it loses its
strength on the immersion of every plate, and
must be frequently renewed.
VAKNISIIING NEGATIVES.
In order to preserve negatives in a proper state
for future use, it is ^vel] to varnish them. If they
are intended only to, print a few copies, a varnisli
of gum-arabic is preferable, not very thick, about
the consistency of collodion.
If the negative is required for many ]v/Ints, the
better course would be to varnish Avitli the wliite
negative varnish. All vai'nislies are poured over
the j)late in the same manner as collodion, and al-
lowed to dry by l)eing ]^laced on its edge, secure
from dust, until it has thoroughly dried.
AKKANGEMENT OF THE LIGHT. 4:5
rPvAMES OR SIIELA^ES FOR IIOLDIKG NEGATIVES.
It is very necessarv that the neo:atives shuuld bo
kept in some secure place ; and two shelves, hav-
ing grooves in them above and belov»'-, so that the
glasses shall stand on the edges in them, is the
best receptacle when not in nse. Shelves of
various widths, according to the size of the glasses,
are required, and with a door that shall close in
front of each to exclude the dust, &c.
The manipulation of the negative process is so
very important, that certain hints are necessary to
insure absolute success.
The arrangement of the light upon the sitter is
of vast importance. It should fall with a full force
upon the drapery, if it is of a dark color; and the
background, whicli is usually of a somber hue,
should also be well lio-hted up from the skvliijjht.
Arrange the subject in a favorable position to pro-
duce the most pleasing effect of liglit and shade
upon the face — carefully attending to the pointed
light upon the eyes. Avoid the long line of light'
upon theuL If possible, produce a uniform light
on the drapery, as that portion is more likely to
be clouded than any other.
The position of the camera should demand a
46 EXPOSURE OF THE PLATE.
careful stnd\-. Some cameras require to be eleva-
ted more than others, which can be ascertained by
actual experiment. Some will work more uni-
formly over the whole plate M'hen arranged in an
exact line with the face of the sitter.
A skylight wliich is nearly flat, or one that is
slightly elevated only on one side, has been found
to produce the most pleasing effects in Photog-
raphy,
The length of time of exposure of the plate to
the action of light is a matter of vast importance,
because the intensity of the negative is affected
thereby — which will be seen on application of the
developing agent. If too long time has been em-
ployed, the print will appear flat in details ; al-
though the drapery may appear distinct, the round-
ness will be lost. The middle tints of the fece
which are so desirable, M'ill not appear. It is
better to give a short time first, and bring up the
intensity by developing. A short exposure in the
camera, if the developing solutions are capable of
producing a powerful negative, is found to be the
best for strong and vigorous eflects. The point to
arrive at is to allow just long enough exposure
that the developing agent shall just bring out the
negative of the required intensity, and no more.
GLASS FOR NKGATIVES. 47
By a trial picture giving what may be supposed
nearly the exact time, if too short the augmenta-
tion of the next succeeding trials will eventuall}'
arrive at the correct result.
It may be proper to mention, that glasses used
for negatives do not require to be of such purity as
those designed for positives ; even good window-
glass, which is selected as free from bubbles as
possible, will answer a very good purpose. The
expense, therefore, for material for Photographic
negatives will not be very great, and the artist can
retain them for future use after one or two im-
pressions have been taken, so that any future day
he may produce more pictures for his patron with-
out any additional sitting.
CHAPTER II.
THE NITRATE OF SILVER BATH FOR NEGATIVES
PREPARATION OF THE SAME FORMATION OF THE
IODIDE OF SILVER FOR THE NITRATE BATH ON THE
PRACTICE OF THE NEGA'^^^S BATH OBSERVATIONS
ON THE USE OF THE NEGATIVE BATH ON THE IN-
TENSITY OF THE NEGATIVE — -COLOR OF THE NEGA-
TIVE, ETC., ETC.
THE NITRATE OF SILVER BATH FOR NEGATIVES.
The bath of nitrate of silver, which is most com-
monly in use for negatives, is that known as the
nitrate bath. Great care is essential to its proper
preparation, and we shall proceed to lay down the
precise form to make a bath that will produce the
most satisfactory results. The proportion of ni-
trate of silver required to each ounce of water is
usually about fifty grains, though this is not abso-
lutely essential.
All negative baths require a certain degree ot
working or use before they will act to the best ad-
THE NITRATE OF SILVER BATH. 49
vantage. They should always be combined with
a portion of iodide of silver ; and even that should
be added again after long use, as many times that
simple remedy will remove difficulties which were
deemed insurmountable.
Having' ascertained the number of ounces the
bath contains (see page 50), weigh out the quan-
tity of nitrate of silver necessary to produce, when
dissolved, about fifty grains to each ounce of water.
Dissolve about one ounce of the nitrate of silver in
four or six ounces of water ; then dissolve the bal-
ance of the nitrate of silver which will be required
to fill the bath in the remaining ^Jortion of the
water.
For every ounce of nitrate of silver which is re-
quired in the bath to render it fifty grains to each
ounce of w^ater, there must be measured out three
grains of iodide of ammonia. This is to be formed
into iodide of silver b}^ fii'st dissolving the iodide
of ammonia in about two ounces of water, and
adding thereto say two fluid drachms of the solu-
tion of nitrate of silver, in which one ounce of the
silver has been dissolved in four ounces of water.
This will immediately throw down a yellow pre-
cipitate, which is the iodide of silver. Wash this
precipitate three times with water, by filling the
5
50 rilK NITRATE OF SILVER BATH.
graduate dish or bottle, which should contain at
least six ounces of water, and allow it to settle ;
then pour off the watei', leaving the iodide of sil-
ver at the bottom. When this is well washed,
add it to the ounce of silver previously dissolved
in the four ounces of water. Shake it w^ell, then
pour the whole into the bottle containing the bath.
A niilivy appearance will be seen in the bath,
which is well to remain in that state for a few
hours to dissolve as much of the iodide of silver as
possible. After filtering the bath until it becomes
clear, it is ready for use.
A bath prepared according to the foregoing, if
requii-ed to be of sixty-four ounces of water, would
contain the following proportions :
64 X 50 = 3200 grains, or of nitrate of silver 6 J ounces.
Iodide of ammonia 20 grains.
Water ....... 2 quarts.
There will be in 6f ounces of silver, 3240 grains,
allowing 480 grains to each ounce. The above
quantity will be as near 50 grains to the ounce as
will be required for all practical purposes.
Distilled water is preferable in all cases. Though
perfectly pure, soft water will answer, if it has
not been kept long in wooden vessels. If it has
been so kept, it can be first boiled and filtered
PRACTICE OF THE NEGATIVE BATH. 51
tlirongli paper, to remove any traces of vegetable
mattei"s.
By referring to pp. 133 and 131, and the sub-
sequent j^ages relating to tlie preparation of the
nitrate of silver bath for Ambrotypes, much valua-
ble information M-ill l>e found, which can be adopted
in the negative bath. The bath will require neu-
tralizing, should any excess of acid accrue in it.
The process of neutralizing will be found on
page 137.
The negative collodion, which is more frequently
used with a perfectly neutral bath, as above de-
scribed, is that recipe found on page 82.
ON THE PEACTICE OF THE NEGATIVE BATH.
The use of the negative bath requires much care
and attention, for herein lies one of the elements
of success in the production of perfect negative
impressions.
By using the ammonia collodion constantly, the
bath is liable to be changed, as it necessarily must
be, in its chemical character. Iodide of silver is
formed upon each plate, and consequently less sil-
ver is contained in the solution, and alcohol is
added to tlie compound from tiie collodion, as well
as a trace of ether. It will soon be found to be
52 PRACTICE OF THE NEGATIVE BATH.
slightly acid in testing with litmus-paper. This
acid tendency sometimes is not objectionable ; but
if there is too much of it, neutralize the bath, and-
test with a hydrometer to ascertain the strength of
silver. Always keep the strength equal to fifty
grains to the ounce. In adding more silver to the
bath, it may be effected more readily by first dis-
solving the quantity required in a separate bottle
from the one used expressly for the nitrate bath.
Filter always before adding to the bath. Always
be provided with two bottles, having glass stop-
pers sufiiciently large to hold the contents of the
nitrate bath, into one of which it may be filtered.
It is recommended also to add silver often to the
bath, if it is in constant use, because if the greater
portion of the solution is removed (as some must
necessarily be every time a plate is immersed) by
adding a large quantity, the whole nature of the
bath is changed.
Many operators provide themselves with sufii-
cient solutions for two or three baths. This is a
plan highly recommended, as a bath actually im-
proves by age, even if it is not worked every day.
Old baths which have been laid aside as useless
except for restoration, have, after many days, on a
new trial been found to produce good results.
PRACTICE OF THE NEGATIVE BATH. 53
There is a constant change taking place in the ni-
trate baths, and there are many phenomena con-
nected with them wholly unexplained as yet by
the most successful operators. Sometimes an acid
bath will work more surely for negatives than a
neutral, and sometimes a neutral bath is preferred.
The general rule to be observed is, that, if a bath
is acid, the time of exposure in the camera is
lengthened, and as we approach the neutral point
the time is lessened. Therefore to work a bath as
nearly neutral as possible, is the most sure of
success.
In order that the negatives should produce good
positive pictures on paper, they should be very
ti-ansparent in the dark portions, such as the dra-
pery, &c., and of such intensity in the light parts
that a ray of light can with difficulty be trans-
mitted, and this must be combined with a regular
gradation in the middle tints.
These desirable results can be attained by using
the collodion somewhat thicker for the negatives
than for positives or Ambrotypes, as thereby a
thicker deposit of silver is obtained on the surface
of the glass.
Also a stronger nitrate bath, and using it as
nearly neutral as possible, and a longer exposure
5*
54 THE COLOR OF NEGATIVES.
in tlie camera, together with less acid in the de-
veloper; all these combined will produce the de-
sired end, viz., an intensitji such as will print posi-
tives having all the beauty ao much desired in
good Photographs. The absolute intensity, how-
ever, of a negative does not always depend upon
the thickness of metallic silver, but to a certain ex-
tent upon the color it may have when seen by
transmitted light. Negatives also vary in color;
some are translucent and of a bronze color, others
are of a bluish-black, whilst some are of a gray
color. The color most to be sought after is the
bluish-black, because these are found to print
more uniformly clear in their details.
Sometimes the best negatives are those which
may appear to be weak, because the chemical rays
are more obstructed, and the print is consequently
more uniform in its gradations of light and shade.
Tlie color of the negatives depends on certain
conditions of the bath, the time of exposure in the
camera, the nature and strength of the developer,
and the quantity of acetic acid contained in it.
Sometimes the presence of organic matter, which
wall collect in the bath, may affect the color and
tone of the negatives. So that no positive rules
can be laid down for the continued action of a
UNCEKTATNTIES IN TIIIC ART. 55
bath ; practice alone must be the teacher in this
branch of the art.
Seeming uncertainties may appear to some who
have not had much experience in the art as obsta-
cles of great moment. But they will all vanish
after a short time. These apparent contradictions
and perplexities are only met with for any length
of time in the experience of those persons who do
not attend to the minute details of the art, such as
cleaning well the plate, decanting the collodion,
the proper length of time of developing the pic-
ture, &c. The practice of this beautiful art must
not be condemned because it contains a few seem-
ing contradictions ; for if it was easily acquired,
and always certain of success, there would be no
incentive to excellence, and those persons who pos-
sessed only a limited taste and experience, could
rival the artist in the creations of his genius. It
may therefore be deemed a fortunate circumstance
to those who would wish to excel, that the road to
full success lays through a few rugged passes, and
lie who would reach the goal of perfect accom
plishm^ent must encounter some difficulties.
CHAPTER III.
ON PHOTOGRAPHIC PRINTING SALTING SOLUTIONS
SALTING THE PAPER SILVERING THE PAPER WITH
AMMONIA NITRATE OF SILVER PLAIN SILVER SO-
LUTION TO PREPARE THE ALBUMEN FOR PAPER
POSITIVES SILVERING ALBUMEN PAPER ON THE
PRACTICE OF PRINTING NEGATIVES TONING OR FIX-
ING THE PRINT WASHING THE POSITIVE PRINTS
— DRYING TIIK PICTURES VARNISHING AND MOUNT-
ING THE PRINTS.
The printing of the Photographs is that por-
tion of the art wherein o-reat care and attention is
demanded, and where much of the beauty and fin-
ish of the picture is due. The success of it de-
pends upon a perfectly proper understanding of
the process.
Having selected the best quality of paper, it may
for convenience be cut into sizes such as will be
required for use in the printing frames. Though
this is not absolutely necessary, the large sheets, as
they are manufactured and imported for use, can
THE SALTING SOLUTIONS. 57
firet be salted, dried, and laid aside in some secure
place, free from dust or fumes of chemicals.
When wanted for use, they may be cut of what-
ever size may be required.
THE SALTING SOLUTIONS.
One quart of pure soft water.
90 grains of liydrochlorate of ammonia, or common sal
n.mmoniac.
(Sal ammoniac is found to be the best preparation of salt,
as it contains less impurities than any other known.)
Dissolve and filter.
Place this in a large flat dish, which may be of
gutta-percha, earthenware, or porcelain, or even
wood, if it is varnished thoroughly with gum-shel-
lac varnish. The dish must be nearly tilled, and
of sufficient dimensions to admit the whole sheet of
paper if laid in it.
The paper is to be immersed one sheet at a
time, by laying hold of tlie sheet at two corners,
and it must be drawn quickly through the solution
twice, allowing the liquid to wet it as it may on
the surface of the paper only, in effect to lay the
solution of salt upon its surface without disturbing
the fibres of the paper.
Hang each sheet up separately to dry in a room
free from dust or any chemical exiialations. The
58 SILVERING THE PAPER.
better plan of suspending paper, either in the salt-
ing or silvering process, is to use the yjatent
clothes-pins, which can be arranged on a cord
across the room. Great care should be observed
in salting the paper to avoid stains, spots, or wrin-
kles. The hands should never touch any portion
of the paper except the corners. The salted pa-
pers can be laid aside, and will keep for a great
length of time.
SILVERING THE PAPER.
The paper already salted and dried, to be sil-
vered, may be effected by two or three methods.
The ammonia nitrate solution, the preparation
of which is described on page 95, is the one mostly
in use, and one that will produce, with plain salted
paper, the most pleasing results.
The silver solution Mhich may be required for
use at one time, is first filtered into a clean bottle,
and the paper laid u^^on a flat surface, covered
with paper or card-board, is to be fastened down
by the corners with pins or any other article which
will cause it to remain stationary. The silver so-
lution is then poured on the middle of the paper,
enough to cover it ; and with a ball of cotton just
newly prepared, carefully spread the silver over
PLAIN SILVER SOLUTION. 59
the whole surface, by means of round lines or cir-
cles, from the centre of the paper to the circum-
ference. Tlio superfluous silver can be poured into
a bottle, but not used again, as it is changed into
a chloride of silver, owing to its contact with the
salt of the paper. It may be reserved in the bot-
tle, to mix with other silver solutions, that are use-
less except for the restoration of the pure silver, as
described on page 105. The same ball of cotton
can be employed to silver all the papers that may
be wanted at one time, if it is laid on a clean piece
of paper, but a new one will be required for a sub-
sequent preparation.
Tlie silvered papers should be hung up to dry in
,a dark room, and only enough prepared that may
be wanted for immediate use. In the winter sea-
son, however, they can be used for two or three
days after preparation, if kept carefully excluded
from the light, in a portfolio or drawer.
PLAIN SILVER SOLUTION.
This can be used with the prejjared chloride of
sodium paper, sold by dealers in Photographic
materials, and consists of dissolving 2^ ounces of
nitrate of silver in twelve ounces of water. This
60 TO PREPARR ALBUMEN PAPER,
is also used for silvering the albumen paper, whicl
is prepared as described on page 61.
TKe chloride of sodium paper and tlie albumen
paper is silvered by laying each sheet separately
on the silver solution, contained in a flat dish, and
allowing it to float for five minutes, care being ob-
served that no air-bubbles collect under the paper.
The silver solutions must always be filtered
through cotton before applying them to the paper.
It is only necessary to filter such quantity as may
be wanted for immediate use.
The bottles containino; the silver solutions should
be blackened over with black asphaltum varnish,
to exclude the light, and always kept as much as
possible in a dark place. Papers maybe silvered
in a light room, though not where the direct rays
of the sun can Ml on them.
TO PEEPAEE THE ALBUMEN PAPER.
Take the whites of three or four fresh eggs, and
beat them with a glass rod or flat piece of glass
until the article l)ecomes of a frothy consistency.
Remove the froth, and j)lace it in a cool place, and
allow it to return to its liquid state again, in a
long bottle.
Pour off the clear portion of this, and add to
SILVERING ALBUMEN PAPEE. 61
every fluid ounce say from one to four ounces of
water, according to the strength of albumen that
is required. To each ounce of this fluid of albu-
men and water, which will readily combine, add
fifteen grains of hydrochlorate of ammonia : filter.
For salting paper with albumen, it should be
floated three or four minutes. Thin paper is gen-
erally preferred for the purpose.
SILVEEING ALBUMEX PAPER.
Albumen paper must always be silvered with
plain silver, of the proportions given on page 59.
It must also be floated on the surface of the solu-
tion for four or five minutes, never brushed in, as
in the ammonia niti-ate process.
After using this silver solution with the albumen
paper, there will a milky appearance be observed,
which can readily be removed by mixing a small
quantity of kaolin or china-clay with the silver,
and, before using it, filter it clear.
If the proper manipulation is attended to in the
use of the albumenized paper, the results will be
far more pleasing than by the ammonia nitrate
process. The trouble and time required, how-
ever, is much greater in the former than in the
latter. Therefore the ammonia nitrate is generally
6
62 PRINTING FROM NEGATIVES.
adopted by the profession as more certain in its
results.
PEINTING FKOM NEGATIVES.
The usual time required to print a picture from
a good negative, under the most favorable circum-
stances, is about four minutes. It is proper to
state, however, what are the most favorable cir-
cumstances. They are good paper, good silvering
solution, and a clear sun-light, with all the neces-
sary details of the practice carefully followed, as
in the foregoing directions.
Negatives may be printed with a subdued light,
and printed well, as there are many cloudy days
when the prints are wanted. Of course, the time
of exposure must be prolonged, and even an hour
may sometimes be required to produce the neces-
sary depth of color on the paper.
The color which is to be obtained on the print
before it is ready to remove from the printing
frame, is of considerable importance. The best
prints are generally those which are left long
enough to assume a depth of shade nearly the in-
tensity that may be wanted when finished and
dried, rather darker than the color desired, in or-
der that the time occupied in the toning bath shall
TONING OR FIXING THE PKINT. 68
fix the color, to lighten the shades only in a slight
degree, •
Prints that are too dark on removal from the
printing frame, can be rendered sufficiently light
by a long action of the toning bath. But such
prints will be the more likely to assume a yellow
hue, and ultimately fade. The shortest time in the
toning bath to produce the desired shade and color
is recommended. Therefore prints should not gen-
erally be overdone or over-printed when one toning
bath is used.
Tlie kind of j^rinting frames recommended are
described on page 109.
After the picture is removed from the printing
frame, it must be carefully excluded from the light,
by jjlacing it in a portfolio or drawer, or where no
vapors can reach it. A number of prints may be
jsrepared and laid aside, and all toned or fixed at
once.
TONING OR FIXING THE PRINT.
The beautiful tone or color of the prints in their
removal from the jDrinting frame, has been a sub-
ject of remark by many operators, and various
efforts have been made to preserve that most to be
desired color, yet it lias never been accomplished.
64: TONING OR FIXING THE PKINT.
As soon as the fixing solution comes in contact
with the paper, a great change takes phice, which
does indeed arrest tlie progress of the light, but
produces another and entirely diverse change. As
the art j)rogresses, some devotee may luckily ar-
rive at the discovery of fixing the exact tone and
color seen on its removal from the printing frame.
The first operation of toning the picture is to
place it in a bath of clear water, in a dark room,
of course, or in a salt solution of two or three
ounces of salt to one quart of water. This removes
all the chloride of silver not acted upon by the
light. They should remain in the salted solution
only a short time, say one or two minutes, then
place them in a bath of pure water to remove the
superfluous salt. This plan of first placing the
print in a solution of common salt may be omitted.
It may be placed immediately on removal from
the frame into the toning bath, or it may be laid in
a portfolio, and excluded entirely from the light
for several hours, then placed in the toning bath.
After which they may be brought out in the light
and placed in the toning bath, as found on page
94, and allowed to remain there until the desired
color is attained, wliich will vary according to the
strength of the bath and the depth of the print —
WASHING POSITIVE PRINTS. 65
generally from ten to thirty minutes for ordinary
prints, yet sometimes one or two liom's are neces-
sary. They must be carefully watched in the
bath, and as soon as sufiicient time has elapsed to
produce the desired tone, remove them to a bath
of clear water.
WASHIN'G POSITIVE PEI^TS.
This portion of the photographic jDrocess is of
great importance, for unless the prints are well
washed, so as to remove every trace of hyposul-
phite of soda, they will invariably fade or turn
yellow. Various methods are adopted to remove
the hyposulphite, but the plan most likely to in-
sure that result is of course recommended. The
longer the jjrints remain in the water, and the
oftener they are changed, will of course more eft'ect-
ually remove the destroying agent. Strange, in-
deed, that the very substance, hyposulphite of soda,
which adds so much beauty to the Photograpli,
should be the very one to cause its destruction.
The most expeditious method is to place the
print on a piece of plate-glass, and allow a stream
of water to fall upon it for a few minutes. Then
press it between clean white blotting-paper, re-
peating the operation two or three times. It has
6*
66 WASHING POSITIVE PRINTS.
been found that tlie oftener the water is changed
in the washing process, the more beautiful the
tones of the prints. Nor slioukl they remain for
any great length of time in one vessel of water.
The better plan to adopt, when it is possible, is to
place the prints in a flat dish or tub, where they
will float, and where a constant stream of water
is running in, and of course another stream dis-
charging as fast as the supply is given. A very
small stream will suSice. By the foregoing ar-
rangements, all those spots and stains so frequently
met with will be avoided.
The washing of Photographs may sometimes be
completed by placing them in a large vessel of
water, and allowing them to remain for several
hours. This can only be done after they have
been first immersed in several changes of water,
say five or ten minutes in each. Still another plan
of removing the hyposulphite of soda is highly
recommended in the immersion of the prints in
wariti water. By changing it often M'ith cold
water, and allowing it to remain for about an hour
in warm water, it will most effectually remove the
traces of the soda. Lastly, press each print be-
tween two thick pieces of plate-glass, and hang
them up to dry.
MOUNTING THE PICTURE. 67
All these various methods are adopted by the
profession, and the successful operator will follow
those most convenient of practice, carefully observ-
ing, in order to produce excellent results, that the
prints shall not remain more than ten minutes
in the first or second bath of pure water, because
the chemicals which pass into the water, and are
so necessary to remove in order to fix the impres-
sion permanently, are likely to injure the beauty
and tone of the picture.
DRYING, VARNISHING, AND MOUNTING THE
PICTURE.
The prints may be hung up in the clothes-pins
to dry, but not in the sun. As soon as they are
well dried, place them in a portfolio, or between
leaves of white paper, and press them under some
object, so that they shall not wrinkle. They are
then ready for mounting and varnishing.
The varnish for pictures is made as described
on page 100, and may be laid on the picture before
it is cut in the shape required, or it may be eflTected
after it is on the card-board.
A solution of dextrine, prepared as described on
page 104, is the best for holding the print in its
place ; yet simple gum-arabic will answer if it lias
68 MOUNTING THE PICTURE.
been thoroughly strained and cleared of all parti-
cles of dust.
Tlie shape of the print may be made by laying
a mat or border over it of any desired size, then
marking with a pencil, and afterwards cutting it
carefully with the scissors. Or it may be laid on
a piece of plate-glass, with the mat laid over it,
and cutting it into shape with a sharp penknife.
In pasting the print upon tlie card-board, great
care must be observed that no wrinkles are allowed
on the surface, as they will invariably injure the
print. After the prints are pasted on the boards,
they should be laid under a pressure, so that great
smoothness of surface shall be attained. A warm
flat-iron is sometimes used with good success, by
laying a piece of white paper over each print, and
carefnlly pressing it smooth.
CHAPTER IV.
TO COPY daguerreotypp:s and other pictures into
PHOTOGRAPHS ON ENLARGING PICTURES TO EN-
LARGE PICTURES FROM DAGUERREOTYPES, AMBRO-
TYPES, OR PHOTOGRAPHS AND TO PRODUCE PHO-
TOGRAPHS FROM THEM TO MAKE LIFE-SIZE PHOTO-
GRAPHS ON PAPER IRON PHOTOGRAPHS, OR IN-
STANTANEOUS PRINTING ON TAKING STEREOSCOPE
PICTURES, PHOTOGRAPHIC VIEWS, ETC., ETC.
The copying of Daguerreotypes into other Da-
guerreotypes, lias long been in practice. Latterly
they have been successfnlly copied into Ambro-
types and Photographs. But Photography has
gone still further, and life-size pictures are now
produced which, wlien painted by the skilful art-
ist, have rivalled the creations of most painters,
both in the correctness and faithfulness of the like-
ness, which must needs be intallible.
The last great achievement of the Photographic
Art, is the production of life-size, full-lengtli por-
70 ENLAKGEMENT OF PICTURES.
traits. This is accomplished by the means of the
new solar camera, lately introduced, which bids
fair to supersede all other methods of enlarging
pictures. Those who may not possess the new solar
camera, can adopt the following process, which
will be found very useful and practical.
TO ENLARGE PICTURES FROM DAGUERREOTYPES,
AMBROTYPES, OR PHOTOGRAPHS— AND TO
PRODUCE PHOTOGRAPHS FROM THEM.
The following apparatus will be required for the
process, viz. :
One quarter-plate tube, and lens.
One whole-plate camera box.
One or two mirrors to be used as reflectors.
One camera box, capable of holding a glass 14 by 17
inches.
The pictures or portraits more frequently re-
quired to be enlarged are the ordinary Daguerreo-
types, from the fact that these are the kind of por-
traiture the longest in use. Many are desirous of
obtaining portraits of their deceased friends, life-
size, and the demand for that class of pictures is
consequently greater than any other.
The plan more easily adopted, is first to take a
negative from the Daguerreotype of the ordinary
p;nlargement of pictures. 71
half or wliole plate size, which is effected by the
use of a quarter-plate tube on a whole-size camera
box. Place the picture to be enlarged, whether it
be a Daguerreotype, Anibrotype, or Photograph,
in the direct rays of the sun, or by reflecting the
sun upon it with a mirror, then bringing the
camera box as near the picture as will be required
to produce the desired size ; the focus being taken,
a negative can easily be obtained by exposure of
thirty seconds to a minute and a half. The nega-
tive should be as large as possible if on a half-
plate, in order that it may be enlarged to life size
by the next operation.
From the print now obtained, which must be
first pasted on a card-board, another negative can
be produced, either of the cabinet or life size, with
the quarter tube attached to the camera box, which
must be capable of holding glasses of 11 by Itt
inches, and 14 by 17. Place the pictures in the
direct rays of the sun, or use a reflector as before,
and any size may be taken, up to the size of life, —
showing, of course, only the head and shoulders.
The print from this negative M'ill not be so dis-
tinct in the outline as though it was taken from
life ; yet it will retain all the outline and suflicient
of the details for all purposes of painting, and it
72 ENLARGEMENT OF PICTURES.
may be printed either upon paper or canvas with
the same facility as ordinary Photographic jjrint-
ing.
In order to insure a more perfect negative, it
may sometimes become necessary to use more than
one mirror as a reflector of the sun's rays upon the
surface of the picture. The more powerful the re-
flection the more distinct will be the negative.
Tlie re-developing with bi-chloride of mercury, as
given on page 92, is highly recommended in this
process.
A negative may be taken without the direct
rays of the sun from any picture; but, in enlarg-
ing, the i)owerful light of the sun is deemed al-
most indispensable, as it greatly facilitates the pro-
cess, and renders the time required much shorter,
and secures a more intense and definite neo-ative.
Should the Daguerreotype be an imperfect one,
as is frequently tlie case, of course all the imper-
fections will be magnified, yet they can be entirely
removed by the skill of the painter.
The usual time required for taking the negative,
life-size, will vary from a minute to ten minutes.
In consequence of the large size and the long dis-
tance of the ground glass from the lenses, the time
of exposure in the camera is greatly augmented.
IRON PHOTOGRAPHS. 73
IRON" PHOTOGRAPHS, OR INSTANTANEOUS PRINT-
ING OF NEGATIVES WITH A DEVELOPER.
A process has lately been introduced for print-
ing negatives, with the use of a preparation of
iron : hence the name Iron Photographs. This
process, liowever, is a revival of an old one. It
will be found very useful on many occasions,
when expedition is required, as a negative may
be taken and the positive picture printed, washed,
toned, and dried in the same time as an ordinary
Ambrotype. The process is as follows :
Water 1 pint.
Citric acid 1 ounce.
Ammonia citrate of iron . . . 1 ounce.
Concentrated ammonia . . .1 ounce.
Mix these ingredients, and filter, and keep in a
glass-stoppered bottle, excluded from the light of
day.
Apply this solution with a flat camel's-hair brush
on one side only of the photographic paper, care-
fully laying it on even by brushing it in both di-
rections. Then hang it up to dry in a dark room.
When dry, it may be cut ijito suitable sizes for
printing, and kept in a portfolio. The paper will
assume a yellow color. Print with the ordinary
7
74: THE TONING BATH.
printing frames, but only for a short time, until the
faint outlines appear. Remove from the printing
frame, and apply the developing solution either by
immersing in a flat dish, or pouring it on the pa-
per after laying it upon glass.
THE DEVELOPING SOLUTIOK
Nitrate of silver . . . . j ounce.
Water 1 pint.
Aqua ammonia ...... | ounce.
Filter the solution, and use over again.
THE TOXING BATH.
Hyposulphite of soda .... 1 ounce.
Water 1 pint.
Nitro-muriatic acid . . . .10 drops.
"Wash the print well after developing, and place
it in this toning bath for a short time, and the color
will be changed from the deep reddish hue that
it has assumed by the developer, to a purple color.
The print must now be washed quickly in three
or four waters, and placed between sheets of blot-
ting-paper, and dried by the spirit-lamp. Should
the tone not be desirable, a modification of the
toning bath may be made by changing the propor-
tions of hyposulphite and the addition of chloride
uf gold. The tone maybe improved snmetimes bv
THE STEREOSCOPE. 75
exposure of the print for a few seconds to the di-
rect rays of the snn. The addition of a saturated
solution of gallic acid to the developer, in small
quantities, will change the tone ; but it cannot be
used over again. Therefore only mix enough for
each print as it may be required for use.
The sepia tone may be given these prints by
omitting the hyposulphite bath entirely, merely
washing them in water thoroughly after develop-
ing, but they will be more liable to fade.
Photographs by this new process may be printed
from a weak negative, and even an ambrotype im-
pression will answer. The tone of the prints will
not be equal to those printed by the old process ;
but sometimes expedition may be required, and
Photographs can be taken and finished as soon as
Daguerreotypes or Ambrotypes.
THE STEREOSCOPE.
Stereoscope pictures are considered by some
operators as the most valued of the productions ot
the Photographic Art. If they are properly exe-
cuted, they are indeed the most curious and in-
structive of any branch of Photography, though
they have not received that attention in this coun-
try which they have merited, — mainly, however.
76 THE STEREOSCOPE.
from the fact that few operators have devoted much
attention to their production. The most pleasing
are Photograph views.
The stereoscope is an instrument invented by
Prof. Wheatstone, for combining two slightly dis-
similar images, so that out of two flat pictures one
apparently real or solid object is produced — having
all the projections, concavatures, and other pecu-
liarities of the object itself, and standing out in all
the strength and solidity of an actual tangible ob-
ject.
Tlie reason why two flat images should produce
the effect of solidity, and a slight consideration of
the best means of producing these flat pictures, so
that they shall produce in the most proper manner
this extraordinary result, will now be given.
Ordinary vision may be considered under the
two heads of Monocular, or vision by one eye, and
Binocular, or vision by two eyes. If we look
through a telescope, microscope, or single opera-
glass, or close one eye, we have monocular vision ;
and by using two eyes, or spectacles, or double
opera-glasses, we have binocular vision.
Let us first consider monocular vision. If we
close one eye and look at objects, we perceive them
by their forms, sizes, colors, and gradations of light
TIIK STEREOSCOPE. 77
and shade ; and reason and experience tell us that
these appearances vary as the objects are near or
distant from us. We find that as objects recede
they become smaller, apparently, in size, and this
decrease in size is according to fixed laws, upon
which perspective is based. We also observe that
light and shade are less marked, the colors less
brilliant, the details less clear, and the whole of
the objects less distinct; and according to these
changes do we estimate relative distances. Upon
this principle the artist, in his landscape, paints his
distant objects small, vague, and indistinct, while
the foreground is brought out strongly with abun-
dance t)f detail; and in proportion as this is done
skilfully, we admire it as an imitation of nature.
There is, also, another means of judging of distance.
The eye, like other optical instruments, has con-
stantly to change its focus, according to distances
to which it is directed, and this change of focus is
another means of estimating distance.
Stereoscopic pictures may be taken either with
one or two cameras. If the object be still-life, a
statue, or edifice, then one camera will do better
than two, for you may set the camera at any point
and work away until you produce a satisfactory
impression. Having o])tained that, move the
78 oTHE STEREOSCOPE.
camera to the other point of view, and again work
until you have achieved your object. But if you
should have a picture of living objects to take, it
is very desirable to produce the two pictures simul-
taneously by two cameras ; for taking a view of a
street, for instance, where figures are accidentally
introduced, you might have them in one picture
and not in the other, or misplaced, unless you ob-
tained both pictures at the same time. But for
portraits, though it is desirable to take both im-
pressions at once, it is not necessary. And now
comes the important inquiry, how far removed
should the cameras be from each other in order to
produce the best effect ? or, in other words, how
wide should the stereoscopic angle be ? This is a
question often put, but not so easily answered.
Strictly speaking, the natural standard may easily
be cited, and an answer based on it be given. The
eyes are 2j inches apart, and as each camera is to
represent an eye, the centres of tlie two lenses
should never be more than that separated. This is
the strict theoretical doctrine laid down by Sir D.
Brewster, nevertheless it is very seldom adopted in
practice. It has been stated, tliat the more dis-
similar the two stereoscopic images are, the greater
the relief, ISTow, dissimilarity of image is obtained
PHOTOGRAPH VIKWS. 79
by widening tlie distance between the two came-
ras, and the greater the width or angle the greater
tlie relief. As the stereoscope is chiefly valued
for the production of this relief, the generality of
stereoscopic pictures have been and are taken at
too wide an ano-le, so that monstrous instead of
natural relief is the result. If two pictures are
taken at the same angle, no relief is obtained but
that which is due to the magnifying power of the
lenses. Increase the angle a little, and still greater
relief is jiroduced ; increase the angle still more,
and so on until you have passed the angle that
produces natural relief, and reached that wdiich
produces monstrosity.
ISTearly all stereoscopes will have more or less
of imperfection in the detail, owing to the fact that
no two pair of eyes view the same pictures in the
same focus. Hence we And some persons who
cannot see the stereoscope pictures at all.
PHOTOGRAPH VIEAYS.
Yiews b}^ the Photographic process are attract-
ing the attention of the artists in this country, and
deservedly so. They are easily taken, because an
ample supply of light is always obtained. Tlie
only objection is the necessity of transporting the
80 PHOTOGRAPH VIRWS.
various solutions to the localities where the view
is to be taken. This difficulty is overcome by the
new dry processes which have been published
lately. The albumen process on paj)er, page 61,
is highly recommended for views, as the tone of
those pictures is more appropriate for this style of
Photographs.
It is not necessary here to enter into the details-,
of the processes. Suffice it to say, that the same
collodions are to be used, and the same developers,
as in the process for taking portraits. The lenses
of the ordinary camera, however, must be changed
to convert it into a view camera. It is done
simply by removing entirely the set of lenses in
the rear of the tube, and placing the front lens in
their stead, and reversing them. It will also be
necessary to put a diaphragm, with a very small
opening, in front of the tube, or near the location
of the front lens. The time of exposure required
in the camera with a small diaphragm, will neces-
sarily be somewhat extended in order to produce
vigorous negatives. The use of the diaphragm is
absolutely necessary in order to correct the perspec-
tive of near and distant objects. Also to cut ofi*a
portion of the diffused light, which would other-
wise injure the negative.
CHAPTER V.
ON THE PREPARATION OF NE;GATIVE COLLODIONS
THE FORMULA FOR NEGATIVE COLLODIONS MIXING
VARIOUS COLLODIONS DISSOLVING THE IODIDES
DOUBLE IODIDE COLLODIONS THE CELEBRATED GER-
MAN PROCESS COMPLETE THE NEGATIVE DEVEL-
OPING SOLUTIONS RE-DEVELOPING PROCESS BI-
CHLORIDE OF MERCURY AS A RE-DEVELOPER FIXING
SOLUTION THE TONING BATHS — THE AMMONIA NI-
TRATE OF SILVER SOLUTION.
This chapter will be devoted to careful and de-
tailed formulae for the preparation of the negative
collodions, the developing solutions, and including
all the various receipts necessary to be well under-
stood in the practice of the Photographic Art.
Indeed, this chapter will assume one most en-
tirely of reference, and, as will be seen, it must
frequently require mention in other portions of
this work.
82 CADMIUM COLLODION.
NEGATIVE COLLODIONS.
For the preparation of negative collodions, we
shall only give the proportions. The manner of
dissolving the sensitive chemicals will generally
be left to the judgment and experience of the
operator,
THE AMMONIA COLLODION.
No. 1. Plain collodion ... 1 ounce.
Iodide of ammonia ... 6 grains.
Bromide of ammonia . . 3 grains.
With the nitrate of silver bath neutral, and of a
strength of 50 grains of silver to each ounce of
water.
CADMIUM COLLODION.
No. 2. Plain collodion ... 1 ounce.
Iodide of cadmium . . 7 gi'ains.
Bi-omide of cadmium . . 3 grains.
Nitrate bath 50 grains to the ounce.
This collodion is greatly in use in warm climates.
No. 3. Plain collodion ... 1 ounce.
Iodide of potassium . . 8 grains.
Bromide of ammonia . . 3 grains.
Bath of 40 grains to the ounce.
This collodion is highly recommended for nega-
tives when combined equally with the ammonia
THE COMPOUND CADMIUM COLLODION. 83
collodion JSTo. 1. It will be found to work in some
baths when no other collodion will succeed. It
may be used also for Ambrotypes.
The practice of the most successful operators has
taught them that the mixino; of two collodions of
diverse proportions, and made of different chemi-
cals, will be found the most useful, and work with
more certainty. The author himself would, there-
fore, enjoin this hint upon those who may practice
from the foregoing formulae.
THE COMPOUND CADMIUM COLLODION.
No. 4. Plain collodion ... 1 ounce.
6 grains.
Iodide of cadmium
Bromide of cadmium
Iodide of potassium
Tincture of iodine .
3 grains.
5 grains.
5 drops.
Nitrate bath of 50 grains to the ounce. The
bath to be iodized witli iodide of cadmium.
Dissolve tlie iodide of jjotassium in water, and
the cadmium in alcohol.
The foregoing collodion is the one highly recom-
mended for use, especially in warm latitudes. It
is the most durable, and it improves by age, re-
taining its working qualities for several mpnths.
The author has adopted the cadmium collodion, in
many instances w^ith great success, especially when
84 DOUBLE-IUDIZKD COLLODION.
it is combined in eqnal parts with the ammonia
collodion No. 1.
To unite the sensitive ingredients with all collo-
dions, it is recommended to dissolve them first in
a small quantity of alcohol when they are soluble
in that substance, and only use water when they
will not otherwise dissolve. Always dissolve the
bromides first, and add the iodides to the same
solution. The iodide of ammonia and bromide of
ammonia will dissolve in alcohol if a small quan-
tity of water is added. Iodide and bromide of
cadmium will dissolve readily in alcohol alone.
A DOUBLE-IODIZED COLLODIOK
The following formula is compounded in a dif-
ferent manner from any other, and is one that is
highly recommended. Prepare two bottles of col-
lodion separately, as follows
No. 1. Plain collodion
Bromide of potassium
Iodide of potassium.
Ko, 2. Plain collodion
Iodide of ammonia
Iodide of cadmium
1 ounce.
5 grains. ) Dissolved
8 grains. ) in water.
5 grains.)
3 grains. )
Dissolved
grains. S in water.
'No. 1 will produce clear negatives, and perhaps
rather weak. No. 2 will produce one very intense.
TO SKNSITIZK THE COLLODION. 85
But mix these two collodions in equal proportions
after they have well settled, and the most perfect
half-tints are obtained. Should it be desirable to
produce a negative of more intensity, use a larger
proportion of No. 2. In like manner, if a mixture
of equal proportions produces too much intensity,
then increase tlie quantity of No. 1.
It will be found on using the two collodions
above, separately, that as one will produce a weak
negative, and the other a deep one, they can be so
modified by uniting them in the proper proportions,
that any degree of intensity may be obtained.
THE GERMAN PROCESS.
The following method of preparing negative col-
lodion has been found to be very excellent in its
results, and is known as the German process, so
modified and rendered practical that any operator
can work it successfully.
The plain collodion is to be made with 10 ounces
of ether and 5 of alcohol, rendered of the requisite
consistency by the addition of gun-cotton.
TO SENSITIZE THE COLLODION.
Nitrate of silver dis-!olved in water . 50 grains.
Iodide of ammonia dissolved in water 40 grains.
Mix the two solutions, and wash the precii^itate
8
86 NITRATE BATH.
*
in several waters ; lastl}^, wash in alcohol. Then
make the following compound :
Alcohol at 95° . . . 2 fluid ouQces.
Iodide of ammonia . . 100 grains.
Bromide of ammonia . . 40 grains.
When dissolved, add the iodide of silver, and
agitate the whole for several minutes ; -then filter
through common filtering-paper, and add the liquid
to 20 ounces plain collodion; agitate the collodion
for a short time, and add to it as follows :
Fluoride of ammonia ... 40 drops.
Tincture of iodine .... 10 drops.
This iodized collodion may be used in 12 hours,
but is much improved by standing 3 or 4 days.
The tincture of iodine used in the collodion is
simply a saturated solution of alcohol at 95°, with
pure crystals of iodine.
NITRATE BATH.
Distilled water .... 56 fluid oz.
Nitrate of silver . . . 4i oz. by weight.
Dissolve the silver in 8 oz. of the 56 oz. of water.
Then add iodide of aTumonia . 10 grains.
"White sugar or rock-candy . 120 grains.
"When dissolved, add the remainder of the water,
and in this condition let the bath stand 12 hours;
KE-DEVELOPINQ. 87
then filter through common filtering-paper, add
30 drops glacial acetic acid, and it is fit for use.
DEVELOPING SOLUTION FOR NEGATIVES.
Pure soft watei- . . . .16 ounces.
Sulphate of iron .... 1 ounce.
Alcohol at 95° .... 1 ounce.
Acetic jfcid, No. 8 . . , . 2 ounces.
First dissolve the iron, then add the remaininof
properties, and when filtered it is ready for use.
FIXING SOLUTION. •
This is simply an}'- quantity of water saturated
with hyposulphite of soda.
PvE-DEVELOPING.
The negative is re-developed after it has been
cleared up. Make a saturated solution of gallic
acid in distilled water 1 ounce, then add 30 drops
of the folio win o; solution :
C5
Distilled water .... 1 ounce.
Nitrate of silver .... 35 grains.
When this solution is filtered, it may be used as
follows :— After the negative has been fixed and
washed, pour on it of the re-developing solution a
quantity sufficient to cover the plate, and keep it
88 NEGATIVE DEVELOPING SOLUTIONS.
on until tlie required intensity is obtained, then
wash with water and dry. In developing and re-
developing, the solutions must be kept gently and
constantly moving on the plate ; for if allowed to
stand still, or to remain for any length of time on
one portion of the plate more than on other parts,
the plate is liable to lines or streaks. -^
This re-developing process is not recommended,
and if the collodion and bath are properly made,
need never be adopted except it may be in dark
weather, or when a child's likeness is taken. For
it will always be found that the resulting negative
is never so well adapted for printing. There-
fore, as soon as one finds that he cannot pro-
cure negatives sufficiently intense in an ordinary
exposure without re-developing, he may be assured
there is some portion of his chemicals at fault.
The first opportunity should be embraced to reme-
dy the difficulty : first, by changing the nature of
the nitrate bath, then the collodion and developing
agent. ^
THE NEGATIVE DEVELOPING SOLUTIONS.
The developing solutions which are required for
the negative pictures are not very numerous. The
one mostly in use is composed of protosulphite of
NEGATIVE DEVELOPING SOLUTIONS. 89
iron and acetic acid. With this alone, and the
various modifications, all the different varieties of
negatives are produced in this country. In Europe
the developing solutions mostly in use are com-
posed of pyrogallic acid.
The developing process must be thoroughly un-
derstood before good results can be obtained.
And, firs|, the nature of the collodion and the ni-
trate bath must be known in order to form the de-
veloper so as to produce the best results wnth that
combination. The following formula will be the
best adapted for working the neutral bath of 50
grains to the ounce, with the ammonia or cadmium
collodion, as prepared on page 82.
Protosulphite of iron ... 2 ounces.
Water 1 quart.
Acetic acid, ISTo. 8 .... 6 ounces.
The iron is first dissolved in the water and fil-
tered, and the acetic acid is added in the above
proportions, but only as it may be required for
use. It will not develop properly if mixed and al-
lowed to remain for several hours. It may some-
times require a small quantity of alcohol to cause
the solution to flow evenly over the plate. But the
■addition of flic alcohol lessens the intensity of the
picture, therefore it is best to avoid its introduction
8*
90 EK'DRVELOPING TROCKSS.
as much as possible. Indeed, its use lias been aban-
doned by good operators.
By increasing the quantity of iron, the develop-
ing process proceeds more i-apidly, and by lessen-
ing the quantity of acetic acid it is modified.
In order, therefore, to ascertain the requisite
quantity of each ingredient that may be necessary
for the particular combinations of collodions and
baths, it will be proper to vary the projDortions of
iron and acetic acid. By a few changes in the
proportions, and a few trials, nearly all varieties of
collodion may be made to produce a good negative,
if the bath is of the requisite strength and all other
due proportions are observed.
There will, however, be found another formula
for re developing negatives on page 91, which is
given in addition to the foregoing mainly with a
view to enable any person to obtain an intense
negative, even if theii' chemicals are not properly
combined.
RE-DEVELOPING PROCESS.
Frequently the negatives, after being developed
by the foregoing solutions, will not assume that
degree of intensity that is desired. They may still
KE-DEVELOPING PROCESS. 91
be made more intense by continning the process
of developing in the following manner :
Prepare two solutions as follows, viz. :
No. 1. "Water 8 ouuces.
Protosulphite of iron . . 2 ounces.
Dissolve the iron and filter.
The second solution is as follows :
No. 2. Nitrate of silver . . . ^ ounce.
Water ..... 8 ounces.
The re-developing is attended with some diffi-
culty, as there is great danger in producing lines
or streaks on the negative.
The following cautions must be observed : — Af-
ter the first process of developing, wash carefully
with a large quantity of water, still keeping the
plate in the dark room upon the levelling-stand, or
in the hand, and pour over its snrface enough of
the solution No. 1 to nearly cover it ; then quickly
pour enough of No. 2 to mix with it npon the
plate, which must have a little motion in order to
flow over the whole j)late as quickly as possible. It
will be seen that no perceptible action takes place
on the application of the iron solution ; but as soon
as the silver is added, a quick and energetic action
commences, and the intensity is increased to any
92 BICTILORIDK OF MKRCURY.
desired depth. Great care must be observed not
to continue this process too far, as the negative will
become too intense, and full of lines and streaks.
As soon as sufficient intensity is produced, wash
quickly with water all traces of the developer.
BICHLORIDE OF MERCURY AS A RE-
DEVELOPER.
Make a saturated solution of bichloride of mer-
cury, and always have it in readiness in a glass-
stoppered bottle.
This can be used with great success in copying
Daguerreotypes or Ambrotypes into negatives.
The solution must be reduced considerably from
the full strength of the saturated solution, but only
the quantity required for use. The exact amount
of dilution will depend upon the strength of the
negative after it is developed by the protosnlphite
of iron developer. The plate is first developed in
the usual manner as soon as it is removed from the
camei'a, then carefully washed, and, before the
light has fallen ujxjn it, a weak solution of the bi-
chloride of mercury is poured quickly over it. It
will assume a deeper intensity immediately ; and
when sufficiently so, it is to be washed and fixed
in the hyposulphite in the usual manner. All
FIXING SOLUTION. 93
negatives, rendered intense by the application of
bichloride of mercury, will assume a deep bluish-
black color, which can be modified by changing
the strength of this re-developing agent.
FIXING SOLUTION".
This is always a saturated solution of hyposul-
phite of soda.
The plate is to be thoroughly washed with water
after developing, and laid carefully in a flat dish
containing the hyposulphite of soda ; and as soon
as the iodide of silver is dissolved from the sur-
face, which may be known by its becoming clear
from that milky appearance, it must then be im-
mediately washed entirely free from the least traces
of soda.
Then dried — or it may be varnished before
drying, with a solution of gum-arabic, of the con-
sistency of collodion which has been strained. Of
course, the gum-arabic is to be poured over the
surface in the same manner as collodion.
TONING BATHS.
The most useful and practical toning bath for
paper, prepared with the ammonia nitrate of silver
solution, is composed as follows :
94 TONING BATHS.
"Water 1 quart.
Nitrate of silver .... 60 grains.
Chloride of gold .... 60 grains.
Or four bottles of the ordinary chloride of gold.
Hyposulphite of soda . . . 2 ounces.
In preparing the foregoing bath, the following
method should be adopted to insure the most com-
plete success.
Dissolve the hyposulphite of soda in about four
or six ounces of the water taken from the quart,_
and the chloride of gold in about four ounces ot
water, in separate bottles. Convert the 60 grains
of nitrate of silver into the chloride of silver, by
dissolving it first in three or four ounces of water,
to which add 60 grains of common salt. Wash
the precipitate in water three or four times, then
pour off all the water, leaving the M^hite precipitate,
which is the pure chloride of silver. Now pour
this solution of chloride of silver and hyposulphite
into the remaining portion of the water, and add
the chloride of gold in solution to it. It will as-
sume at first a wine color, and may appear of a
darker hue in a few moments. It is now ready to
receive the printed picture from the printing
frame, or it may be first immersed in salt and
water, as described on page 64:.
This toning bath is intended only for paper salted
AMMONIA NITRATE OF SILVER SOLUTION. 95
in the manner described on page 57, and silvered
with tlie ammonia nitrate of silver solution, as de-
scribed below. When not in use, it shonld be
kept from the light in a glass-stoppered bottle.
This bath, when once prepared in the foregoing
manner, will improve by age and use, for the im-
mersion of every print tends to increase the quan-
tity of chloride of silver. A bottle of chloride ot
gold must be added occasionally, dissolved in six
or eight ounces of water.
PREPARATION" OF THE AMMONIA NITRATE OF
SILVER SOLUTION".
Nitrate of silver 2 ounces.
Distilled water 1 pint.
Dissolve the silver in the pint of water, and pour
out about two ounces into a separate bottle for
future use.
Now add of strong concentrated aqua ammonia,
a few droj)S at a time, to the fourteen ounces solu-
tion of silver and water. A dark brown precipi-
tate is formed at first, which must be stirred with
a glass rod, or, if in a bottle, it may be shaken.
Continue to add more of the aqua ammonia, and
stir tlie solution until it remains perfectly clear.
Then add the two ounces which were reserved for
96 AMMONIA NITRATE OF SILVER SOLUTION.
use, as referred to above. This will cause the
solution to be slightly turbid, which can be filtered
perfectly clear, and it is then ready for use. This
preparation must be kept entirely excluded from
the light of day.
This solution must be filtered, and only in sufli-
cient quantity for immediate use.
A more sensitive preparation may be made by
adding to the above about six drops of nitric acid.
CHAPTER VI.
DETAILS OF THE VARIOUS RECIPES IN THE PHOTO-
GRAPHIC PROCESS QUICK METHOD OF SILVERING
AND PRINTING PAPER BEST METHOD OF SALTING
PAPER TEST FOR GOOD COLLODION OR GUN-COTTON
VARNISH FOR POSITIVES ON PAPER INSTAN-
TANEOUS PRINTING PROCESS NEW METHOD OF VAR-
NISHING POSITIVES TO RESTORE PRINTS THAT
HAVE CHANGED COLOR CLEANING GLASS PLATES
TO VARNISH NEGATIVES DEXTRINE PASTE FOR
MOUNTING PHOTOGRAPHS GUM-ARABIC AND GELA-
TINE TO RESTORE SILVER FROM OLD SOLUTIONS
TO REMOVE WATER FROM COLLODION, AND TO
PURIFY IT TEST OF HYPOSULPHITE OF SILVER IN
POSITFt'E PRINTS PRINTING VARIOUS BACKGROUNDS.
This chapter will be devoted to the variety of
practice in the Photographic Art. Many recipes
will be given of tlie various forms of operating.
Many will be found useful, and it is trusted that
none will omit to note down the variety here be-
9
98 A QUICK METHOD OF SILVERING PAPER.
cause they number so many. These must neees
sarily be given promiscuously, from the fact that
no process here written has any peculiar relation
to another.
AN EXPEDITIOUS METHOD OF SILVERING PAPER
AND PRINTING THE SAME.
Employ the ammonia nitrate of silver, the usual
strength, and fasten the paper already salted upon
a flat piece of board, by means of a pin or small
nail, at each corner. Then, with a ball of clean
cotton dijjped in a solution of silver jnst filtered,
and placed in an open flat dish, carefully rub the
paper in all directions. Then dry it quickly by a
fire in the usual daylight. As soon as it is dry,
place it immediately in the printing frame, and
expose to the sun's rays. This will insure a picture
with very little delay ; and if proper care has been
observed in the operation, very excellent results
may be obtained. Many successful artists have
adopted the foregoing process with marked success.
THE BEST ilETHOD OF SALTING PHOTOGRAPHIC
PAPER.
Always use the hydrochlorate of ammonia (sal
ammoniac) in salting paper, and never over 90
TEST FOK GOOD COLLODION OR GUN-COTTON. 99
grains to the quart of water. A larger quantity
impairs the tone.
This j)reparation of sodium lias been found to
produce the best results, from the fact that it is in
a purer state than any other known forms of salt.
Hence it should take the preference of all others
in the salting process.
The addition of gelatine to the salting solution
is strongly recommended, say about one grain to
every ounce of water. The gelatine should be of
the purest quality, and it should first be dissolved
in warm water, and added to the salting soUition,
which itself must be warmed if in the winter
season.
Always filter the salting solution, so as to avoid
any spots of dust or foreign substances that may
collect in the dish.
TEST FOR GOOD COLLODIOI^ OR GUN-COTTON.
There is a sure test, and one that it is well to
remember and apply, in making collodion. After
the gun-cotton is well dissolved in the ether and
alcohol, and of the requisite thickness, pour a
small quantity of the plain collodion on a piece oi
glass, allowing it to drain off in the same manner
as in coating the plate with sensitized collodion.
100 VARNISH FOR POSITIVE PHOTOGRAPHS.
If the glass appears perfectly clear and transparent
after it is dried and held up to transmitted liglit,
it may be used for working collodion ; but if there
should appear any milkiness or opacity on the sur-
face of the glass, there is a fault of the gun-cotton
or the alcohol or ether. Unless a perfect, clear,
and transparent film is obtained, the collodion,
when properly sensitized, will not furnish good re-
sults. The addition of a small quantity of alcohol
will sometimes remedy the defect.
YARNISH FOR POSITIVE PHOTOGRAPHS ON
PAPER.
The best varnish for paper pictures is undoubt
edly gum-arabic and gelatine.
The gum-arabic must be allowed to dissolve
thoroughly, then with warm water dissolve the
gelatine, using only a small quantity. The propor-
tions are as follows :
Gum-arabic dissolved, and about the con-
sistency of collodion .... 1 ounce.
Gelatine 2 drachms.
Dissolve and filter through a cloth every time
before using. To be laid on with a flat brush
made of hogs' bristles.
INSTANTANEOUS PRINTING PEOCESS. 101
INSTAJTTAXEOUS PRIJ^TIKG PROCESS.
In dark, cloudy weather, or in winter, it is
sometimes desirable to print positives, and the fol-
lowing method will be found to be useful, as pic-
tures can be produced in the least portion of day-
light. It is as follows : — Float the papers each for
five minutes in a solution of bichloride of mercury,
prepared as follows :
Saturated solution of bichloride of mercury 6 drachms.
"Water 1 pint.
Silver it in a j^lain silver solution, 40 grains to
the ounce of water. But it must be so done in a
dark room, and the lamp carefull}^ screened by
means of a yellow glass. Expose only for about
two to ten seconds in summer, and .not more than
a minute ^n winter, and then in a very subdued
light. Of course the paper must be jjlaced in the
printing frame in a darkened room, and the frame
itself carefully excluded from the light during the
operation, except the time required to make the
impression. Remove the picture still in the dark
room, when it will appear very feeble, but it is
seen to be developed by means of a solution of
sulphate of iron, as follows :
9*
102 TO EESTOEE FEINTS.
Sulphate of iron . . " .
"Water 1 pint.
Glacial acetic acid . . . . ^ ounce.
Develop until the picture is of the required
depth of color, then wash, and immediately fix with
hyposulphite of soda ; and finally, carefully wash,
as in the ordinary process.
NEW METHOD OF VARNISHING POSITIVE PHO-
TOGRAPHS ON PAPER.
Dissolve by a slow heat two ounces of white
wax and add two ounces of common Venice tur-
pentine, and stir the mixture well. This, when
cool, will be of the consistency of paste. After
the Photographs are dried, spread this paste even-
ly over the surface with a brush, and rub it with
a piece of woollen flannel ; hang it up to dry in a
warm room for six or twelve hours. The smell of
the turpentine soon leaves the print, an<!l when dry
it may be rubbed hard with dry flannel until a
fine polish is obtained. This process of varnish-
ing Photographs not only greatly improves them,
but also preserves them from liability to fade.
TO RESTORE PRINTS THAT HAVE CHANGED
COLOR.
Wash the print well, and immerse it in a solu-
tion prepared as follows :
CLEANING GLASS PLATES. 103
Water 1 quart.
Saturated solution of the bichloride of) on dron-
mercury ia muriatic acid . . . }
Remove tlie picture as soon as the desired pur-
ple tone is attained, then carefully wash it in sev-
eral waters, and dry. Prints that are greatly
faded may be restored by this process equal to
new.
CLEANING GLASS PLATES.
Some operators experience much difficulty in
cleaning the glass plates for negatives. It is a
matter which to some is no difficulty, and there-
fore not much attention is paid to it by those who
work successfully. In order to feel perfectly sure
that the plates are cleaned, they may be first im-
mersed in a solution composed as follows :
Water .... 1 pint.
Cyanide of potassium . ^ ounce or 120 grains.
Carbonate of potassium . 240 grains.
By placing all new glasses in this solution for a
few minutes all traces of grease or fatty substances
are removed. They can then be washed, dried,
and cleaned with alcohol in the usual manner.
Glasses that have been used may be more readily
cleaned by first laying them in water in order to
remove the collodion. Then immerse them in
104 GUM-AKABIC AND GELATINE.
the foregoing solution, wash, diy, and clean as
usual.
TO VAENISH NEGATIVES.
ISTegatives may be varnished with the common
white negative varnish, or the diamond varnish,
sold by all the dealers in photographic materials.
t
DEXTEINE PASTE FOR MOUNTING PHOTO-
GRAPHS.
The article known as dextrine is the best in use
for pasting Photographs on card-board, from the
fact that it is not so liable to cause them to fade.
It is made simply by mixing a sufficient quantity
of ground dextrine in hot water to render it of the
consistency of ordinary paste. Then apply with a
brush.
GUM-ARABIO AND GELxlTINE.
Gnm-arabic 8 ounces.
Gelatine } ounce.
Mix and dissolve in hot water, and strain through
a cloth before using. . This is useful for varnisliing
the Photograph after it is pasted on the card-board.
By the addition of a little sugar to the above, a
paste is formed which may be used for pasting the
Photographs on the card-board instead of the dex-
trine.
TO KESTOKE SILVER FROM OLD SOLUTIONS. 105
TO SEPARATE SILVER FROM OLD COLLODION
SILVER BATHS,
FROM THE NITRATE OF SILVER SOLUTION, USED IN PRE-
PARING POSITIVE PAPER, AND FROM THE WATER
THAT HAS BEEN USED TO WASH THE PRINTS
BEFORE THE IMMERSION IN THE CHLO-
RIDE OF GOLD, ETC.
To the liquid containing the silver add a solu-
tion of common salt, until no milkiness is percep-
tible. This will precipitate the silver in the state
of a chloride.
After shaking well, allow this chloride of silver
to settle, when the liquid should be poured away,
and the precipitate washed several times in clean
water. Tlie larger part of the water should now
be poured off, and a piece of clean zinc put into
the bottle, to which add a few drachms of sulphu-
ric acid. The mixture will immediately effervesce.
The zinc is dissolved in a short time, and the chlo-
ride of silver will be transformed into metallic
silver, in the state of a black powder.
There should be an excess of zinc in the liquid,
in order to effect the transformation of all the chlo-
ride of silver into metallic silver. This change of
the chloride to the metallic state, commences first
with that which is in contact with the zinc, which
106 TO REMOVE WATER FROM COLLODIONS.
becomes immediatelv black. It must now stand
without sliaking, until all the chloride of silver has
become nnifornily black, when the remaining zinc
should be taken out, the liquid poured off, and the
silver washed two or three times with water acid-
ulated with sulphuric acid, and finally with clean
water.
The silver can be separated from the water by
filtering through paper, and is pure. It can be
used to prepare nitrate of silver.
TO EEMOYE WATER FROM COLLODIOIfS, AND TO
PURIFY OLD COLLODIONS.
A very simple method of removing water which
may be found in collodion, is to add a quantity of
common saleratus well dried — shake it well and
allow it to settle : it \\\\\ not only remove the wa-
ter, but greatly improve the quality of the collo-
dion. Man}- old collodions may be ti'eated in this
manner, and greatly benefited.
The quantity of saleratus necessary to add to
the collodion is not material — an excess will do
no harm ; but it is recommended to pour oft' from
the sediment of saleratus into another bottle, to
allow it to become clear for use.
The addition of albumen, or the white of an egg^
PEmTING BACKGROUNDS OF VARIOUS SHADES 107
to a quantity of collodion, and allowed to settle,
is also of great benefit to it, especially if it has a
tendency to remain thick and turbid.
CHLOROFOEM IN COLLODION.
A few drops of chloroform may be added with
advantage to collodion when it appears weak on
the glass plate, and inclines to break on the appli-
cation of water in washing off the developer.
TO KNOW IF ALL THE HYPOSULPHITE OF SILVER
IS REMOVED FROM THE PRINTS BY WASHING.
When the prints are supposed to be well washed
and hung up to dry, allow a few drops of the wa-
ter from them to fall into a solution of bichloride
of mercury. If a white precipitate is formed, the
print is not well and sufficiently washed. It will
in process of time fade or change color. They
should be washed again until no precipitate is seen.
PRINTING BACKGROUNDS OF VARIOUS SHADES.
Any negative with a dark background may be
printed with a light one, or vice versa / or if an
imperfection happens to occur on the background,
it may be entirely removed by the printing pro-
cess, as follows :
First print an impression, and without toning it,
108 FEINTING BACKGKOUNDS OF VARIOUS SHADES.
remove it from the printing frame, and cut out the
figure of the head and bod_y with a knife or small
scissors ; in fact, leaving entirely the background
separate from the portrait. Fasten this background
of paper so cut out around the edges, by means of
gum-arabic, upon the negative, and print only the
portrait, on another paper of course, leaving the
background perfectly white. Now remove this
print, and cover the portrait so printed with the
piece of paper which was cut out of the first print.
This will now become blackened by the action of
light, and it must be attached to the second print
only at the bottom by gum-arabic. Place it in
the printing frame, which contains a clean glass,
and expose the background only to the action of
light. Of course any degree of shade of back-
ground may be attained, and gradations of the
light or dark portions can be also given by hold-
ing a cloth or piece of card-board over such por-
tion as may be desired of a light color. The card-
board should be slightly agitated to prevent any
sharp lines on the print.
Figures of various kinds can be represented on
the background by means of lace-work, or any-
open work laid over the background in the second
process.
PRINTING FRAMES. • 109
In printing these extra backgrounds, there will •
necessarily be a sharp outline around the edge of
the hair and draper}^, which can be removed by
retouching with India inlj, after the picture is
mounted.
PRINimG FRAMES.
There are numerous methods and apparatus in
use for holding the negative and paper during the
printing process. The common printing board is
perhaps the most useful. They can be bought at
any of the dealers in photographic materials.
Another kind called pressure frames are rather
more expensive, but jDOssess the advantage over
the common printing board of giving the operator
an opportunity to inspect both ends of his picture
during the printing process. Every operator should
possess more than one of these printing frames, as
tlie saving of time will amply repay him if he has
many prints to make.
Another cheap, convenient, and equally good
arrangement for holding the negative and paper,
is to take three glasses — say one a full size, being
the one having the negative upon it; and then
take two glasses, each just half the size of the
negative, and have a piece of very thick heavy
cloth, cut the size of the negative glass, which can
10
110 PRINTING FRAMES.
•
be put between it and the two half glasses, and
then they can be held together by means of the
common spring clothes-pin. The advantage of the
two glasses at the back is, that one can be entirely
removed while the picture is being examined, and
afterwards returned without in the least moving
the impression.
CHAPTER VII.
HINTS AND SUGGESTIONS IN REGAED TO THE NEGATIVE
PROCESS IMPERFECTIONS PECULIAR TO NEGATIVES
HOW TO AVOID THEM CAUTIONS IN TAKING NEG-
ATIVES HINTS AND SUGGESTIONS IN REGARD TO
PRINTING POSITIVES ON PAPER — CAUTIONS IN RE-
GARD TO THEM IMPERFECTIONS FOUND IN POSI-
TIVES— HOW TO AVOID THEM.
The art is so full of details in the manipulations,
that it "is deemed proper to embody in a chapter
many hints and suggestions that are very necessary
to be well studied by those who adopt the line of
practice laid down in this work. In thaf portion
of this Manual devoted to the Ambrotype, will be
found a chapter devoted to the failures, &c. ; also
containing many valuable hints in regard to posi-
tives on glass — all of which are valuable as a ref-
erence in the negative process.
112 EETOUCHJJSTG NEGATIVES.
HIXTS AKD SUGGESTIONS IN EEGAED TO
NEGATIVES.
The addition of a small quantity of white sugar,
dissolved in water, to the nitrate bath, will some-
times increase the intensity of the negative. The
addition of an ounce of alcohol for every quart of
water in the bath, will also increase the intensity.
When the collodion will not adhere to the plate
on removal from the bath, add a few dro]3s of
water to a sample of collodion, and it will gener-
ally remedy the defect. If the defect is removed
in a small quantity, add water to the whole.
EETOUCHING NEGATIVES FOR PHOTOGRAPHIC
VIEWS.
In photograph views, the sky is not usually very
truthfidly represented. It almost always appears
too dark when representing a thunder tempest, or
when the landscape, or whatever may be taken,
betrays a shining sun. This unnatural effect may
be overcome in the following manner :■ — ^The black
varnish which is used for Ambrotypes, can be re-
duced by the addition of spirits of turpentine, and
with a small brush spread it over the entire sky.
If it still prints too dark, give it another coat ; and
if a white is desired, the negative must be made
entirely opaque.
ENGRAVING THE NAME UPON A NEGATIVE. 113
Beautiful clouds and sunset effects may be intro-
duced into the photographic landscape, and at the
expense of very little time. The tempestuous
storm, the dark and dismal cloud, with the vivid
flash of lightning dancing upon its thundering bo-
som, the rainbow and other scenes of grandeur and
beauty, may be represeiitt-d in the photographic
drawing.
RETOUCHING NEGATIVE PHOTOGRAPHS.
This is best accomplished with India ink, and
some other lighter color to modify it ; the black
spots may be retouched to their proper transpa-
rency or opacity. Shadows, if too deep or too
feeble, may be corrected ; defects in the eye also,
if shaded too deep, may be corrected by a careful
hand, guided by the use of a small camel's-hair
pencil.
ENGRAVING THE NAME UPON A NEGATIVE.
Any name may be engraved upon the negative
by marking it carefully with a pointed instrument
— such as a needle or the point of a knife — before
it is varnished. When printed, this will appear
very distinct.
10*
114 IMPERFECTIONS OF NEGATIVES.
IMPERFECTIONS COMMOK TO NEGATIVES.
Tlie more frequent imperfections are those termed
fogging, streaking, and spotting of the negative
plate.
The causes are — over-ex^josure in the camera^
over-develojying^ impure chemicals^ cmd light gain-
ing access to the chemical-room^ camera^ or plate-
holder.
The over-exposure in the camera is easily obvia-
ted by lessening the time. The over-developing
can be obviated by lessening the time also, and
weakening the developer — changing the quantity
of acetic acid.
The impurity of the chemicals in the collodion
can only be ascertained by having a sample of
collodion known positively by previous experi-
ment to be of the good quality. Make a trial of
this, and compare results.
Light gaining access to the Chemical-room^
Plate-holder^ Camera, &c. — After coating the
plate as usual in the dark room, hold it in your
hand for a few moments ; then, without taking it
out to the light, pour on the developer. If the
plate blackens, white light gains admission to your
chemical-room. Make it darker. If the cause is
8
SPECKS UPON THE PLATE. 115
not here, coat another plate, put it in the plate-
holder, place it in the camera, and, without taking
the cap off the tube, raise the slide, and expose
the plate for a few seconds in the darkened cham-
ber of the camera — remove it to the dark room,
and pour on the developer ; if it blackens, stop the
leaks in the camera. If this does not obviate the
trouble, coat another plate, put it into the plate-
holder, place it in the camera, and, without rer
moving the cap or raising the slide^ leave it a few
seconds as before ; remove to the chemical-room,
pour on the developer ; if it blackens, the plate-
holder is not tight. These trials wnll generally dis-
close the cause of fogging.
Sometimes the cause may be removed by adding
acetic acid to the bath when all other means fail.
This is an excellent remedy for fogging generally,
and will, in nine cases out of ten, obviate the diffi-
culty.
Specks upon the Plate. — These may occur from
•the use of collodion holding small particles in sus-
j3ension, or from too much acid in the developer.
Isever use a sample of collodion until it has stood
long enough to settle perfectly clear. All new col-
lodions must be set aside w^iere they will be undis-
turbed twenty-four hours before using.
116 SILVEKY APPEARANCE OF NEGATIVES,
Oily Spots or Lines ^q? and down the Plate. —
These occur when the plate is taken out of the sil-
ver bath, before the ether and alcohol have been
washed away. Marks of the same shape occur,
also, when the developer does not amalgamate
readily with the surface of the film ; in which case
add a little alcohol tu the developer.
SILVERY APPEARANCE OF NEGATIVES.
Negatives sometimes have an appearance of sil-
ver under the collodion after developing, which is
owing mainly to the imperfect cleaning of the
plate. This is more likely to occur when old plates
are used. To avoid this, use nitric acid diluted and
rotten-stone in the next cleaning. Glass which is
rusty will always present this silvery appearance.
It must be discarded.
Transparent Markings of various Jvitids. —
These sometimes resemble fern-leaves, and other
vegetable forms : add a few drops of chloroform to
the collodion. Dark spots of various forms may be*
caused by the collodion setting too Vm2^ — or by
pouring on the developer entirely on one place —
or by having the developer too strong. Apply
the remedies before recommended.
STRENGTH OF THE NITRATE BATH. 117
THE STEENGTH OF THE NITKATE BATH.
The last and highly important imi3erfection is
often caused by the want of silver in the bath. A
weak bath is indicated by certain parts of the plate
having the appearance of transparency, as though
no collodion was upon its surface. Test the bath
with the hydrometer to ascertain the quantity of
silver, and add enough to render the quantity
equal to that required for the collodion, to be used
generally 60 grains to every ounce of water.
ifhere are, perhaps, many other imperfections
in the negative process, which, were they fully
enumerated here, would tend most likely to mislead
rather than give information.
It is hoped that the practice of the art, as laid
down in tlie pages of this work, will not cause so
many failures as will deter the persevering student ;
assured that although the process is fraught with
difficulties, it has been entirely overcome by many
successful artists, the evidence of which is affo'-ded
by their works.
HINTS AND SUGGESTIONS IN PRINTING POSI-
TIVES ON PAPER— PHOTOGRAPHIC PAPER.
The quality of paper is very important, and
must be of an even texture, and free from holes
118 WASHING POSITIVE PKINTS.
and spots when held up to transmitted light. One
side must have a satin appearance when viewed at
an angle across the surface.
There is one side only of good j^hotographic
paper which will receive the best impression, and
that may be known by examining it carefully. The
one side will appear to have lines crossing, each
resembling fibres in woven cloth. The opposite
side will appear to show like satin, which is the
one to receive the silver.
Avoid dust in the room where the paper is ^1-
vered and hung up to dry. Especially be careful
to exclude it from the silvering solutions by fre-
quent filtering.
WASHING POSITIVE PKINTS.
In washing positive prints great care must be
observed that the dishes used are free from any
foreign substance,- as that would invariably cause
spots or stains. The dishes mostly in use are
gutta-percha or vulcanized india-rubber. With
large prints, wooden dishes may be used if they
are well varnished with gum shellac varnish, as
described on page 191. The use of warm water to
finish the washing is highly recommended, as in
KETOUCHING PHOTOGRAPHS. 119
that state the hyposulphite of silver is much more
soluble.
The value of the use of the chloride of gold in
the toning bath has never been sufficiently esti-
mated. It adds to the tone all the beauty so much
desired. An increase of the quantity in the to-
ning bath will frequently overcome the many dis-
agreeable colors which are so often found in prints
after washing. Its use in the finish of the Da-
guerreo#)q3e was considered indispensable. Those
wdio seek for the most beautiful Photographs must
use large quantities of this metallic salt.
EETOUCniNG PHOTOGRAPHS.
All Photographs, when mounted, can be Im-
proved by slightly retouching them with a small
camel's-hair brush dipped in india-ink. Especially
the eyes, lips, &c., which frequently will not print
clear and distinct. The ink can be ground on a
piece of glass, using only a small quantity at a
time. By mixing a small portion of carmine witli
the india-ink, any shade may be produced to cor-
respond with the color of the print, and all the
white spots that so frequently appear on the back-
ground and drapery can be removed. A slight
touching of the ink on the shadows of the nostrils
120 IMPERFECTIONS IN POSITIVES.
and lips will add greatly to the beauty of the Pho-
tograph.
Should any black spots require removal, use
white water-color paint mixed with india-ink. This
retouching will require only a short time, and must
be done before varnishing.
IMPEKFEOTIONS FOUND IN POSITIVES ON
PAPER.
If the print has a faded and yellow appearance,
the hyposulphite is acid, or too old and weak ; or
the print has been left in it too long a time, or has
been washed too slowly. Add more chloride of
gold ; if acid (which may be known by testing
with litmus paper), add a few drops of aqua am-
monia.
If not sufficient contrast exists between the lights
and shadows, the print being pale, and without
vigor, then the nitrate of silver solution is too weak
in proportion to the salt solution. Strengthen the
silver solution.
If too much contrast exists between the lio-hts
and the shadows, and the details are not marked in
the latter, then increase the proportion of salt.
If pale spots appear, then thoie has teen insuf-
ficient absorption of the xnt'*ate of silver by the
IMPERFEUTIONS IN POSITIVES. 121
paper ; this may result from the unequal texture
of the paper, or from the silver being too weak.
Black spots are caused by dust on the surface
of the silver solution, oro;auic matter on the paper,
or metallic particles in the paper. Be careful to
avoid them.
If the prints after drying have a mottled appear-
ance in the high lights, they have not been suffi-
ciently toned. The j^rints should always be held
up and examined by transmitted light before re-
moving them from the toning bath.
If the bath is too weak, these spots cannot be
removed except by adding more hyposuljDhite and
chloride of gold to the bath.
These imperfections noticed as found in posi-
tive pictures on paper, probably do not include
all, but those which are most likely to be encoun-
tered in the practice of the art. They are given
as material for refererce during the practical op-
erations of the photographer, and should be often
referred to in his leisure moments.
11
THE
AMBPtOTYPE MANUAL.
PAET II.
PRACTICAL DETAILS
OF TUE
AMBROTYPE P R 0 C E S S.
POSITIVE PHOTOGRAPHS ON GLASS.
CHAPTER VIII.
THE CAMERA — PLATE-HOLDEES NECESSARY FOR THE
CAMERA PREPARING THE GLASSES PLATE BLOCKS
FOR HOLDING THE GLASSES CLEANING SUBSTANCES
— CLEANING THE GLASSES CLEANING DLD GLASSES
REMOVING THE TARNISH HOLDING GLASSES AFTER
THEY ARE CLEANED GLASSES TSED A NUaiBER OF
TIMES — QUALITY OF GLASSES NECESSARY FOR AM-
BR0TYPE3
It is presumed that most persons in whose hands
this hook may fall, or at least those who see it
after having sought it, are acquainted with the
Dagjierreotype process, and possess a camera, and
all the apparatus necessary for Daguerreotypes.
It is needless to add to those who have had any
ex]DeriAice, that a good camera is indispensable,
much more so than in the Daguerreian process.
"Without this necessary auxiliary, all labor will be
but in vain.
An entirely new plate-holder for the camera is
requisite, known as photographic frames, for hold-
ing the glass. It is made in such a manner that
11*
126 PHOTOGRAPHIC PLATE-HOLDERS.
the glass plate will rest on each corner on glass
itself. These holders are absolutely indispensable,
because all attempts to use the old Daguerreian
plate-holders will invariably produce bad results.
These plate-holders can be obtained of any of the
dealers in materials for the art.
The glasses, of course, have sharp edges, which
may be filed off with a coarse file, or ground on a
grindstone, 'to avoid cutting the fingers in hand-
ling. The wooden vise, which has been so often
used for Peck's patent blocks, will answer a very
good pm^pose for holding the glasses while clean-
ing them. It is better to procure two such vises
— one for the acid and rottenstone, and the other
for the alcohol.
The place where the ends of the glasses rest
may be slightly raised, so that in passing the can-
ton-flannel, or buff, over the glass, it shall pass en-
tirely over the end or sides.
The plate vise may be dispensed with, and a flat
pine board may be used, covered with canton-flan-
nel, of a size longer than the glasses that are to be
cleaned. On the edge of this board riiust be nailed
a narrow piece of hard wood, raised just above the
edge, but not so high as the thickness of the glass
to be cleaned. Now, by pressing the glass against
CLEANING THE GLASS PLATES. 127
this edge with a small stick of hard wood, or the
left hand, the glasses will be held, and readily
cleaned with the other.
New glasses require cleaning first only with
alcohol, or with alcohol and rottenstone. Common
whiting has been found to answer the purpose even
better than rottenstone. They are to be nibbed
with canton-flannel, or tissue-j)aper, and then dried
with the same substances. The plate must be
nibbed in lines, round and round, and on both
sides. It does not require as long rubbing as the
Daguen*eotype plate. After which, it is necessary
to buff them with two buffs, like a ball covered
with soft buckskin. This ball may be made of
cotton, and covered with buckskin, wath a handle
made of the ends of the skin, drawn over, and tied
with a piece of twine. The first ball, or tampon^
may be rubbed with rouge, or rouge and calcined
lampblack- The second is to be kept free from
all polishing substances. Rub first with the rouge
buff, and finish quickly with the dry one. By
slightly breathing on the surface, one can readily
ascertain if the plate is clean, which will be indi-
cated by a uniform condensation of the moisture.
Both sides of the glasses should be rubbed ; also
the edges of all should be wiped with a small
128 BOXES FOR HOLDING GLASSES.
piece of canton-flannel, before using, to remove
any of the polishing substances which might ad-
here to the glasses.
Glasses which have impressions on them, and
are dried, should first be placed in a flat dish con-
taining water, or water and niti-ic acid, enough to
make the liquid act slightly on the silver. They
are then to be rubbed with rottenstone, or whiting,
mixed with water and nitric acid — about two
drachms of acid to four ounces of water. They
ai'e then to be thoroughly washed with pure water,
and allowed to stand a few moments, or they may
be immediately wiped dry with a clean towel.
They are now ready for the alcohol and the can-
ton-flannel process, which is effected without any
application of rottenstone or whiting, although
a small quantity of either may be used with the
alcohol.
After the plates are buffed, they may be placed
on their edges in some old plate-boxes which have
done service in the Daguerreian art. The grooves
can be cut out a little wider than those for plates,
and then placed on the shelves near the bath, or
laid on the edges ready for coating.
Old pictures which have been fitted up with the
various varnishes require more care in cleaning.
VAPORS OF CHEMICALS AVOIDED. 129
They should be first placed in a strong solution ol
spirits of turpentine and alcohol, and allowed to
remain there until the varnish becomes softened.
Then they should be submitted to the acid and
rottenstone, and finished in the same manner as
glasses with pictures without varnish. It is well
to place all pictures which are failures in water as
soon as possible, rather than to allow them to dry
with the collodion on them.
The towel used for wiping the glasses should
be used only for that purpose, and no soap, or any
other substance, should be allowed to soil it.
When washed, it should be only with soda, in-
stead of soap, to insure more complete success.
The glasses should always be kept away from
any dampness and dust. Great care must be taken
that no vapors of chemicals should come in con-
tact with glasses after they are cleaned. Other
substances may be employed, such as tripoli pow-
der, photogene, &c., care being taken to remove
all the polishing substances before the plate goes
into the bath.
Glasses, unlike Daguen*eotype plates, may be
cleaned and used a great number of times ; but
they will require more careful polishing after a
few impressions are made, and it has even been
130 QUALITY OF GLASSES.
asserted by some operators that they will actually
loose their sensitiveness after a few trials. It is
well, therefore, not to use the glasses too long;
yet the practice is so variable, that some kinds of
glass may answer, whilst others may be useless.
The finest quality of plate glass is best adapted
for Ambrotypes, and that which is free from color
will produce the most pleasing effects. Many per-
sons, however, use an inferior quality of glass,
which of com'se is a great detriment to their j)ic-
tures. The thickness of the glass is of some con-
sequence. It should not be too thick, else the
picture will appear unnatural. A medium thick-
ness is to be obtained, if possible.
CHAPTER IX.
APPARATrS FOE AMBEOTYPES — CHElVnCALS USED
SUBSTANCES FOR FINISHING THE PICTURE PEEP-
AEATION OF THE NITEATE BATH TO IODIZE THE
BATH FILTERING PEOCESS ADDING ACID NEU-
TRALIZING THE BATH FULL DIRECTIONS FOR KEEP
mG THE BATH IN ORDER RENEWAL OF THE NI-
TRATE OF SILVER.
The following are the various utensils, or appa-
ratus, necessary for the Ambrotype process :
APPARATUS.
One gutta-percha bath.
One dipping rod — glass or gutta-percha.
One flat dish for fixing solution, either of earthenware or
gutta-percha — the latter preferred.
One large earthen dish for the developing solution.
One bottle for the developing solution, capable of holding
two quarts.
One four, or six ounce graduated glass.
One large bottle, with a glass stopper, capable of holding
more than the silver bath, and to be used exclusively for that
purpose.
Three glass or gutta-percha funnels, to be used respectively
for the nitrate of silver, the developing solution, and the fix-
iiig bath.
132 AMBROTYPE CHEMICALS.
One actino-hydrometer, for testing the nitrate bath.
A new and distinct plate-frame, for holding the glass
plates when placed in the camera.
One pair of scales, containing apothecaries' and avoirdu-
pois weights.
Cotton for filtering.
Two or three glass rods.
Tlie following chemicals will be found necessary :
CHEMICALS.
Nitrate of silver (crystallized). Iodized collodion.*
Protosulphate of iron. Nitric acid, chemically pnre.
Acetic acid. Glacial acetic acid.
Alcohol 95 per cent. Litmus-paper, blue and red.
Cyanide of potassium. Iodide of potassium.
Hyposulphite of soda. Carbonate of soda.
The following substances are required to finish
the pictui'e :
EEQUISITES FOR FINISHING.
"White varnish. Gum demar varnish.
Black varnish. Venetian or Canada balsam.
Amber varnish. Daguerreotype sealing-paper.
Being supplied with all the various utensils and
chemicals, the first and most important prepara
tion would be the nitrate of silver bath, and herein
* The preparation of the collodion will be found in Chapter XI.
PREPAKATION OF NITRATE BATH. 133
lies one of the main secrets of success in all the
practice. IJnless the bath be properly prepared
at the outset, with all care in manipulating and in
the compoimding of the other chemicals, all the
productions will be failures.
The bath once in a proper state, success is much
more easily attained.
First measure the bath by filling it with water,
then pouring it into the graduated glass to ascer-
tain the exact number of fluid ounces which the
bath contains. To every ounce of water in the
bath must be added forty grains of nitrate of silver,
pure and crystallized, and free from acid. Test a
small quantity of nitrate of silver in solution with
blue litmus-paper. If any acid is present, the
paper instantly becomes red.
• By calculation the quantity required for the
bath can easily be ascertained, as there are 480
grains to every ounce. If the bath contains two
quarts, or 64 ounces, it will require exactly 2,560
grains, or 5^ ounces of the nitrate of silver. Thus :
64 X 40 = 2560 -f- 480 = 5^ ounces.
Procure distilled water in all cases, if possible ;
but if this be not always obtainable, pure soft
water, which has been boiled and filtered, mav
12
134 lODroE OF SILVER FOR THE BATH.
answer. In no case use water that lias any trace
of lime or soda.
As a test of pure water may not always be at
hand, it is well to take a few grains of nitrate of
silver, and drop it into an ounce of the water be-
fore using. Should it appear to dissolve, or throw
down any precipitate, you may be assured that the
quality is not good, and it will not answer for the
bath.
Dissolve all the silver, except one ounce, in the
water, which must be placed in the large glass-
stoppered bottle approj)riated expressly for the
bath, reserving, also, about four or six ounces of
the water intended for the bath, which may be
jjlaced in the graduated glass. Into this put the
extra ounce of nitrate of silver, and dissolve.
TO MAKE THE IODIDE OF SILVER FOR THE
BATH.
Take about twelve grains of iodide of potassium,
and dissolve it in one ounce of water, and add to
it two drachms of the nitrate of silver solution
from the large bottle. Avoid strong daylight in
this process. Immediately there will be seen a
yellow precipitate, which is the iodide of silver.
This must now be well washed three or four times
FILTEKmO PROCESS. 135
with soft water, by adding eight or ten ounces at
a time, and allowing it to subside, when the super-
fluous water must be poured off; then add fresh
water until all the potassium is washed out, leav-
ing the pure iodide of silver.
This iodide of silver is now to be poured into
the six ounces of water in which one ounce of ni-
trate of silver was dissolved. Stir it with a glass
rod, and after it is partially dissolved, pour the
whole into the large bottle containing the solution
for the bath ; shake it well, and filter through the
funnel expressly reserved for the nitrate bath.
This amount of iodide of silver will be required
for a bath containing two quarts. The same pro-
portions must be observed for baths of other di-
mensions.
f'lLTERING PROCESS.
The best filter is composed of clean cotton,
which must first be saturated with alcohol, and
afterwards thoroughly washed out with water.
This filter is preferable to all others for photo-
graphic purposes ; and in all cases where filtering
is required, it is strongly recommended.
The color of the bath should at fii"«t appear to
be a milky hue, but after filtering once or twice
136 TESTING THE BATH.
(as may be necessary), it sliould be clear as water
There will be a portion of the iodide of silver
which will not be dissolved. This must in all
cases Ije filtered out, and the solution rendered
perfectly clear before it is ready for use.
After the bath is clear, test it with the hydrom-
eter made expressly for the purpose, to ascertain if
it be of the required strength — viz., forty grains to
the ounce, which will be indicated on the scale
graduated according to the table in the book ac-
companying the hydrometer.
The bath must also be tested with blue litmus-
paper, by cutting off a small slip, and dropping
one end of it into the solution. If it turns red, you
have already a portion of acid.
A small quantity of acid is necessary to produce
the required tone and effect of the collodion, and
also to remove any streaks that may sometimes
present themselves.
Two kinds are used, chemically pure — viz., ni-
tric and glacial acetic acid. The former has been
said to produce the finest white tones, yet it is
more liable to change the nature of the bath, while
the latter is said to possess a more uniform action,
and to work with great regularity.
The quantity used, however, of either is very
NEUTRALIZING THE BATH. 137
small — not over eight or ten drops to be added at
first. Should lines apjiear running up and down
the plate, five or six droj)s more may be added.
Of course only one kind of acid is to be used at a
time.
TO NEUTEALIZE THE NITRATE OF SILVER BATH.
In order to neuti-alize the bath, dissolve half an
ounce of carbonate of soda in two ounces of water ;
then pour into the solution a drachm or two at a
time, quickly shaking the bottle. The bath will
assume a whitish appearance, which will disap-
pear on shaking the bottle. When a sufiicient
quantity of the soda has been added to neutralize
all the acid, this whitish appearance will remain
after shaking the bottle. As soon as that is seen,
there can be no more soda added without injury
to the bath. "Try the litnius-paiDcr, and when
enough soda has been added, it will of com-se re-
main unchanged.
Sometimes caustic potash is employed to neu-
tralize the bath, when a brown precipitate falls,
instead of a white. If nitric acid has been used,
and one desires to employ the glacial acetic in-
stead, it can be easily neutralized by the foregoing
process, and the latter acid added.
12*
138 KEEPING THE BATH IN OKDER.
Sometimes a perfectly neutral bath will succeed
well in the Ambrotype process, and it is even rec-
ommended at first to be used in that state before
adding the acid — the acid being added only when
the lines make their appearance on the plate.
The bath should always be kept as much ex-
cluded from the light as possible, and also covered,
to avoid collecting dust and other foreign sub-
stances. It may remain constantly in the gutta-
j)ercha dish without serious injury. Many opera-
tors prefer pouring it into the bottle after the
labors of the day, both for safety from accident,
and also on the score of cleanliness.
Avoid the introduction of any vegetable or me-
tallic substance into the bath, or the slightest par-
ticle of alkahne ingredient, in any form. It fre-
quently happens that particles of collodion will
leave the plate, and be found floating in the bath.
Whenever this occurs, it is necessary to filter it.
The gutta-percha bath should be arranged in a
square box or frame, at an angle of about thirty
degrees, or, what is better still, a covered box,
that should open when desired, and cover the
whole when not in use. A dark cloth may also
be employed to cover it.
There should always be a sufficient quantity of
BOX FOK THE PLATE-HOLDER. 139
the nitrate of silver solution reserved in the large
bottle to keep the bath full during the time of
operating. An ounce of nitrate of silver, or a less
quantity, may be dissolved in the bottle, without
the addition of the iodide of silver, as in the first
preparation of the bath.
Some operators flow their bath only in the
morning, in order to remove the dust which col-
lects on the surface, and would fix itself on the
first plate inti-oduced were it not so removed.
Avoid the contact of the human hands with the
niti'ate bath, as every drop leaves an indelible
stain.
It is recommended to obtain a box which will
support the plate-holder in an upright posi-
tion after the plate is in it, previous to being
placed in the focus of the camera, thereby avoid-
ing damage to the floor or carj)et upon which the
camera stands.
A nitrate bath once prepared according to the
foregoing plan, and in good worldng order, will
remain in action for years, by adding occasionally
a little more acid, say ten drops at a time, when
lines appear, and nitrate of silver when required.
After using a bath for a great number of imjires-
sions, it will be necessary to add more iodide of
140 RENEWAL OF THE BATH.
silver, wliich must be done in the same manner as
described on page 134.
When the bath requires a renewal of the nitrate
of silver, as it necessarily will, after a given quan-
tity of plates have been prepared, the impressions
will appear to be covered unevenly with silver,
after the application of the fixing solution.
Test the bath with the hydrometer, and add
inore silver to bring the sti'ength up to the requi-
site standard — viz., forty grains to each ounce of
water.
CHAPTER X.
THE DEVELOPING SOLUTIONS — 1LA.NNER OF COMPOUND-
ING THEM VARIOUS FORMULAS FOR DEVELOPING
SOLUTIONS TEST OF ACETIC ACID — THE FIXItlG SO-
LUTIONS CYANIDE OF POTASSIUM HYPOSULPHITE
OF SODA ADDING CHLORIDE OF SILVER.
THE DEVELOPING SOLUTIOK
The chemicals used in the developing solution
are sulphate of iron, acetic acid, and alcohol.
^. Sulphate of iron, .... 2 ounces.
Acetic acid, No. 8, . . . . 2 ounces.
Alcohol (either 80 or 95 per cent.), . 1 ounce.
Water, 1 quart.
Tlie sulphate of iron should be of pure quality,
which may be known by its clear and transparent
green ciystals.
Dissolve the iron and water, and filter; then
add the acetic acid and alcohol, keeping it in a
glass-stoppered bottle, ready for use. Use it by
pouring out a small quantity at a time in an open
mouthed bottle, which will contain six or eight
ounces.
142 THE DEVELOPING SOLUTIONS.
Some prefer to add the acetic acid an<il alcohol,
preserving the same proportions in the same bottle
as it is required for use.
If one is not consuming it very rapidly, this
latter plan is recommended.
It has been foimd, when all the ingredients are
mixed at once, that the developing solution be-
comes changed after standing a few days, and a
precipitate is formed.
In order to facilitate the dissolving of the sul-
phate of iron, it may be pulverized in a mortar,
and warm water added instead of cold.
This solution is to be used only once upon the
plate, as it forms with the silver another substance,
which, on a second application, would injure the
picture. Some operators, however, Lave filtered
and used it again by adding a small quantity of
acetic acid.
There are other solutions and other formulas for
the developer which are highly recommended, a
few of which are given :
No. 1.
Proto-sulphate of iron,
2 ounces
Acetic acid, No. 8,
2 ounces
Alcohol, ....
1 ounce.
Nitric acid,
i ounce.
"Water, ....
1 quart.
IMPTJKITIES OF ACETIC ACID.
143
No. 2.
Proto-snlphate of iron,
4 ounces.
Acetic acid, No. 8,
4 ounces.
Alcohol,
4 ounces.
"Water,
1 quart.
Ko. 3.
Proto-sulpliate of iron,
3 ounces.
Acetic acid, No. 8,
.-
3 ounces.
Alcohol,
3 ounces.
Sulphuric acid, .
i ounce.
Water,
1 quart.
No. 4.
Proto-sulphate of iron.
•
1 ounce.
Nitrate of potash (refined nitre).
1 ounce.
Acetic acid.
•
3 ounces.
Water,
.
1 quart.
The foregoing receipts are given mainly to in
dicate the various processes, all tending to the
same results. The addition of nitric acid and sul-
phuric acid has been said by some to render the
pictures whiter. But this is doubted by others;
and the result of a long experience has shown that
the first receipt here given will produce the best
pictures.
There are many impurities of acetic acid, and it
is necessary to test it, which is done by putting
merely one or two drachms of the silver solution
from the bath into a small quantity of the acid,
or either dissolve a small quantity of nitrate of
silver, and add it to the acid. If the acid exhib-
144 THE FIXING SOLUTIONS.
its any precipitate, it will not answer for the pur-
poses of a developing agent.
THE FIXING SOLUTIONS.
The fixing solutions are composed of cyanide of
potassium and hyposulphite of soda, as follows :
No, 1. Cyanide of potassium, . . . jounce.
Water, 1 pint.
Dissolve and filter, and it is ready for use.
No. 2. Hyposulphite of soda, . . 4 ounces.
Water, 1 pint.
Dissolve and filter.
The fixing solutions are very simj)le, and easily
kept in order, except that, after using for a num-
ber of pictures, they will require strengthening.
Some operators add a small quantity of chloride
of silver to the solution, and it is said it will render
the pictures of a whiter and purer tone.
Filter this solution often, and avoid dust and
other foreim substances.
The cyanide of potassium fixing solution is the
one greatly preferred, and most commonly used
for the Ambrotype process.
CHAPTER XI.
ON THE PRACTICE OF THE ART IN ALL ITS DETAILS,
FROM THE CLEANING OF THE PLATE TO THE AP-
PLICATION OF THE FIXING SOLUTION DRYING THE
PICTURE.
The practice of this art is such, that a careful
and accurate manner of the manipulating through
the whole is necessary to insure success.
It is absolutely necessary to have a dark room,
or one that can be made so at will, and yet a lamp
or candle will be required in some portion of the
process, or if a window is arranged with a yellow
reflection within the room by yellow cloth or re-
flectors it will answer as well. The lamp should
be placed behind a yellow glass, so that whatever
light falls upon the glass plate shall be of a yellow
hue, as the plate is very sensitive to the light on
its removal from the bath. By some operatoi-s it
is asserted that all these precautions are not neces-
sary.
The plate glass is first to be cleaned thoroughly,
13
146 PREPAEING TKE GLASS PLATE.
according to the directions in a former portion of
this work. It is then well brushed off with a soft
camel's-hair brush, in order to remove all the dust.
Standing near the bath with your collodion well
decanted, as described in the section of this work
devoted to collodion, holding the glass in jour
left-hand thumb and finger, pour out very care-
fully a continuous stream of collodion upon the
middle of the plate, sufficient in quantity when
allowed to flow entirely over, to cover it entirely.
Allow the collodion to flow first to the lower
left-hand corner, then to the lower right-hand, and
finally let the superfluous quantity retm-n into the
bottle at the right-hand corner near the thumb.
A little practice will enable one to pour the collo-
dion on the glass, and return that portion not re-
quired to the bottle without waste.
Avoid any contact of the collodion with the
thumb, as streaks will be caused thereby ; but if a
portion should run on the opposite side of the
glass, it will not injm-e the picture, as that can be
easily removed after it is taken from the fixing
solution.
Hold the plate nearly horizontal with the day-
light on it, so that the light shall reflect on the
surface of the glass, and always retain the position
FORXnNG IODIDE OF SILVER. 147
of it clown, in the same manner as it was when tlie
collodion was poured into the bottle from the glass
— that is, the end where the collodion left the
plate must always be kept lower than the other
portion. As soon as the film appears to be > dry-
ing, as it will in a few seconds, and when, by just
placing the finger on a corner of the plate, the
collodion becomes of a glutinous nature, or, rather,
as soon as it is set, immerse it in your bath, with
the same lower portion of the plate down as'' when
you were setting the film.
The plate should never be entirely dry, but hold
a medium between moisture and dryness. The
light must now be excluded from the bath, either
by covering it with a dark cloth, or closing the box
containing the bath, or the door of the room, and
the plate allowed to remain in the bath one or two
minutes. It may then be carefully raised from the
bath, and if a film of iodide of silver is formed
sufficient for its removal to the camera, it will as-
sume a perfectly smooth appearance on viewing
the surface ; but if the glass is removed too soon,
it will have the appearance of grease, and run in
lines down the plate.
In order to facilitate the process, you can move
the glass slightly from side to side in your bath,
148 DEVELOPING THE PICTURE.
raising it carefully, and viewing the surface, or the
plate may remain in the bath three or four min-
utes, during which time the person whose likeness
is to be taken may be placed in position.
On removing the plate from the bath, care
should be observed that no daylight falls ujDon it.
The nitrate of silver should be allowed to run off
for a few seconds into the bath before placing it in
photographic frames. After the plate is in the
frames ready for tlie camera, it must always re-
main in a perpendicular position, leaning against
the wall, or some other substance. ITever allow
it to be j)laced horizontally from the moment the
glass is in the frame until it is developed, or lines
will be produced on the plate. Before the next
plate is placed in the frame, it must be carefully
wiped dry with a dry cloth or towel.
As short a time as possible should elapse after
the glass is in the plate-holder before j)lacing it in
the focus of the camera. The time required in
the camera, of course, must be determined by ac-
tual experiment.
The plate is then taken to the developing stand,
which must be so arranged tliat water can flow
on the plate at any moment, after pouring on
the developing solution. Holding the plate again
TIME OF EXPOSURE NECESSARY. 149
in the left Land, as in using tlie collodion, over
a large dish sufficient to receive all the solu-
tion that will not remain on the surface, quickly
pour over the developing solution on the right-
hand side of the glass, enough to cover it all
at the same instant, and move it over the whole
surface, as in gilding a Daguerreotype plate. The
picture will quickly appear; and as soon as the
outlines of the drapery are seen distinctly, then
apply the water to the surface in a gentle stream,
60 as not to remove the collodion film.
A little care and experience will be necessaiy
in the developing process, for in this consists the
great beauty of the jncture. By a proper develop-
ment all the fine half tints are produced, and the
drapery is brought out with distinctness.
It is preferred by some rather to over-time the
picture in the camera, and use a shortened de-
veloping process, yet the best results are attained
by the exact time of exposure, combined with the
proper development. It is well known that the
longer the picture is developed, the lighter it be-*
comes ; but beyond a certain length of time, a dis-
agreeable tone is produced. It is necessary, there-
fore, to allow sufficient time in the camera for the
picture to be developed in the usual manner.
13*
1.50 DRYING THE PLATE.
About ten or fifteen seconds, in ordinary tem-
perature, is long enough for a successful develop-
ment. This, however, is subject to a variety of
changes, which must be learned by actual experi-
ence.
After thoroughly washing the solution from the
glass on both sides, lay it in a flat dish containing
the fixing solution, with the collodion side uppei-
most. This may be performed in the light of day.
If cyanide of potassium is used, it will remove the
iodide of silver which has been unchanged by the
action of the light in a few seconds. But if hyj)o-
sulphate is used, it will require somewhat longer.
As soon as the picture is seen clearly, be careful to
remove it, to wash all the fixing solution from the
glass with a good supply of soft water, as the
slightest trace of these solutions will injure tiie
picture.
The plate can now be dried by a gentle heat of
the fire, but not too quickly, as streaks wall be
formed. It is now ready for the varnishes.
The glasses may also be dried by the applica-
tion of the spirit-lamp, care being used to avoid
too great heat, which will cause the glass to break.
CHAPTER III.
VARNISHING THE PICTURE SINGLE GLASS PROCESS
STEREOSCOPIC AMBROTYPE TREBLE GLASS PROCESS
THE DOUBLE GLASS PROCESS CUTTING's PATENT
THE PATENT LEATHER PROCESS.
There are so manj kinds of varnishes in use,
and such a variety of modes of sealing up the
Arabrotypes, that one is in great doubt which is
best to be adopted. We shall give all the various
plans adopted by the profession, including the
great process, known as Cutting's patent.
SINGLE GLASS PROCESS.
The j)lan mostly adopted of applying the var-
nishes, is to pour them on like the collodion.
All pictures which are put up with the single
glasses are said to be improved by the application
of the white varnish before the black is used ; yet
by some it is asserted they are the same after the
black is applied as though no white had been ap
152 VAENISHING THE PICTURES.
plied. The white varnish will dry very soon if the
plate is slightly warmed by the spirit-lamp, when
the black can be added, and allowed to dry by
laying it in a horizontal position, with the varnish
iij)permost.
The black varnish can be applied directly on
the collodion side, withont the white varnish.
In most instances the black varnish has a ten-
dency to darken the picture — hence the picture
when dried and ready for the varnish should ap-
pear rather lighter than you desire it when finished.
Pictures can also be varnished with the white
varnish on the collodion side, and the black on
the opposite side. These can be colored as in a
Daguerreotype plate, and sealed up with a mat
and glass in the same manner. They are some-
times colored before the white varnish is applied.
Many are sealed up with the collodion side colored,
and not varnished with the white, but only black,
on the reverse side.
STEEEOSCOPIO AMBROTYFES.
There is quite a novel method of sealing Am-
brotypes, by some called stereoscopic, because they
have a stereoscopic effect, even without the stere-
oscopic lenses. The Ambrotype is first taken with
TREBLE GLASS PROCESS. 153
a dark background, instead of the usual white one.
After it is dried, a small camel's-hair brush is used
to apply the black varnish to the reverse side of
the glass, and only enough to cover the figure, and
allowing the background to remain perfectly clear
and transparent. Place a piece of white j^aper,
or, what is better, Bristol board, on the back of the
glass, and the picture will be seen to stand out
from the background in relief.
All the pictures sealed with the collodion side
uppermost will require a glass over them for pro-
tection.
TEEBLE GLASS PEOCESS.
By using a third glass instead of the white
paper, a beautiful effect is produced, if the glass
is coated with collodion, and exposed in the camera
to the white background, and developed and fixed
exactly as in the process of taking the portrait.
Any desired shade can be attained, and a great
variety of colors may be used, instead of white, the
effect of which is very pleasing.
Another beautiful effect may be produced by
first taking a view from some engraving of scenery,
tSrc. — coloring it, and using that for the third or
back glass.
154 DOUBLE GLASS PEOCKSS.
DOUBLE GLASS PEOCESS.
The use of Canada balsam in sealing up Am-
brotypes has been adopted by those who have
heretofore used the " cutting'''' process. The bal-
sam has been found on trial to be very difficult
of application, and jDcrplexing. The adoption
of good white varnish instead is much prefera-
ble, being attended with less than half the trouble,
and rendering the pictures more clear and transpa-
rent.
They can be colpred on the collodion side, and
put up with the transparent case with great fa-
cility.
The varnish, however, should be a little thicker
than ordinary white varnish, which can be ren-
dered so by exposing it for a day or two to the
open air, or the addition of a little more gum
copal will answer the same end.
Only a small quantity need be used, say one or
two drops on the middle of the glass. Gently press
the second glass upon the varnish, and it will im-
mediately flow over the whole surface. The pic-
ture can be sealed with the sealing-paper before it
has flowed over entirely, which will prevent the
PATENT LEATHER PROCESS. 155
superfluous varnish from running out at the sides
of the glasses.
Any white gums may be dissolved either in
spirits of turpentine or alcohol, and used for the
medium of holding the two glasses ; but the com-
mon white varnishes have been found to answer
quite as well as the Canada balsam.
PATEIiTT LEATHER PROCESS.
Ambrotypes can be easily transferred from the
glass plate to the surface of patent leather by the
following process :
Add thirty drops of nitric acid to two ounces of
alcohol, and after the picture is well dried upon
the glass, pour enough of the alcohol, prepared as
above, on the surface to cover it.
Clean the japanned surface of the patent leath-
er with soft canton flannel onlj-, and pour over the
alcohol two or three times. Then lay the leather
upon the surface of the picture, and place another
glass over it, retaining the leather between the two
glasses with the patent clothes-pins, or in any
manner to press the glasses evenly over the leath-
er, for about ten minutes ; they can then be sep-
arated, and the picture will leave the glass and
156 APPLYING THE CANADA BALSAM.
adhere to the leather, which, when dried, can be
rubbed without any possibility of removal.
APPLYING THE CANADA BALSAM.
In applying the Canada balsam, or any thick-
ened varnish, between the glasses, great care
should be used in pouring it on the surface of the
glass. It must be placed on the middle of the
glass plate, say about two or three drops, and the
additional glass carefully cleaned, and free from
dust, laid over first on one edge, then to be pressed
gently doNvn, and before the balsam spreads out
to the edges, it can be sealed up with the adhesive
paper. It will in a short time spread entirely
over the surface, and render the picture clear and
transparent.
The application of the balsam is necessarily at-
tended with more difficulty than any other var-
nishes which are recommended, from its peculiar
glutinous properties, and the tendency it has to
ooze out at the edges after the picture is sealed.
It can, however, be removed effectually by alco-
hol, and rubbing it with canton-flannel, as all the
balsams and gums are soluble in strong 95 per
cent, alcohol.
CHAPTER XIII.
THE MANUFACTURE OF GUN-COTTON — TEST OF THE
ACIDS EMPLOYED WASHING AND DRYING THE GUN-
COTTON' — PREPARATION OF THE COLLODION' ITS
NATURE AND PROPERTIES ETHER AND ALCOHOL
TO IODIZE COLLODION FOR AMBROTYPES METHOD
OF PRESERVING COLLODION, AND KEEPING IT READY
FOB USE TESTS OF GOOD COLLODION TO REMOVE
THE COLOR FROM COLLODION.
A WORK like this would be incomplete without
full and practical details relative to the prepara-
tion of gun-cotton, and its conversion into col-
lodion, although the manufacture of it is attended
with considerable diificultj and uncertainty. It is
recommended to beginners, therefore, to purchase
their collodion of those more experienced opera-
tors, when only a small quantity is required. In-
deed, the manufacture of gun-cotton itself is liable
to great variation, as well as being very deleteri-
ous to health. It is found that even those who
make collodion for sale, purchase their gun-cotton
14
158 THE DISCOVERY OF GUN-COTTON.
ready made. Both gun-cotton and collodion are
all perfectly iodized and warranted. They can be
found for sale by most dealers in Daguerreotype
goods.
Collodion is so called from a Greek word, which
signifies " to stick." It is a transparent fluid, pro-
cured generally by dissolving gun-cotton in ether,
or ether and alcohol.
It was discovered by Professor Schoenbein, of
Basle, Switzerland, in the year 1846, and was firat
used for surgical purposes only, being smeared
over fresh wounds and raw surfaces, in order to
preserve them from contact with the air by the
tough film which it leaves on evaporation. It is
now sold by druggists for the same purpose ; but
photographers have hailed the discovery of collo-
dion as the final keystone to their wonderful art,
and they draw large contributions from this sub-
stance. It is consequently of great importance
that its preparation should be the most complete
and exact that can be attained.
Gun-cotton is procured by immersing the pure
clean fibres of cotton in sulphuric acid and nitric
acid, or sulphuric acid and nitrate of potash.
If a large quantity of gun-cotton is desired, the
mixture of nitric and sulphuric acid is generally
TO MAKE GUN-COTTON. 159
adopted. For photogmpliic purposes, however,
the mixture of nitrate of j)otash and sulphuric acid
is used as follows :
TO MAKE GUN-COTTOK
Granulated nitrate of potash, .
6 ounces,
Sulphuric acid,
5 ounces,
Pure cotton, ....
. 160 grains.
The nitrate of potash should be pulverized in a
porcelain mortar, and the sulphuric acid added
and mixed until a thick pasty substance is formed,
when the cotton must be quickly immersed, and
stirred with a glass rod, so as to thoroughly incor-
porate the cotton in the mixture. Then pound the
cotton slightly for a period of ten minutes. When
the cotton assumes a stringy appearance, and on
separating the fibres, it breaks easily, it must be
quickly immersed in a quantity of water to re-
move the acid, after which it is to be well washed
for ten or fifteen minutes in water, constantly
changing it, until all traces of the acid disappear.
Great care is necessary to be observed in prej^ar-
ing the gun-cotton. It should be made in an open
space, where free circulation of air is obtained, in
order that the deleterious fumes of the acid shall
pass away. The quality of the ingredients is
160 WASHmG THE ACIDS.
Inglily essential. The rectified nitrate of potash,
known as " Dnpont's grannlated nitre," is prefer-
able. The acid shonld be of the specific gravity of
1.860, and free from water.
On mixing the acid and nitre, the temperature
should be raised to about 140°, or it will become
80 if they are of the required quality, in conse-
quence of the small quantity of water contained in
the nitre.
The most expeditious plan to wash the acid out
is to have running water, as from a hydrant.
As soon as the acid is completely washed out,
which may be ascertained positively by using lit-
mus-paper, the cotton is then to be placed in alco-
hol, in order to remove all traces of water ; then
by wringing it out in a clean towel, all the alcohol
can be removed, and it is then ready to spread out
on white paper to dry, which will be done in a few
moments.
If the manufacture of the gun-cotton, as above
described, has been successful, the product will be
capable of the following conditions : A small quan-
tity will explode on the application of heat. It
will dissolve readily in a solution of alcohol and
ether,, in certain proj)ortions, without leaving much
residuum.
TKEPARATION OF COLLODION. 101
The manufacture of gun-cotton is usually attend-
ed with many difficulties, and liable in all cases to
result in failure from the slightest variation of the
process, and withal is quite detrimental to health.
It is therefore recommended to purchase the gun-
cotton, when possible, thereby saving all the per-
plexity and uncertainty attending its preparation.
PEEPARATION OF THE COLLODIOK
Assured that you have a good quality of gun-
cotton, the preparation of the plain collodion is at-
tended with very little difficulty. The proportions
are as follows :
Sulphuric ether, concentrated, sp. g. 720 . 10 ounces.
Alcohol, 95 per cent., sp. g. 820 . . 6 ounces.
Gun-cotton 80 grains.
Mix these in the order above given, and shake
them thoroughly, when the cotton will be seen to
dissolve, and the substance to assume a glutinous
appearance on the inner surface of the bottle. In.
some instances it may require the addition of more
gun-cotton to render the collodion of the required
consistency. This can be ascertained by pouring
a small quantity upon a piece of glass, and allow-
ing the ether to evaporate. If a thick film is
14*
163 TO IODIZE COLLODION.
formed on the glass sufficient to hold together, and
to be raised up "without breaking very readily, it
will answer ; but if it does not contain these requi-
sites, add more gun-cotton. If too thick, then add
more ether and alcohol, in the same relative pro-
portions.
Allow this to stand a few hours to settle, then
decant into another bottle, leaving a small j)ortion
at the bottom, which will remain undissolved by
the ether and alcohol. This sediment may be re-
served until the next lot is required, and added to
it without loss.
TO IODIZE THE COLLODION FOR AMBR0TYPE8.
Pure collodion, .... 8 ounces.
Bromo-iodide of silver, . . . 4 drachms.
Prepared as described on page 185,
Hydro-bromic acid, . . . .20 di-ops.
Prepared as described on page 18Y.
The iodizing of the collodion is also liable to a
variety of uncertainties in the result. If there is
any defect in the quality of the ether or the alco-
hol, the collodion will not work with good results.
This can only be known on trial. If the film
sbould not prove thick enough on using, add 20
PRESERVING THg COLLODION. 163
grains of iodide of potassium and 10 grains of
bromide of potassium, as follows : First dissolve
the bromide in a drachm or two of water, then
add the iodide. When both are well dissolved,
add the whole to the eight ounces ; shake it well,
and allow it to stand for a few days. It will as-
sume at first a thick and opaque apj)earance, but
will settle clear, if left in quiet for a suificient
length of time for all the precipitate to fall. It
can then be decanted into another bottle, ready
for use.
The remainder of the collodion recipes, together
with the prej)arations of the iodides and bromides,
and the various saturated solutions, will be given
in a separate chapter.
Collodion should be kept as much as possible
from the light, although by some it is asserted that
light does not affect its properties. Yet it must be
apparent that if the collodion is affected by light
in any form, it will certainly be if exposed to its
rays for a long time. In no case should it be
shaken after it is decanted.
The most successful manner of using collodion
is to be provided with three long bottles made ex-
pressly for this purpose. Fill each one from the
large bottle, allowing them to stand. Use from
164 TESTS OF COLLODION.
each bottle, alternately. By this means there can
be no possibility of disturbing the j)articles in the
collodion, and one will also avoid many spots and
lines upon the glass plates.
Collodion requires to be perfectly clear and
transparent in order to work successfully. The
color may at times vary. On first mixing the in-
gredients, it will assume a yellow hue, changing
to a darker shade, and finally to a red. The color
does not in any degree afiect the working proper-
ties of the collodion.
The tests of good collodion before working are,
that it ajDpears clear and trans^iarent, devoid of
small particles floating in it; that it be thick
enough to forai a film readily on the glass, and
that it dries with- perfect smoothness, without
ridges or lines.
But the best test is to make a trial picture with
it, and the result will soon convince one of the
success or failure of his production.
TO EEMOYE THE COLOR FROM COLLODION.
It may sometimes be necessary to remove the
reddish color which is so often seen in Ambrotype
collodion. In order to do this there can be added
a few strips of 2dnc, or, what is more expeditious,
TO REMOVE THE COLOR FROM COLLODION. 165
add three or four ounces of pure mercury, and
shake it well for a few moments, when the whole
will assume a beautiful yellow color.
The mercury will subside, and the collodion
may be poured off clear and transparent.
CHAPTER XIV.
COLOKmG AMBROTYPES COLORS EMPLOYED AMBRO-
TYPES FOR LOCKETS TAKING VIEWS COPYING
DAGUERREOTYPES BY THE AMBROTYPE PROCESS
COPYING ENGRAVINGS, STATUARY, MACHINERY, ETC.
The 23^23116^ of coloring tlie Ambrotype pic-
tures has been questioned by many, and we may
even doubt if they are improved by it ; but many
persons desire to see themselves in their natural
colors. The artist is therefore compelled to devise
some plan of gratifying the public taste, and color
his pictures true to life..
Many attempts have been made to color Am-
brotypes, and seal them with the single glass, with
the colors to be seen, but this plan has been found
impracticable, except in a certain degree. Tlie
colors may be seen through the glass if they are
very deeply colored.
The black varnish removes nearly all color, even
when it is placed over the white varnish, and the
COLOKS USED FOR AMBEOTTPES. 167
opacity of the collodion is such, also, that the
colors themselves cannot be seen through the irlass
but very slightly, even before the black varnish is
applied. The only feasible plan of applying the
colors is on the collodion, blackening the reverse
side of the glass. The colors are applied to the
■ collodion after it is thoroughly dried, in the same
manner as in the DagueiTeotype ; but it is neces-
sary to color much more intensely, in order that
the application of the white varnish may not re-
move all the color, as it invariably will a por-
tion of it. After the white varnish is applied and
dried, the pictm-e can then be colored still more
highly, if necessary, imtil the desired tint is ac-
quired.
The colors which are best adapted for this pur-
pose are not those commonly used for Daguerreo-
types. The following are those which can be ap-
plied with the greatest facility, viz. :
Chinese Vermillion.
Chrome gi-een.
Chrome yellow.
Chinese blue.
Purple, a mixture of Venetian red and blue.
I
The carmine used in the Daguerreotype will not
adhere well to the Ambrotype, and the substitu-
168 COLORING JEWELRY, ETC.
tion of Vermillion has been found to work ex-
ceedingly well, and to render tlie flesh color quite
as natural as in the use of the carmine for the
Daguerreotype.
The coloring of jewelry, &c., with moistened
gold colors can be adapted to the collodion. With
some improvement it will not be affected by the
black varnish. The gilding is seen distinctly on
either side of the picture ; yet by some it is con-
sidered as being too conspicuous, and therefore
discarded.
The application of most varnishes to the pictures
after they are colored has a tendency to darken the
whole of the light and shades. It will therefore
be necessary to make the impression rather lighter
than it is desired to have it when finished
Many operators put up their portraits after color-
ing, without applying the white varnish over the
collodion, merely blackening the reverse side with
black varnish.
It is not to be supposed that they are so durable,
because the silver is liable, after a lapse of time,
to become affected by the atmosj^here, and it must
necessarily change. All collodion pictures are of
course much better protected by the aj)pli cation
of varnish.
AMBROTYPJiS FOK LOCKETS. 169
It frequently happens that the liigh lights on the
hair of many Anibrotype portraits are too ap-
parent, producing what is termed gray hair. This '
may be removed by a simple process, as follows :
Pi-epare some fine lampblack by holding a
small piece of glass over an ordinary lamjj. A
black dejjosit will be formed of the finest lamp-
black. This can always be in readiness to darken
the high lights ; which is effected by a wet brush,
with a small portion of this lampblack laid on
where a darker shade is required.
AMBEOTYPES FOR LOCKETS.
Portraits taken for lockets, breastpins, and me-
dallions, by the Daguerreotype process, are easily
inserted, but when taken on glass they are at-
tended M'ith much more difficulty.
A new and very useful invention has been made
of a kind of plate, well adapted for locket pic-
tures. They are known as the Melainotype plates,
and are now employed by most operators fjr these
kinds of pictures. Being composed of thin plates
ofiron, and japanned, they require no application
of the black varnish, and can be cut and fitted into
lockets with the same facility as Daguerreotypes.
Prepared paper is used by some operators for
15
170 VIKWS BY TUE AMBltOTYPE.
these kinds of pictures, and p:iteiit-leather has been
adopted by some. The process of taking them on
patent-leather is given on page 155.
All these various materials can be purchased of
the dealers in photographic materials.
"FOE TRANSFERRING AMBROTYPES TO PAPER.
Gum-shellac 1| ounce.
Borax ^ ounce.
Wuter 8 ounces.
Dissolve the borax in the water and add the
shellac, which will require a slight degree of heat.
Use the black-glazed paper, cut a little larger
than the glass on which the Ambrotype is taken.
Pour a portion of this solution on the paper, and
allow it to partially dry ; then lay it over the Am-
brotype, which nuist be well dried; and place. the
whole under water for five or ten minutes, when
the paper can be removed with the picture upon
its surhice. Diy, and it is ready for use.
TAKING VIEWS BY THE AMBROTYPE PROCESS.
This is the most simple and easy process known
in the art, because operators are always sure of a
good light. The utility of it for taking views over
that of the ordinary Dagucri-eotype will not be
(juestioned when it is known that all objects ai'e
COPYING DAGUERREOTYPES. ' 171
taken without reversing, and that, too, without the
use of a reflector. The camera must be used with
a small opening diaphragm, in order to reduce the
light, and render the half tints discernible. Tlie
bath must be removed to some place near the ob-
ject to be taken, because the plate will not be sen-
sitive only as long as moisture remains on its sur-
face. If many minutes should elapse after the
impression is taken, it will be necessary to plunge
the plate into the nitrate bath for a few seconds
before applying the developer. It will then cause
the picture to appear, even if it had been partially
dried on its surface. As little time as possible
should intervene after the impression is given be-
fore the developer is applied. All views nmst be
sealed up with the black varnish applied to the
collodion, otherwise they would apj)ear revereed.
COPYING DAGUEEREOTYPES BY THE AMBROTYPE
PROCESS. ^,
A." ■
The durability of the Daguerreotype has long
been doubted, yet many persons possess them
which are in a good state of preservation, although
taken ten or fifteen yeare ago.
But this new process of positive photographs on
glass possesses advantages over the Daguerreotype
172 CHANGING THE BACKGROUND.
that will command the preference on the score of
dm-ability. As this fact becomes more generally
known, all those persons who possess a Daguerreo-
type of a departed friend, will hasten to the Am-
brotype artist, and have it reproduced with all the
durability which this art possesses. Unfortunately,
however, many Daguerreotypes cannot be copied
as well by the Ambrotype process, in consequence
of the dark background generally adopted, the
Ambrotype requiring a white background in order
to copy successfully. This difficulty can be over-
come in a great degree, and the Ambrotype copy
produced with a light background, having all the
beautiful effects so much desired in this art.
The original Daguerreotype must be first copied
in the usual manner, with the black background
apparent, of course, then dried, and the figure only
blackened over on the reverse side, when a white
piece of paper or pasteboard must be placed be-
hind the glass, and a second copy taken with the
white background apparent. The second copy
will of couree be taken, possessing all requisites of
a good Ambrotype.
Many Daguerreotypes can be improved by this
process, especially in the appearance of the back-
ground. The necessity of a double copy is re-
COPYING ENGRAVINGS, STATUARY, ETC. 178
quired to produce the Ambrotype effect, or the
first copy may be sealed with only the white paper
inserted for a background. Yet the effect is not
so pleasing, nor is it so durable.
COPYING ENGRAVINGS, STATUARY, MACHINERY,
ETC.
Copying engravings is a very simple process, as
the surface is always even, and the objects easily
arranged in a favorable light. A small opening
diaphragm can be used, which will render the
copy very distinct in its details, actually beautify-
ing the engraving itself.
In copying statuary, it will be necessary to have
a darker background than the plain white one so
often used ; yet it need not be entirely black — a
dark blue or brown color will answer. One having
a lighter centre, and darkened at the sides, would
produce a pleasing effect.
In copying models of machinery, this process is
of an incalculable utility, as it can be readily seen.
The exact counterpart can be produced with a
perfect perspective, and no reversal of the object
copied.
15"
CHAPTER XV.
ON THE MANNER OF ARRANGING THE LIGHT THE
FALLING OF THE SAME ON THE DRAPERY USE OF A
DIAPHRAGM LIGHT ON THE EYES USING SCREENS
BACKGROUNDS REFLECTORS DIAPHRAGM TIME
IN THE CAMERA OVER-EXPOSURE, AND UNDER-DE-
VELOPING TAKING children's PORTRAITS.
The proper adjustment of light for Ambrotypes
is a subject which demands the utmost care, and
is one which is of great importance to good suc-
cess in photography. It has been found, of course,
that a skylight is much more to be preferred than
any side-light, although a very high side-light will
answer for the purpose. A skylight that is not
more than ten or fifteen feet from the sitter in the
highest point, and falling over in such a manner
that the lowest portion of it shall be five feet from
the floor, has been found to work well. It is ab-
solutely requisite that there should be a good
volume of light on the drapery. This must be
SCREENS AND BACKGROUNDS. 175
Been in the camera, for unless this is attained, the
drapery will appear undefined.
By using a diaphragm with a small opening,
the light becomes rather more diffused — hence the
middle tints and the gradations of light and shade
are more clearly seen, as well as a more perfect
outline and sharpness. In consequence of the
great sensitiveness in Ambrotyping, a diaphragm
can be used more frequently than in the Daguerre
otype process. Of course in a weak light it can-
not be adopted, neither can it be used when chil-
dren are the subjects.
ON SCREENS AND BACKGEOUNDS.
Tliere are three colored screens needed in an
ordinary skylight — viz., blue, white, and black —
the blue to be used, in connection with the white,
at the side of the face, to modify the intense white
that may sometimes fall on the eye; the black
screen to be placed between the sitter, and at a
considerable distance from him and the lower por-
tion of the skylight, to cut off the large light that
sometimes falls on the eyes.
This light 0)1 the eyes is a very important fea-
ture in producing good pictures, and it is one
which is often neglected. AVithout a round, dis-
176 PKEPARmG BACKGROUNDS.
tinct light falling npon eacli eye, resembling a
small jpin-head^ there can be no perfect picture
produced. It will therefore be necessary to so
alter and arrange the screens, and the position of
the sitter, as to fulfil all these conditions before
the impression is given.
The background for Ambrotypes which has
come into general use is the wliite one, because
the effect is found to be more pleasing when finish-
ed up with the black varnish. The intense white
is not so aj^parent after the picture is finished. It
assumes a much darker hue, resembling more
nearly the neutral tint of the artist. If the film of
the collodion is thin, the background will apj^ear
still darker.
The background should be made of strong cotton
cloth, stretched on a frame of a size sufiicient to be
taken in the camera, wdthout showing either side
when taking groups. .
An improvement can easily be made by coloring
or whitewashing it with j)ure whitii^^ mixed with
water, in which a small quantity of glue has been
dissolved. Two coats of this whitewash will ren-
der it a i^erfectly dead surface, w^hich is better
adapted for the purpose than plain cotton cloth, al-
though many operators use only the white cotton
DEFINING THE DRAPERY. 177
cloth well bleached. As much distance as possi--
ble behind the sitter is recommended ; even five or
six feet, when it can be attained, will produce the
best effects.
Other backgrounds than white are frequently
employed. Blue, brown, and a light yellow pro-
duce very excellent impressions, if a good distance
is obtained, and a strong light falls on it at the
same time.
The light being well adjusted, and a goodi focus
obtained as well as position, the time necessary
for the exposure of the plate will of course vary
according to the many conditions under which it
is taken. The time will be entirely a matter of
experiment, but it has been found by all success-
ful ambrotypers that an over-exposure in the
camera, combined with a short time in develop-
ing, will produce the most satisfactory results.
Tlie pictures will assume a much more desirable
tone. The drapery will be well defined, and the
general effect much improved by pursuing this
course. It is only when children are to be taken
that operators can develop slowly. The rule to be
observed in children's portraits is, to sit as long as
they will without moving, then develop until the
picture appears. The tone is never so desirable
178 APPLYING THE WATEE,
but the likeness will be there, which is often prized
by the parents more than the most splendid pro-
ductions of the artist.
In developing, it may sometimes become neces-
sary to arrest the process on the face, allowing it
to continue on the drapery. This can be eflPected
by j)ouring the water slowly on the face, and grad-
ually extending it over the whole picture. Yery
frequently beautiful effects can be produced by
this means of manipulatina:.
CHAPTER XVI.
ALCOHOLIC SOLUTIONS FOE PEEPARIKG COLLODION
IODIDE OF SILVER SOLUTION BROMIDE OF SILVER
SOLUTION BROMO-IODIDE OF SILVER SOLUTION — •
SATURATED SOLUTION OF IODIDE OF POTASSIUM IN
ALCOHOL OF BROMIDE OF POTASSIUM TO MAKE
HTDRO-BROMIC ACID.
The references made in a former portion of this
work to the manufacture of collodion will now be
given.
All the recipes here presented are highly rec-
ommended. All these collodions will work, and
work well, if the proper nitrate baths are used in
connection with them. But it may be found that
many of them will fail at the first trial, yet if a
difierent modification of the bath is adopted, they
will work successfully.
The general rule laid down by the most expe-
rienced photographers is, that if a collodion is
heavily iodized, it will require a larger quantity
of silver in the nitrate bath, and, vice versa^ a
180 keiin's ambkotype collodion.
lightly iodized collodion will work with a bath of
a less quantity of silver.
The formula given in the chaj)ter on manipiila-
ting, page ISO, is one which is said to be nsed by
Rehn, of Philadel2:)hia. It certainly will produce
very pleasing effects, and if cai-e is had in com-
pounding, it cannot fail of absolute success.
Tlie preparation of all collodions, however, is
unavoidably attended with diverse results, from
the great liability of some one of the ingredients
being of an inferior quality. Nor can one be fully
assured of success until the collodion is made and
allowed to settle two or thi-ee days, and a trial had
of the same.
This will necessarily consume much time, and
also cause disappointment. It is therefore sug-
gested that, when convenient, the collodion which
has already been tested by an experienced operatoi
and maker should be used.
Here follow the various recipes for collodions,
and the baths which are necessary to accompany
them.
RehrHs celebrated Recipe for Ambrotype Collodion.
No. 1. Collodion 8 ounces.
Iodide of silver . . . .4 drachms.
Hjdi-Q-bromic acid ... 20 drops.
COLLODION RECIPES.
181
This collodion requires 40 grains of nitrate of
silver to the ounce, with the usual developer.
"N'o. 2. Collodion ....
Bromo-iodide of silver
Hydro-bromic acid
Bath of 40 grains to the ounce.
8 ounces.
6 drachms.
25 drops
Cutting's celebrated Patent Recipe for Ambrotype
Collodion.
No. 3. Collodion .
Gum camphor
Iodide of potassium
30-grain nitrate bath.
"N'o. 4. Collodion .
Iodide of potassium
Iodide of silver solution
Iodide of ammonia
Iodine, pure
30-grain nitrate bath.
No. 5. Collodion .
Iodide of potassium
Bromide of potassium
Nitrate bath 30 grains to the ounce of water.
No. 6. Collodion . . . . .
Iodide of potassium
Bromide of potassium .
Saturated solution of iodide of po- ) on droDS
tassium in alcohol f
Nitrate bath of 30 grains.
16
1
ounce.
1
grain.
5
grains.
6
ounces.
25
grains.
2 drachms
5
grains.
1
grain.
17
ounces.
40
grains.
40
grains.
>f water.
4
ounces.
12
grains.
16
grains.
) 2 ALCOHOLIC SOLUTIONS.
^o. 7. Collodion . . . . . 6 ounces.
Iodide of silver solution . . 1 drachm.
Hydro-bromic acid ... 18 drops.
Bromide of potassium ... 5 grains.
Iodide of potassium , . .15 grains.
Saturated solution of iodide of po-) ^i^ draohmq
tassiura in alcohol j ^
40 grains in the nitrate batli.
Veri/ sensitive Collodion for Children.
No. 8. Collodion 8 ounces.
Iodide of ammonia ... 40 gi-ains.
Bromide of ammonia . . . 16 grains.
40 or 60 grain bath.
ALCOHOLIC SOLUTIONS FOR PREPARING
COLLODION.
These solutions are to be prepared and allowed
to remain several hours before using, and kept ex-
cluded from the light. When thej are added to
the collodion, they must always be perfectly clear
and transparent, nor must any portion of the pre-
cij)itate which is seen at the bottom of the prepar-
ation fall into the collodion.
It is recommended to prepare all these solutions
some days even before they are needed, in order
that the alcohol and potassium shall dissolve a
gi'eater proportion of the iodides or bromides of
Bilver. The greater the proj)ortion of silver taken
IODIDE OF SILVER SOLUTION. 183
Up, the better cliemical effect will be produced in
the collodion. These various preparations are the
most difficult portion to be made in manufacturing
the collodion, and require the greatest care and
attention.
IODIDE OF SILVER SOLUTION.
Dissolve 80 grains of iodide of potassium in 4
ounces of water, and 120 grains of nitrate of silver
in the same quantity, but in a separate bottle.
(This i^rocess must not be conducted in a strong
daylight, but in one greatly subdued, or in a dark
room by the light of a lamp.) Then pour them
together in a large graduated dish, or an open glass
vessel, when a yellow precipitate will be formed.
This is pure iodide of silver. Wash this precipi-
tate with water three times, allowing it to settle a
few minutes, and decant or pour the water off.
Then wash it with alcohol twice, to displace the
water, pouring it off. and leaving the iodide of
silver in the dish. This must now be placed in a
glass-stoppered bottle that will hold ten or twelve
ounces. Dissolve the iodide of silver in eight
ounces of alcohol, 80 per cent., in which has been
satm'ated one ounce of iodide of potassium, as fol-
lows :
184 BEOMIDE OF SILVER SOLUTION.
Pulverize the ounce of iodide of potassium in a
clean porcelain mortar, and add one or two ounces
of alcohol from the eight ounces which is to be
measured out for the iodide of silver solvent. Stir
with a jDCstle the alcohol in the potassium, and a
small portion will be taken up or dissolved. This
must now be poured into the bottle which contains
the w^ashed iodide of silver. Then proceed in the
same manner, adding two ounces more of the al-
cohol, stirring it well, and pouring into the bottle
as much as will dissolve, until the whole eight
ounces are added. There may be a portion of the
iodide of potassium in the mortar not dissolved ;
this can also be added to the iodide of silver.
After shaking it, allow it to stand and settle per-
fectly clear, when it will be ready for use.
BROMIDE OF SILVER SOLUTION".
Bromide of potassium ... 80 grains.
Nitrate of silver .... 80 grains.
Dissolve separately in four ounces of water;
then mix it, when the bromide of silver is formed,
and is seen in a precipitate at the bottom of the
dish. Wash this precipitate with water three
times, allowing it to settle a few minutes, and de-
cant or pour the water off. Then wash it with
BEOMO-IODIDE OF sAvKR SOLUTION. 185
alcohol twice, to displace the water, pouring it
off, leaving the bromide of silver in the dish.
This must now be j^laced in a glass-stoppered bot-
tle that will hold ten or twelve ounces. Dissolve
the bromide of silver in eight ounces of alcohol,
80 per cent, in which has been saturated one ounce
of bromide of potassiiun. '
Pulverize the ounce of bromide of potassium in
a clean porcelain mortar, and add one or two
ounces of alcohol from the eight ounces which are
to be measured out for the bromide of silver sol-
vent. With the pestle stir the alcohol in the
potassium, and a small portion will be taken up
or dissolved. This must now be poured into
the bottle which contains the washed bromide of
silver. Then proceed in the same manner, adding
two ounces more of the alcohol, stirring it well,
and pouring into the bottle as much as will dis-
solve, until the whole eight ounces are added.
BEOMO-IODIDE OF SILVER SOLUTION.
Dissolve separately in four ounces of water —
Bromide of potassium ... 80 grains.
Nitrate of silver .... 80 grains.
Tlien mix and wash out with water three times,
and with alcohol twice. Then pulverize one ounce
16
■5f
186 IODIDE OF potIssium in alcohol.
of iodide of potassium, and dissolve in eight ounces
of alcohol, precisely in the same manner as de-
scribed in the alcoholic solution of iodide of silver.
These various solutions of silver, and iodides
and bromides, are deemed very essential to success
in ambrotyping. If they are prepared with care
and attention, none can fail of success in making
good collodion.
They should be kept as much from the light as
possible, and always in glass-stoppered bottles well
filled, to prevent evaporation.
SATUEATED SOLUTION OF IODIDE OF POTASSIUM
IN ALCOHOL.
Pulverize one ounce of iodide of potassium in a
mortar, and add three ounces of SO per cent, alco-
hol, stirring it for some minutes, and then allow-
ing it to settle. Pour off the clear liquid into a
bottle, and add a smaller quantity of alcohol, stir-
ring this also in the same manner, and pouring off
the clear solution into the bottle. Continue to add
each time a smaller quantity of alcohol, until all
the potassium is dissolved.
BKOMIDE OF POTASSIUM IN ALCOHOL. 187
SATUEATED SOLUTION OF BROMIDE OF
POTASSIUM IN ALCOHOL.
Pulverize one ounce of bromide of potassium in
a mortar, as described in the preparation of iodide
of potassium above, adding alcohol, 80 per cent.,
in the same manner, until it is all dissolved.
These saturated solutions will be found very use-
ful to add to collodions that will not work well, or
if the film is not of sufficient thickness on with-
drawal from the bath. By adding a small quantity
of each of these saturated solutions, any desired
effect can be produced.
They also enter in the properties of some of the
collodion recij)es given in this work.
The quantity of each saturated solution used, is
for bromide of potassium just one half as much as
of the iodide of potassium — that is to say, if one
drachm of iodide is used, one half drachm of the
bromide would be sufiicient.
TO MAKE THE HYDRO-BROMIC ACID.
Alcohol (95 per cent.) ... 4 ounces.
. Water (distilled) .... 1 ounce.
To tliis is added one drachm of pure bromine, —
then shaken quickly, and allowed to remain for
188 TO MAKE HYDKO BROMIC ACID,
twenty-four hours. It will assume at first a deep
cherry-red color, but afterwards it will become
clear again. Every twenty-four hours there must
be added, say, five or six drops more of bromine,
and continued for a week or ten days, adding a
few drops every day, when it will be ready for use.
It will eventually assume nearly a white trans-
parent color, slightly inclined to yellow.
This preparation is highly sensitive 'to light, and
must be kept in a perfectly air-tight bottle, and
not exposed to the light of day.
CHAPTER XVll.
PREPARATION OF THE VARNISHES WHITE COPAL VAR-
NISH GUM-DEMAR VARNISH BLACK ASPHALTtJM
VARNISH WHITE VARNISH OF SHELLAC AND COPAL
THICKENED VARNISH FOR CEMENTING GLASSES,
IN PLACE OF CANADA BALSAM GUM-SHELLAC VAR-
NISH FOR PLATE-HOLDERS APPLYING THE VAR-
NISHES.
These varnishes for Ambrotypes are somewliat
difficult to prepare, and likely .to soil the hands in
their manufacture. It is well, therefore, to pur-
chase them ready for use, thereby saving much
trouble. However, a few recipes will be given for
those who wish to manufacture their own.
WHITE COPAL.
Select the whitest j)ortions of white copal gum,
and dissolve, say, one ounce in two ounces of tur-
pentine. The coj^al is fii'st to be pulverized, and
added to the turpentine, and allowed to dissolve.
If the varnish is too thick for use, add more tur-
pentine. •
ii>l' BLACK VAKNISH.
4
GUM-DEMAR VAENISH.
Gum-demar i ounce.
Chloroform 2 ounces.
These must be allowed to stand after shaking
for two or three days, until the gum is all dissolved,
then decanted off into a separate bottle, avoiding
the sediment at the bottom.
This varnish is highly recommended for using
on collodion jjictures that have been colored. By
pouring this carefully over, it will not disturb the
color, and it dries readily, nor is it so liable to
change by the action of light.
BLACK ASPHALTUM VARmSH.
Asphaltum, pulverized ... 1 ounce.
Adding spirits of turpentine, and stirring it well in
a mortar, until all is dissolved. Any consistency
can be had which is desired, by adding more or
less of the turpentine. A portion of the asphaltum
may not dissolve ; this can be left in the bottom of
the mortar, and rejected entirely.
WHITE VARNISH OF SHELLAC AND COPAL.
Alcohol, 95 per cent.
New Zealand gum ....
1 ounce.
Gum-shellac
), ounce.
Gum- copal
i ounce.
GUM-SHKLLAC VAKNISH. 191
Add sufficient alcohol to these three gums to
dissolve them in a mortar, and a transparent var-
nish is obtained, of su]3erior quality.
THICK WHITE VARNISHES FOR OEMENTIITG
GLASSES WITHOUT THE USE OF CANADA
BALSAM.
Gum-copal pulverized in a mortar, adding
spirits of tui-pentine gradually, but only enough
to dissolve it to form a consistency of Venice
turpentine, or balsam of fir, produces the finest
efiect on the application of the two glasses.
GUM-SHELLAC VARNISH FOR PLATE-HOLDERS.
Dissolve sufficient of gum-shellac in 95 per cent,
alcohol to render it the consistency of cream.
This varnish should be always on hand ready
for use, to varnish over the photographic frames or
plate-holders, as the action of the acid in the bath
will cause the glasses in the corner to become
loosened. By applying this simple varnish with
a brush, the glasses will remain in their places,
and. prevent the action of the nitrate of silver.
The proper time to apply this varnish is in the
afternoon, after the plate-holders are laid aside,
because it will require some time for them to dry.
192 APPLYING THE VAENISHES.
Before applying tlie varnish, be careful to remove
all moisture from the holders, and varnish all that
portion of the plate-holders that is subject to being
wetted bj the solution of the nitrate bath.
APPLYING THE VARNISHES.
The white varnishes are always applied in the
same manner as the collodion — viz., by pouring it
on the surface, and allowing it to run off at one
corner into the bottle. It is necessary in applying
most white varnishes that the glass plate should be
slightly warmed, either by the fire or spirit-lamp,
avoiding all dust or moisture. To entirely remove
the dirty particles, it will be proper to filter the
varnish through a thin white linen or cotton cloth.
The black varnish can be applied in the same
manner. It may be dried very quickly by placing
it near a gentle heat, or laying it in the sun. Of
course it must be laid in a perfectly horizontal
position. X
A soft camel's-hair brush may be used to apply
the black varnish ; and if it is applied thin, it will
dry in much less time. A second application of
.the varnish can be made, should the first not prove
intense enough.
For protection, it is well to place a piece of
PROTECTUSTG THE VARNISH. 193
pasteboard (which has been previously blackened
with the black varnish apd dried) on the back of
the glass, with the blackened side towards the
varnish. This insures a perfect black on the col-
lodion, even if the varnish is very thin ; and if held
by transmitted light, it would have a brownish
appearance. It likewise affords a protection to the
glass, avoiding breakage in case the picture falls
to the ground.
Some operators have adopted the black-glazed
paper. Tliis presents too high polish for good
effects, and will sometimes be seen through the
varnish. A perfectly deadened surface of black
is required to produce the effect. Black cotton
velvet answers the purpose, and, as will be seen,
has been adopted in all the transparent cases used
for Ambrotyi^es. Cases lined with black velvet
are being adopted for these pictures.
17
CHAPTER XVIII.
CAUSES OF FAILURE IN THE PRACTICE OF THE ART-
FOGGING THE PICTURES TO DETECT THE FOGGING
OF PLATES BLACK AND WHITE SPECKS ON THE
PLATES TRANSPARENT AND OPAQUE SPOTS IM-
PURITY OF CHEMICALS SPOTS OR STREAKS ON
THE GLASS PLATES.
The process is so full of variations in the details
of practice, and the chemicals are so liable to be
affected bj the slightest change, that many who
are induced to adopt this art meet with difficulties
in great abundance.
Failures in the art were formerly considered a
general rule, and a matter of certainty, while good
pictures were regarded as fortunate exceptions.
"We have, however, progressed so far, that this
state of things has not been encountered in the
practice of late years, and we are now enabled to
proceed with some degree of certainty.
Nevertheless, the art is not yet perfect, and
FOGGING THE PICTUKE. 195
failures will meet the early practitioner at the
threshold of his profession, and perhaps intimidate
his too confident expectations of success.
The various causes of failui-es will be explained
in as clear and lucid a manner as possible ; jet
there may be some causes overlooked which may
occur to others that have not been observed. "We
are indebted to Mr. Hardwich, of London, for
much information on this subject, and it is hoped
the author will not be deemed presumptuous if he
profits by the experience of that ablest of photo-
graphers of the present day.
FOGGING THE PICTURE.
The " fogging," as it is termed, will most fre-
quently occur from a too careless exclusion of
light. The liability to this failure is obvious, for
the slightest trace of white daylight falling upon
the plate will surely cause fogging. It will there-
fore be highly important to guard against this oft
recurring obstacle.
Fogging is sometimes attributable to weak col-
lodion, or to a bath too weak, and sometimes to
over-developing. In order to detect the ultimate
cause of this failure, when it occurs, a series of ex-
periments may be made as follows :
196 TO DETECT FOGGING.
PLAN" OF PEOCEEDmG IN OEDEPv TO DETECT
THE CAUSE OF THE FOGGING.
If the operator has had but little experience in
the collodion process, and is using good Arnbro-
tjpe collodion of great sensitiveness in a new
bath, the probability is that the cause of fogging
will be over-exposure. Having obviated this,
which can easily be done by shortening the time,
proceed to test the bath, and add sufficient acetic
or nitric acid to give a faint acid reaction to test-
paper.
Next prepare a plate as usual, and immediately
on its removal from the bath, pour on the devel-
oper : after a few seconds wash, fix, and bring it
out to the light. If any mistiness is perceptible,
the developing room is in fault.
On the other hand, if the plate remains abso-
lutely clear under these circumstances, it is possi-
hle that the cause of error may he in the camera.
Prepare another plate, place it in the camera, and
proceed exactly as if taking a picture, neglecting,
however, to expose the plate to the action of light.
Allow it to remain for two or three minutes, and
then remove and develop as usual.
If no indication of the cause of fogging be
SPECKS UPON THE PLATES. 197
obtained by either of these ways, there is every
reason to suj)pose that it is due to diffused light
gaining entrance through the lenses, or some por-
tion of the camera box.
BLACK AND WHITE SPECKS UPON" THE PLATE.
Opaque or transparent dots, thickly studding
every part of the plate, are produced by the fol-
lowing causes :
1. The use of collodion containing floating par-
ticles.— Each particle becomes a centre of chemi-
cal action, and produces a speck or black spot.
Collodion should never be employed imme-
diately after mixing, but placed aside to settle for
several hours, after which the upper portion may
be poured off for use. This is especially necessary
when the double iodide of potassium and silver is
employed : the salt is decomj)Osed to a certain ex-
tent by dilution.^ and small particles of iodide of
silver separate, which eventually settle to the bot-
tom of the bottle.
2. Dust upon the surface of the glass at the time
of pouring on the collodion. — Thoroughly cleaned
glasses, if set aside for a few minutes, accumulate
small particles of dust. Each plate, therefore,
should be gently wiped with a silk handkerchief,
17*
198 TRANSPARENT SPOTS.
or a buckskin buff made in the form of a ball, im-
mediately before being used, and lastly dusted
with a camel's-hair brush.
3. Where an inferior kind of glass is used. —
The surface of an inferior quality of glass is ofteiv
times roughed and studded with minute specks.
Occasionally these can be removed by means of
diluted acid.
TKANSPARENT AND OPAQUE SPOTS.
Spots are of two kinds — spots of opacity^ which
appear yiach when seen by transmitted light, and
white by reflected light, and spots of transparency^
the reverse of the others, being white wdien seen
on negatives, and black on positives.
Opaque spots are referable to an excess of devel-
opment at the point where the spot is seen. They
may be caused by —
1. The nitrate solution heing turhid., or from
flakes of iodide of silver having fallen away into
the solution by use of an over-iodized collodion ;
from a deposit formed by degrees upon the sides
of the gutta percha trough ; from the inside of the
trough being dusty at the time of pouring in the
solution. In order to obviate these inconveniences,
it is well to make at least half as much again of
FAULTS m THE PLAl-E-UOLDEE. 199
the niti'ate solution as is necessary, and to keep it
in the large bottle, from which the npper part may
be ponred off as it is required.
2. Faults 171 the plate-holder. — Sometimes a
small hole exists in the slide, which admits a pen-
cil of light, and produces a spot known by its
being always in the same place. Occasionally the
door works too tightly, so that small particles of
wood, (fee, are scraped off and projected against
the plate when it is raised ; or perhaps the opera-
tor, after the exposure is finished, shuts down the
slide too quickly, and causes a sj)lash in the liquid,
which has drained down and accumulated in the
groove below. This cause, although not a com-
mon one, may sometimes occur.
Spots of transparency are produced in a man-
ner altogether different from that of the others.
1. They may generally be traced to some cause
which renders the iodide of silver insensitive to
light at that particular point., so that on the ap-
plication of the developer no reduction takes place.
2. Concentration of the nitrate of silver on the
surface of the film hy evaporation. — When the film
becomes too dry after removal from the batli, tlie
solvent power of the nitrate increases so much that
it is apt to eat away the iodide, and produce spots.
200 IMPURITY OF CHEMICALS.
3. By raising the jplate off tlie nitrate Itath too
quickly after its first immersion.
4. By pouring on the develojper entirely on one
portion of the jplate^ by which the nitrate of silver
is washed away, and the development prevented.
5. By use of glasses improperly cleaned. — Tliis
cause is perhaps the most frequent of all. Great
care should therefore be observed in cleaning the
glasses, and in keeping them in good order, and
in readiness for the collodion.
IMPURITY OF CHEMICALS, ETC.
Chemicals ai"e so liable to be of inferior quality,
that this cause of failure is indeed one that appears
almost insurmountable ;- yet, although a great diffi-
culty here presents itself, there is a. possibility of
obtaining good material, and they should be sought
till they are found.
The vapors of ammonia or bromine, or even
iodine, will cause the plate to become covered
with spots or stains.
SPOTS OR STREAKS, ETC.
Spots or streaks which are yet black, coming
from the corner where the plate is held by the fin-
gers, are caused by hyposulphite or cyanide of
STREAKS IN COLLODION. 201
potassium in some manner running from the hand.
Streaks that are parallel, running up and down the
'plate, are caused by the dust floating in the bath
at the time of immersion.
Streaks which lie in the bed of the collodion,
looking like rivers laid down on a map, are caused
by not washing the plate sufiiciently after the de-
veloping solution has been applied.
Streaks or lines resembling miislin, and streaks
which have a cloudy appearance, occur when the
collodion is thicker on some portion of the plate
than on another. The streaks resembling leaves
are also due to the same cause. If there is not a
>!ufiicient quantity of acetic acid in the developer,
it will not flow evenly over the plate, and will in-
variably cause streaks.
CHAPTER XII.
CAUTIONS WITH REGARD TO USING THE VARIOUS
CHEMICAL SUBSTANCES IN MAKING GUN-COTTON USE
OF ETHER AND ALCOHOL USE OF CYANIDE OF
POTASSIUM NITRATE OF SILVER — CLEANING THE
HANDS SOLUTION FOR CLEANING THE HANDS
HINTS ON THE VARIOUS PROCESSES CONNECTED
"WITH POSITIVES AND NEGATIVES — TO RENDER COL-
LODION HIGHLY SENSITIVE THE LAMPRATYPE PRO
CESS,
In the practice of the photographic art, great
caution is necessary to be observed in regard to
the various chemicals employed.
By a singular coincidence of circumstances, very
many of the chemicals are combustible, and are
indeed of a very explosive nature, while those
which are not inflammable are poisonous. It will
therefore be the wish of every operator to avoid
accidents, as they are always liable to occur un-
less they are carefully guarded against.
In preparing gun-cotton, the vapors arising from
the combination of the acid and nitrate of potash
DRYING GTJN-COTTON. 203
were very deleterious, if inhaled, as they are liable
to be, because it is necessary to stir the cotton dur-
ing the whole time of immersion. Always ]3re-
pare it in the open air, or where a free circulation
of it may be obtained.
When the cotton is drying, avoid any contact of
iire, or an approach to the fire, for it explodes at
the temperature of 370° Fahrenheit, while gun-
powder requires 500°. If gun-cotton is kept a
long time in large quantities, spontaneous combus-
tion may ensue, if any moisture comes in contact
with it.
In using ether and alcohol, be careful to remove
the lamj) to a great distance from it. In pouring
the collodion on the plate, one is very liable to
accident, for the vapors of ether are rapidly pass-
ing off. They will ignite even if the lamp is within
one or two feet of the bottle. Coat the plates by
the light of day, if possible, thereby avoiding the
possibility of combustion of the collodion.
In pouring ether or collodion from one bottle to
another, jDractice the greatest care, as the vapors
will ignite at a long distance from these substances,
when they are made to evaporate.
Cyanide of potassium will have the effect of a
virulent poison, if taken in the system ; and even
204 TO CLEAIS TIIK HANDS.
inlialing the fumes which constantly arise from it
are injurious. Bj wetting the lips slightly with
alcohol immediately afterwards, it will in some
degree neutralize the unpleasant effects.
Use no soap to remove the stains of nitrate of
silver, but employ cyanide of potassium, which
must be well washed with clean water to remove
any traces of that substance. Should the skin be
broken, a small quantity of cyanide will enter,
causing considerable pain and inconvenience.
Avoid the contact of the hands as much as pos-
sible with the nitrate of silver solution, as well as
dro23ping it upon the clothes. Wherever it may
fall, it will cause a stain or mark that nothing but
cyanide of potassium will remove.
TO CLEAN THE HANDS.
The most effectual way to clean the lingers
when they become stained with nitrate of silver,
is to moisten them and rub them with cyanide of
potassium. This should be used as soon as possi-
ble after the stains have been made.
A piece of pumice-stone rubbed down to a flat
surface is also very effectual in removing fresh
stains.
REMOVING STAINS OF SILVER. 205
Als^OTHER PLAK
"Wash the hands with a solution of iodine, dis-
solved in alcohol, and while they are wet wash
with a strong solution of hyposulphite of soda,
afterwards with water, to remove all traces of the
salt,
METHOD OF EEMOVIl^G THE STAINS OF SILVER
FROM LIKEIvT, THE HANDS, ETC,
Mix together —
Common alcohol .... 20 parts.
Iodine 1 part.
Nitric acid 1 part.
Hydrochloric acid .... 1 part.
These produce a reddish liquid, which, when aj)-
plied to stains caused by any salts of silver, im-
mediately converts them into chloride and iodide
of silver, soluble in hyposulphite of soda and cya-
nide of potassium. The effect is especially marked
on stained linen. When a black patch is touched
with the liquid, by means of a little brush, it in-
stantly turns yellow, with a violet border, if the
linen has been starched. On washing with the
hyposulphite, or with the cyanide, the violet tint
immediately vanishes, and the yellow spot by de-
18
206 HINTS AND SUGGESTIONS.
grees. It is well to wash the stained place after
the application of the iodized solution, in order to
remove the acids, which might produce independ-
ent stains by contact with the hji^osulphite or the
cyanide.
For the hands, the operation is the same, except
that, instead of using a brush, the skin may be
rubbed with a piece of rag or cotton.
HINTS AND SUGGESTIONS.
The following hints and suggestions in regard
to the practice may be observed with profit :
Always keep the stoppers in the bottle, except
when the bottle is in actual use.
Always cover the nitrate of silver bath, except
when in use.
Always rinse the fingers well in clean water
after develoj)ing a picture, or the next will prob-
ably be injured.
The frames for holding the glass plates in the
plate-holder will require revarnishing, as the ni-
trate of silver often acts on the wood, and produces
Btains on the jjicture.
Frequently wash the glass bottles containing the
developing solution.
Be careful that the towels and clothes for clean-
DECANTING THE COLLODION. 207
ing the glasses are used for no other purpose, and
are free from all contact of soap, &c.
Kemove carefully any dried collodion which
may form about the neck of the bottle.
Particularly observe that in every thing con-
nected with photography, the most scrupulous at-
tention to cleanliness is indispensable to good suc-
cess.
Remember to decant from the large bottle a
sufficient quantity of collodion every evening for
use the following day into several small bottles, as
the oftener it is decanted, the more pure the col-
lodion.
If the collodion is too thick, and requires the
addition of more ether, the proper time to add it
o'ill be when it is decanted. It may then be
slightly agitated.
Avoid in all cases the shaking of collodion, or
of the varnishes. The collodion is always throwing
down a precipitate which requires»many hours to
fall again, if disturbed ; and the varnish will be-
come full of air-bubbles, which on being applied
to the surface of the plate, greatly injure it.
In applying the thick varnish, or the balsam,
between the two glasses, according to the "patent
process," great care must be observed to avoid the
208 THE USE OF TEST-PAPEKS.
air-bubbles. It should be poured only on the cen-
tre of the glass, and then with only a drop or two.
After the pouring, the balsam should form a slight
line, running to the edge of the glass, otherwise
air-bubbles will inevitably be produced. Avoid
pressing the glasses after they are sealed.
Use gutta-percha dishes for all photographic
purposes, and avoid bringing them too near the
fire, as they will melt at a low temperature.
In using test-papers, observe the following pre-
cautions : They should be kept in a dark place,
and protected from the action of the air, or they
soon become purple from carbonic acid, always
present in the atmos^^here in small quantities. By
immersion in water containing about one drop of
, liquor potasse in four ounces, the blue color is re-
stored.
Test-papers prepared with porous paper show
the red color better than those upon glazed or
strongly sized paper. If the quantity of acid pres-
ent, however, is small, it is not sufficient in any
case simply to dip the paper in the liquid : a small
strip should be thrown in, and allowed to remain
for ten minutes or a quarter of an hour.
If the paper, on immei'sion, assumes a wine-red,
or purple tint, in place of a decided red, it is prob-
COLLODION HIGHLY SENSITIVE. 'J()!«
ably caused by carbonic acid gas. In that case
the blue color returns when the paper is washed
and held to the fire. Blue litmus-paper may be
changed to the red paj)ers used for alkalies by
soaking in water acidified with sulphuric acid, one
drop to half a pint.
TO RENDER ANY COLLODION HIGHLY SENSITIVE.
By the addition of two or three drops of a solu-
tion of iodide of iron in alcohol to every ounce of
iodized collodion, it will cause it to make the im-
pression in the camera in an incredible short space
of time ; but as it soon injures the quality of the
collodion, it is well not to sensitize only as much
as is wanted for immediate use.
TO DAREIEN AMBROTYPES,
OR THE LAMPRATYPE.
A new and ingenious plan has been devised and
successfully carried into practice by Mr. S. A.
Holmes, of New York, of rendering Ambrotypes
much darker in the dark portions of the picture,
and whiter in the white portions. For distinction,
he has named them Lampratypes.
The method of efiecting this is as follows :
18*
310 PEARL AMBROTYPES.
THE LAMPRATYPE PROCESS.
After the picture is well dried on the glass, and before applying
any v.irnish, gently rub it, on the collodion side, with a round buck-
skin butF ball, made of the softest quality of buckskin, and tied
very lightly over cotton. This buff must be used for no other pur-
pose. Pass the buif lightly across the plate in straight lines, and it
will assume a darker hue until the desired shade is attained.
By tliis same process a portion cf the hair that may be too light,
can be rendered darker by rubbing it lightly with a brush, or eamel's-
hair pencil ; or any portion of the drapery may be changed, to a
darker shade, if desirable.
TO MAKE THE PEAEL AMBEOTYPES.
Dissolve one ounce of bi-chloride of mercury (corrosive subli-
mate) in half an ounce of pure muriatic acid, and add to this six
ounces of water ; or a saturated solution of bi-chloride in water will
answer as well. As soon as the ambrotype is finished in the usual
manner, and ready for drying, place it on a Daguerreotype gilding-
stand, and pour sufficient of this solution over the plate to cover it,
allowing it to remain for a few minutes. At first it will assume a
dark color, and lines appear on its surface ; but if allowed to remain
a short time, or if a small degree of heat from a spirit-lamp is ap-
plied, it will soon change to a beautiful clear pearl white, the lights
and shades being very transparent.
When the requisite color is attained, great care must be used in
washing the solution from the plate, as the collodion is affected by
the acid.
These pictures can only be slightly colored, and only the white
arnish applied, and backed with a blackened glass, without any
ansparent medium.
Tlie black varnish cannot be applied to the collodion side, in con-
cquenee of the great transparency.
Impressions which are too short time in the camera, may be ren-
ered white and sufficiently clear by this process — hence it is very
useful for taking children's portraits, and has been adopted by
many with great success.
CHAPTER XX.
VOCABULARY OP PHOTOGRAPHIC CHEMICALS ACETIC
ACID ALCOHOL^AMMONIA BROMINE BROMIDE
OF POTASSIUM CARBONATE OF SODA CYANIDE OF
POTASSIUM CHLORIDE OF GOLD HYPOSULPHITE OF
GOLD HYPOSULPHITE OF SODA IODINE IODIDE OF
AMMONIA IODIDE OF POTASSIUM IODIDE OF SIL-
VER PROTOSULPHATE OF IRON LITMUS NITRIC
ACID NITRATE OF POTASH — NITRATE OF SILVER
SULPHURIC ACID PROPERTIES OF ETHER PROPER-
TIES OF WATER.
A VOCABULARY of the principal chemicals used
in the jDhotographic art is deemed necessary mainly
for purposes of reference. It frequently may occur
to the experienced oj^erator, that a more intimate
knowledge of the construction of the ingredients
used in the art is required, and this can be sup-
plied in a good measure without a reference to
large works on chemistry.
This vocabulary is not to be considered as a
complete one on the subject ; but only so far as
212 ACETIC ACID.
one may require information specially connected
with the practice of this art, will this be found
useful.
The symbols are omitted, for the reason that, if
used, they would require further explanation, and
continue to lead the more inexperienced chemist
into difficulties, and would render the book too
prolix with chemical terms. Some of these terms,
however, are unavoidably introduced.
ACETIC ACID.
Acetic acid is a product of the oxidation of al-
cohol. Spirituous liquids, when perfectly pure,
are not affected by exposure to air ; but if a por-
tion of yeast, or nitrogenous organic matter of any
kind is added, it soon acts as ^ ferment^ and causes
the spirit to unite with oxygen derived from the
atmosphere, and so to become sour from formation
of vinegar, or acetic acid, as it is properly termed.
The most concentrated acetic acid is obtained
by neutralizing common vinegar with carbonate of
soda, and crystallizing out the acetate of soda so
formed ; this acetate of soda is then distilled with
sulphuric acid, which removes the soda and liber-
ates acetic acid : the acetic acid being volatile,
distils over, and may be condensed.
ALCOHOL. 213
Properties of Acetic Acid. — The strongest acid
contains only a single atom of water ; it is sold
under the name of " glacial acetic acid^'' so called
from its property of solidifying at a moderately
low temperature. At about fifty degrees the crys-
tals melt, and form a limpid liquid of pungent
odor, and a density nearly corresponding to that of
water. The specific gravity of acetic acid, how-
ever, is no test of its real strength, which can only
be estimated by analysis.
In purchasing the commercial acid (which is
generally known as Acetic Acid No. 8) for photo-
gra^^hic purposes, it is important to distinguish the
glacial acid from a liquid oi '•'' ten per cent, real
acid''"' sometimes sold ; also it is well to test for the
presence of sulphuric acid., which may be recog-
nized by the white precipitate produced on adding
a drop of solution of cldoride of barium.
ALCOHOL.
Alcohol is obtained by the careful distillation of
any spirituous or fermented liquor. If wine or
beer be placed in a retort, and heat applied, the
alcohol, being more volatile than water, rises first,
and is condensed in an appropriate receiver ; a
portion of the vapor of water, however, passes over
21i AMMONIA.
with the alcohol, and dilutes it to a ceriain degree,
forming what is termed " spirits of wiiie." In or-
der to render the alcohol thoroughly anhydrous^ it
is necessary to employ the quick-lime^ which pos-
sesses a still greater attraction for water. An equal
weight of this powdered lime is mixed with the al-
cohol, and the two are distilled together.
Properties of AlcohoL — ^Pure anhydrous alco-
hol is a limpid liquid, of an agreeable odor and
pungent taste ; specific gravity at 60-794. It ab-
sorbs vapor of water, and becomes diluted by expo-
sure to damp air ; boils at 1.73 Fahrenheit, It has
never been frozen.
Alcohol distilled from carbonate of potash, has
a specific gravity of '823, and contains 90 per cent,
of real spirit.
The specific gravity of ordinary rectified spirits
of wine is usually about .840, and it contains 80 to
83 per cent, of absolute alcohol.
AlklMONIA.
The liquid known by this name is an aqueous
solution of a volatile gas.
Ammoniacal gas contains one atom of nitrogen
combined with three of hydrogen. These elemen-
tary bodies exhibit no aflSnity for each other, but
PKOPEKTIES OF AMMONIA. 215
they can be made to unite under certain circum-
stances, and the result is ammonia.
Properties of Ammonia. — Ammoniacal gas is
soluble in water to a large extent ; the solution
possesses those properties which are termed allia-
line. Ammonia, however, differs from the other
alkalies in one important jDarticular — it is volatile ;
hence the original color of turmeric paper, af-
fected by ammonia, is restored on the application
of heat. Solution of ammonia absorbs carbonic
acid rapidly from the air, and is converted into
carbonate of ammonia ; it should therefore be pre-
served in stoppered bottles. Besides carbonate,
commercial ammonia often contains chloride of
ammonia, recognized by the white precii^itate
given by nitrate of silver after acidifying with pure
nitric acid.
The strength of commercial ammonia varies
greatly. That sold for pharmaceutical purposes,
under the name of Liquor Ammoniae, contains
about ten per cent, of real ammonia.
The sj)ecific gravity of aqueous ammonia dimin
ishes with the projjortion of ammonia present, the
liquor ammonise being usually about 'PSO.
216 BROMIDE OF POTASSroM.
• BEOMIKE.
This elementary substance is obtained from the
uncrystallizable residue of sea-water, termed hit-
tern. It exists in the water in very minute pro-
portion, and combined with magnesium, in the
form of a soluble bromide.
Properties. — Bromine is a deep reddish-brown
liquid of a disagreeable odor, and fuming strongly
at common temperatures; sparingly soluble in
water (1 part in 23 — Lowig), but more abundantly
so in alcohol, and especially in ether. Specific
gravity 3'0.
Bromine is closely analogous to chlorine and
iodine in its chemical properties. It stands on the
list intermediately between the two — its afiinities
being stronger than those of iodine, but weaker
than chlorine. It is a powerful poison.
BROMIDE OF POTASSIUM.
Bromide of potassium is prepared by adding
bromine to caustic potash, and heating the pro-
duct, which is a mixture of bromide of potassium
and bromate of potash, to redness, in order to drive
off the oxygen from the latter salt. It crystallizes
in anhydi-ous tubes like the chloride and iodide of
CYANIDE OF POTASSroM. 217
potassium ; it is easily soluble in water, but more
sparingly so in alcohol; it yields red fumes of
bromine when acted upon by sulj^huric acid.
CARBON'ATE OF SODA.
This salt was formerly obtained from the ashes
of sea-weeds, but is now more economically manu-
factured on a large scale from common salt. The
chloride of sodium is iii'st conyerted into sulphate
of soda, and afterwards the sulphate into carbo-
nate of soda.
Properties. — Tlie perfect crystals contain ten
atoms of water, which are driven off by the appli-
cation of heat, leaving a white powder — the anhy-
drous carbonate. Cotwrnon washing soda is a neu-
tral carbonate, contaminated to a certain extent
with chloride of sodium and sulphate of soda.
Carbonate of soda is soluble in twice its weight of
water at 60°, the solution being strongly alkaline.
CYANIDE OF POTASSIUM.
This salt is a compound of prussic acid with po-
tassium, and a very deadly poison. It is used in
photography : added to nitrate of silver, it jnelds
cyanide of silver, which is very sensitive to the
action of light; but when added to the iodide and
19
218 CHLORIDE OF GOLD.
the fluoride of potassium, it forms a triple salt of
great sensitiveness. Cyanide of silver is insoluble
in water, and in diluted nitric acid. It is decom-
posed by hydrochloric acid, and changed into chlo-
ride of silver. Solution of ammonia, the alkaline
cyanides, and especially hyposulphite of soda, dis-
solve it.
The cyanide of potassium dissolves the iodide,
chloride, and bromide of silver; hence it is used
as a fixing agent for ambrotypes. It also dissolves
the protoxides and suboxides of this metal when
they are precipitated by gallic acid. A solution
of the salt is useful, with the aid of a brush, to re-
move the black spots which injure positive pictures
on i^aper, only it must be applied with great cau-
tion, and the print immersed in water immediately
after its application, else it may destroy it entirely.
CHLORIDE OF GOLD.
This salt is formed by dissolving metallic gold
in nitro-hydrochloric acid, or aqua regia^ and eva-
porating at a gentle heat. The solution aifords
deliquescent crystals of a deep orange-color.
Pro])erties.- — The solution of terchloride of gold
is of a bright yellow color when dilute, but nearly
red if concentrated. As usually sold, it contains
HYPOSULPHITE OF SODA. 219
an excess of hydrochloric acid ; but even if freed
from this, it is still acid to test-paper, although
neutral, chemically speaking. It is decomposed
with precipitation of metallic gold by charcoal,
sulphurous acid, and many of the vegetable acids ;
also by protosulphate or protonitrate of iron. It
tinges the cuticle of an indelible purple tint. It is
soluble in alcohol, and also in ether.
The addition of ammonia to terchloride of gold
produces the dangerous explosive compound known
2iB fulminating gold.
HYPOSULPHITE OF GOLD.
Hyposulphite of gold is produced by the reac-
tion of chloride of gold upon hyposulphite of soda.
The salt sold in C(jmmerce as sel d'or is a double
hyposulphite of gold and soda, containing one atom
of the former salt to three of the latter, with fom*
atoms of water of crystallization,
HYPOSULPHITE OF SODA.
This salt is very soluble in water at all tempera-
tures. It is of great service in photography for
" fixing" the positive pictures on paper, which it
accomplishes by dissolving the salts of silver, such
as the chloride, iodide, &c., which are insoluble in
220 IODINE.
water, and so removing tliem from the picture,
and thereby preventing any further chemical
change in the impression. The solution of h}'po-
sulphite of soda, after it retains some of the salts
of silver in solution, is more useful for the fixing
process, as it gives better black tones than when
first employed. It is the best fixing material yet
discovered, both for positives on paper and nega-
tives on glass ; and by careful manipulation, al-
most every variety of tone can be given *to the
pictures. With faint positive pictures, it is best
to soak them for a few hours in a bath of clean
water before submitting them to the action of the
hyposulphite of soda, by which means the soluble
salts of silver are removed without affecting those
parts acted upon by the light, which constitute the
blacks. Thus we abridge the time necessary for
the action of the hyposulphite, and the fixed image
is found to be more vigorous than if it had been
placed at once in the hyposulphite of soda.
IODINE.
Iodine is chiefly prepared at Glasgow, from Tcelp^
which is the fused ash obtained by burning sea-
weeds. The waters of the ocean contain minute
quantities of the iodides of sodium and magnesium,
PROPERTIES OF IODINE. 221
which are separated and stored up by the growing
tissues of the marine j)lant.
Properties. — Iodine is met with in two forms —
the commercial and the resublimed iodine. The
former, which is sold at a lower price than the
other, is sufficiently pure for most ])urposes.
Iodine has a bluish black color and metallic
lusti-e. It stains the skin yellow, and has a pun-
gent smell, like diluted chlorine. It is extremely
volatile when moist, boils at 350°, and produces
dense violet-colored fumes, which condense in bril-
liant plates. Specific gravity 4-946. Iodine is
very sparingly soluble in water, one part requir-
ing 7,000 parts for perfect solution. Even this
minute quantity, however, tinges the liquid of a
brown color. Alcohol and ether dissolve it more
abundantly, forming dark-brown solutions. Iodine
also dissolves freely in solutions of the alkaline
iodides — such as the iodide of potassium, of sodi
um, and of ammonium.
Chemical jyrojperties. — Iodine belongs to the
chlorine group of elements, characterized by form-
ing* acids with hydrogen, and combining exten-
sively with the metals. They are, however, com-
joaratively indiflerent to oxygen, and also to each
other.
19*
2-^3 IODIDE OF AMMONIA.
Tlie iodides of the alkalies, and alkaline earths,
are soluble in water ; also those of iron, zinc, cad-
mium, etc. The iodides of lead, silver, and mer-
cury are neaj'ly or quite insoluble.
Iodine possesses the property of forming a com-
pound of a deep-blue color with starch. In using
this as a test, it is necessary, first, to liberate the
iodine (if in combination) by means of chlorine, or
nitric acid saturated with peroxide of nitrogen.
The presence of alcohol or ether interferes to a
certain extent with the result.
IODIDE OF AMMONIA.
The hydriodate of ammonia is a compound very
easily decomposed : it must be kept suspended in
a bottle containing a small quantity of carbonate
of ammonia.
Sensitive papers may be prepared by washing
them with a solution of this substance previous to
placing them upon the aceto-nitrate of silver ; an
impression is received with great rapidity, which
is developed with facility by gallic aid, to which a
little acetate of ammonia has been added. • •
IODIDE OF POTASSIUM.
Iodide of potassium is one of the principal
IODIDE OF SlL,VER. 223
chemical agents in photography. It serves to fonn
the iodide of silver, which is the sensitive salt
upon which light acts with the greatest energy.
This iodide of silver is insoluble in water, but sol-
uble in hyposulphite of soda, which is used for
'"'' fixing''' the negative pictures.
This salt is usually formed by dissolving iodine
in solution of potasli until it begins to acquire a
brown color ; a mixture of iodide of potassium and
iodide of potash is thus formed ; but by evapora-
tion and heating to redness, the latter salt parts
witli its oxygen, and is converted into iodide of
potassium.
Properties. — It forms cubic and prismatic crys-
tals, which should be very hard, and very slightly
or not at all deliquescent. Soluble in less than an
equal weight of water at 60° ; it is also soluble in
alcohol, but not in ether.
IODIDE OF SILVER.
Iodide of silver is obtained by adding iodide of
potassium to a solution of nitrate of silver ; de-
composition ensues, the nitric acid leaves the silver
and unites with the potash, while' the liberated
iodine coinl)ines with the silver, and falls as a yel-
low precipitate, which must be well wasbed in
224: PROTOSULPHATE OF IRON.
distilled water, being insoluble therein, to remove
the nitrate of potash, and then dissolved in a sat-
urated solution of iodide of potassium. This mix-
ture is to be added to the collodion in small quan-
tities at a time, and agitated until dissolved.
PEOTOSULPHATE OF IRO¥.
This is the copperas or green vitriol of com-
merce— a most abundant substance, and used ibi
a variety of i3urposes in the arts. Commercial sul-
phate of iron, however, being prepared on a large
scale, mostly requires recrystallizing in order to ren-
der it sufKciently pure for photographic purposes.
Pure sulphate of iron is met with in the form
of large, transparent, prismatic crystals, of a deli-
cate green color ; by exposure to the air they grad-
ually absorb oxygen, and become rusty on the
surface. Solution of sulphate of iron, colorless at
first, afterwards changes to a red tint, and de-
posits a brown powder ; this powder is a hasic
persulphate of iron, that is to say, a persulphate
containing an excess of the oxide, or " hase?^ By
adding sulphuric acid to the solution of protosul-
phate of iron, the formation of a deposit is pre-
vented, but the decomposition goes on slowly as
before.
NiTEic Acm. 225
LITMUS.
Litmus is a vegetable substance, prepared from
various lich^ns^ which are principally collected on
rocks adjoining the sea. The coloring matter is
extracted by a peculiar process, and afterwards
made up into a paste with chalk, plaster of
Paris^ etc.
Litmus occurs in commerce in the form of small
cubes, of a fine violet color. In using it for the
preparation of test-papers, it is digested in hot
water, and sheets of porous paper are soaked in the
blue liquid so formed. The red papers are pre-
pared in a similar manner, and afterwards placed
in water which has been rendered faintly acid
with sulphuric or hydrochloric acid.
NITEIC ACID.
This acid is obtained by distilling a mixture of
equal parts, by weight, of nitrate of potash and
sulphuric acid. It is very abundant in commerce,
and is useful in photography to form the nitrate of
silver ; and in combination with muriatic acid
{aqua regia)^ to yield the chloride of gold : added
to the sulphate of the protoxide of iron, it converts
it into the sulphate of the peroxide.
226 NITRATE OF POTASH.
It is also employed to darken the tone of the
shadows of the jiositive paper pictures, after they
have been submitted to the action of the hyposul-
jAute of soda. Its action is similar to that of the
muriatic acid used for the same purpose.
As it possesses great solvent powers, it is very
useful for removing the deposits left on the gutta-
percha or porcelain dishes, &c. ; but the greatest
care must be taken that no free acid appears in
any of the preparations used in photography ; for
however useful in its combinations with silver,
&c., alone, it has a most destructive influence by
its deoxydizing qualities, neutralizing the effects
produced by the agency of light.
NITRATE OF POTASH.
This salt, also termed nit're or saltpetre, is an
abundant natural product, found effloresced upon
the soil in certain parts of the East Indies. It is
also produced artificially in what are called nitre-
beds.
NITEATE OF SILVER.
Nitrate of silver is the most important ingre-
dient in photography. It is a compound of nitric
acid with the metal silver in its highest state of
NITKATE OF SILVER. 227
oxydation. It is decomposed by iodide of potas-
sium, by whicli iodide of silver is obtained. The
best nitrate of silver is in thin colorless crystalline
plates, which are soluble in an equal weight of
cold water. Exposed to light, this salt blackens,
especially if any organic matter is present. Ad-
vantage is taken of this peculiar property to pre-
pare the sensitive solutions which are spread upon
the paper and glass, and other media employed in
obtaining photographic pictures. It is readily de-
composed by chlorides, bromides, fluorides, cy-
anides, &c., producing salts of exquisite sensibility;
and if these, or some of them, are added to the
iodide of potassium, in the first preparation of the
paper, when they are submitted to the contact of
the nitrate of silver, compounds are formed, ap-
parently intermediate in their atomic constitution^
between the protoxide and the suboxide of silver.
As soon as the light strikes these preparations in
this condition, they pass from the state interme-
diate between the protoxide and suboxide to the
metallic state, the silver is reduced, and is preci-
pitated in a dark-colored form by gallic or pyro-
gallic acid, in various degrees of strength, accord-
ing to the extent of the reduction. The chiel
object and aim in the future of photography is in
228 SULPHURIC ACID.
the direction of the developing agents. "We have
found substances which require but an instantane-
ous exposure to the action of light to effect that
change, which, once set up, is continued and com-
pleted by suitable developing agencies.
SULPHURIC ACID.
Sulphuric acid may be formed by oxydizing sul-
phur with boiling nitric acid ; but this plan would
be too expensive to be adopted on a large scale.
The commercial process for the manufacture ol
sulphuric acid is exceedingly ingenious and beau-
tiful, but it involves reactions which are somewhat
complicated, and do not admit of a superficial ex
planation.
Properties. — Anhydrous sulphuric acid is a
white crystalline solid. The strongest liquid acid
always contains one atom of water, which is closely
associated with it, and cannot be driven off by the
application of heat.
Sulphuric acid possesses intense chemical powers,
and displaces the greater number of ordinary acids
from their salts. It chars organic substances, by
removing the elements of water, and converts alco-
hol into ether in a similar manner. The strength
of a given sample of sulphuric acid may generally
TEST OF SULPHUEIO ACID. 229
be calculated from its specific gravity, and a table
is given by Dr. Ure for that purpose.
Impurities of Commercial Sulphuric Acid. —
Tlie liquid acid known as oil of vitriol is tolerably
constant in composition, and seems to be as well
adapted for photographic use as the pure sulphuric
acid, which is far more expensive. The specific
gravity should be about 1*836, at 60°. If a drop,
evaporated upon platinum foil, gives a fixed resi-
due, probably bisulphate of potash is present. A
milkiness on dilution indicates sulphate of lead.
Test for Sulphuric Acid^ either free or in com-
hinatimi with Bases. — If the presence of sulphuric
acid, or soluble sulphate, is suspected in any liquid,
it is tested for by adding a few drops of a dilute
solution of chloride of barium or nitrate of baryta.
A white precipitate, insoluble in nitric acid., indi
cates sulphuric acid. If the liquor to be tested is
very acid, from nitric or hydrochloric acids, it
must be largely diluted before testing, or a crystal-
line precipitate will form, caused by the sparing
solubility of the chloride of barium itself in acid
solutions.
20
230 PBOPERTIES OF ETHER.
ETHER.
Ether is obtained by distilling a mixture of sul-
phuric acid and alcohol. The term sulpJiiiHc ap-
plied to the commercial ether has reference only
to the manner of its formation.
Properties of Ether. — It is neither acid nor al
kaline to test-paper. Specific gravity at 60°, about
•720. Boils at 98° Fahrenheit. The vapor is ex-
ceedingly dense, and may be seen passing off from
the liquid, and falling to the ground — hence the
danger of pouring ether from one bottle to another,
if a flame be near at hand.
Ether does not mix with water in all propor-
tions— hence if the two are shaken together, after
a short time the former rises and floats upon, the
surface. In this way a mixture of ether and alco-
hol may be separated from each other, as in the
common process of washing ether. The water
employed, however, always retains a certain por-
tion of ether (about a tenth part of its bulk), and
acquires a strong ethereal odor. Washed ether
also contains water in small proportion.
Bromine and iodine are both soluble in ether,
and gradually react upon and decompose it.
The strong alkalies, such as potash and soda.
PROPERTIES OF WATER. 231
also decompose ether slightly after a time, but not
immediately. Exposed to air and light, ether is
oxydized, and acquires a peculiar odor.
Ether dissolves fatty and resinous substances
readily, but inorganic salts are mostly insoluble in
this fluid ; hence it is that iodide of potassium and
other substances dissolved in alcohol are precipi-
tated to a ceilain extent by the addition of ether.
WATER.
Water is an oxide of hydrogen, containing sin-
gle atoms of each of the gases.
Distilled water is water which has been vapor-
ized and again cowidensed ; by this means it is
freed from earthy and saline impurities, which are
not volatile, and hence remain behind in the body
of the retort. Pure water leaves no residue on
evaporation, and should remain perfectly clear on
the addition of nitrate of silver ; also it should be
neutral to test-paper.
Impurities of common Water. — Hard water, as
it is termed, usually contains sulphate of lime and
carbonate of lime, dissolved in carbonic acid ; also
chloride of sodium in greater or less quantity. On
boiling the water, the carbonic acid gas is evolved,
and the greater part of the carbonate of lime (if
232 PROPERTIES OF WATER.
any is present) deposits, and forms an earthy in
crnstation on the boiler.
In testing water for sulphates and chlorides,
acidify a portion with a few drops oi pure nitric
acid, free from chlorine ; then divide it into two
parts, and add to the first chloride of barium, and
to the second nitrate of silver, — a milkiness, in
either case, indicates the presence of impurity.
The photogra/phic nitrate hatJi cannot be used as a
test for chlorides, since the iodide of silver it con-
tains is precipitated on dilution.
Rain-ioater^ having already undergone a natural
process of distillation, is free from inorganic salts
if collected in clean vessels ; bmt it usually contains
a minute portion of ammonia, and often organic
matter, which tinges it of a brown color.
WEIGHTS AND MEASURES. 233
WEIGHTS AND MEASURES.
The weight generally employed in Photography
is the apothecaries' weight ; but some of the chem-
icals are sold by avoirdupois ; for what reason no
one can explain.
Nitrate of silver is usually sold by that weight,
as well as most of the liquids. The acids and al-
kalies, however, are generally sold by apotheca-
ries' weight.
apothecaries' weight.
1 grain.
20 := 1 scruple
60 = 3=1 drachm
480 = 24 = 8= 1 ounce
5760 = 288 = 96 = 12 = 1 pound.
AVOIRDUPOIS WEIGHT.
1 pound . . . . =16 ounces.
1 ounce . . . . =16 drachms.
1 drachm , . . . = 26*343 grains.
(1 ounce avoirdupois . . = 437'5 grains.)
IMPERIAL MEASURE.
1 gallon =8 pints.
1 pint =20 ounces.
1 ounce . . , . . = 8 drachms.
(1 fluid ounce of water weighs 437.5 grains, or 1 ounce avoir
dupois.)
20*
234 WEIGHTS AND MEASUEES.
FLUID MEASURE.
1 minim . , . . = 0'9I
60 = 1 fluid drachm . =: 54-7 avoird.
480 = 8=1 fluid ounce = 437-5 — 1 oz.
9600= 160= 20 = 1 pint = 8-750= 1.25 lb.
76,800 = 1280 = 160 = 8 =2 gal'n = 70-000 = 10 lbs.
(1 pound avoirdupoi.i contains 700U grains.)
1 pound Troy .... contains 5760 grains.
1 imperial gallon of water ... '' 70,000 "
I imperial pint of water contains 20 ounces, or 8750 "
1 cubic inch of water " " " 252-4 "
1 ounce avoirdupois . " " " 437-5 "
1 ounce Troy . . " " " 480
1 gramme ..." " " 15-4 "
1 decigramme . . " " " 1-5 "
1 litre of distilled water " " " 15,406-3 "
The grain is the unit of weight ; but as three
standards of weight are employed, much uncer-
tainty and confusion often arise in the mind of the
photographer as to which ounce or drachm is
meant. The apothecaries' weight is generally un-
derstood to be the one employed ; but it would
save much trouble if the formulae for the various
preparations were always given in grains.
INDEX.
PAOB
Albumen paper, to prepare 60
" " to silver 61
Ambrotypes on paper 170
" " on patent leather 155
Art, PliotogTiiphic, History of the 19
Art, triumph of, over Nature 86
Atnbrotype clieinicals 3S
" views, to take 170
Ambrotypes in the United Statea 34
" stereoscopic 152
" for lockets 169
" to color 1G6
" to darken 209
" to copy from Daguerreotypes 171
" ai)|iaratus for 131
Actino-Hydroiiieter for nitrate bath 136
Alcoholic solutions for collodions 182
Alcoholic solution of iodide of silver 183
" of bromide of silver 184
" of bromo-iodide of silver 185
" saturated, of iodide of potassium 186
•' saturated, of bromide of potassium 187
Ammonia-nitrate of silver solution for positives 95
Acetic acid — its nature and properties 212
Alcohol — its nature and properties 213
Backgrounds, to print various shades 107
Bath, nitrate of silver, preparation of 133
'• to iodize 134
236 INDEX.
PAOK
Bath, nitrate of silver, to test the 136
" •' to neutralize 137
" '■ adding acid to • 13G
" gutta-percha, arrangement of 133
" flowing tlie 139
" renewal of the ,. 14"
" to keep the, in order l'*8
" silver, for cliloride of sodium papers 59
" for toning and coloring 93,94
" chloride of gold "3
" water, fur positives "^
Backgrounds for Ambroty pes 1 '"
Black and white specks on plates 1^^
Bromide of silver, alcoholic solution of 184
Bromo-iodide, alcoholic solution of 1°^
Bromide of potassium, saturated solution of 1^7
Bromine— its nature and properties 210
Bromide of potassium — its properties 21d
Camera, time of exposure in the 46
" solar, for life size '^
" importance of a good l-'^
Collodion, negative, to prepare ^2
" ammonia °'
" cadmium " °"
" compound cadmium °3
" double iodized °'*
" to remove water from lo6
" to purify old lf"5
" to pour on tlie glass plate 146
" Ambrotype, preparation of 161
" to iodize, for Ambrntypes 162
" to be kept from the light 163
" tests of good 164
" to remove color from 164
" recipes for Ambroty pes ISl
" to render any, highly sensitive 209
" for negatives, preparation of 82
" recipes for negatives 82 -S3
" mode of coating glass plates with 146
" first used 27
" signification of 27
" to preserve and keep ready for use 1 ''3
Chloroform for collodion 1*^'
Copying Daguerreotypes into Photographs 69-70
INDEX. 237
PAQK
Canada balsam, application of 155
Cautions in using chemicals, &c 202
Cleaning the hands 204
" glass-plates for Aiiihrotypes 126
" " for negatives 41, 103
Chemicals, Ambrotj-pe 132
" impurities of 200
Colors for Ambrotypes IGT
Children's portraits, to take 177
Chloride of silver, adding to fixing solution 144
Cyanide of potassium, properties of 217
" " danger of using 203
Chloride of gold 213
Carbonate of soda 217
Daguerreotypes to copy life size 69-70
" " in Ambrotype 171
Diaphragm, use of 175
Developing solution for negatives 89
" " for iron Photographs 74
" " for Ambrotypes 141
" " various recipes for 143
" " for negatives 89
Dextrine paste for Pliotogniphs 104
Double glass process 152
Drying positive prints 67
" the picture 150
Enlarging pictures to life size 69
Engi'aving name on negatives 113
Engravings, to copy, in Ambrotype 173
Ether— its properties 230
" caution in using 203
Ether and alcohol to form collodion 160
Failure, causes of 194
Filtering process 135
Fixing solutions, preparations of, for Ambrotypes 144
Fixing bath for negatives 93, 44
" for positive jiajier 94
Fixing solution for negntives 44, 93
" for positives 94
Fogging the i>icturcs 114, 195
" cause of, and to detect 114,196
238 INDEX.
PAGB
German process for negatives 85, 86, 87
Gum Arabic paste for positives 104
" " varnisli for negatives 44
Glasses, preparation of, for Ainbrotypes 126
" cleaning substances for 126
" cleaning new 127
" cleaning old 123
" cleaning, tliat have been varnished 129
" best adapted for Anibrotypes 130
" proper for negatives m 47
" cleaning, for negatives 41
" to hold, after cleaning 45
Gun-cotton, discovery of 153
" preparation of 159
" test of acids employed for 160
" to wash and dry 160
" caution in preparing 203
Hints and snggestions on positives and negatives 112, 206
" " " " on paper 117
" " on negatives 112
History of Photography 19
Hydro-bromic acid, to prepare 1S7
Hydrometer, actino, for nitrate of silver bath 136
Hyposulphite of soda 219
ofgold 219
" of silver, to lest its presence in positives 107
Iodine — its preparation and properties 220
Iodide of ammonia — its preparation and properties 224
" of potassium — its preparation and properties 222
" " alcoholic solution of 183
" ofsilver — its preparation and properties 223
" " alcoholic solution of 183
Iron Photographs, to make 73
Instantaneous printing 101
Imperfections in negatives 114
" in positives 120
Jewelry, to color, on Ambrotypes 168
Lampratype process 210
Light, to arrange, for Ambrotypes 174
" " for negatives 45
INDEX. 239
PAGE
Light on the eyes, to arrange 17(5
Litin-us — its nature and properties 225
Mnteiials for Ambrotypes, in finisliing 132
Maeliinery, to copy, in Ambrotype ]7:J
Manipulations by the Ambrotype process 146, 147, 148, 149, 150
" by tlie negative process 41
Mounting Photograplis 67
Melainotype plates 169
Negative process, theory of the 32
" practice of the 39
Negatives on glass 40
•' definition of 40
" on glass, to take 41
" developing solutions for 43
" fixing solution for 44
" to develop 43
" frames to liold 45
" the color of 54
" silvery appearance of 116
Negative bath, the practice of the 51
" •' changes of the < 53
'• collodions, to prepare 81, 82, S3
Nitrate of silver bath for negatives 48, 49
" " preparation of, for Ambrotypes 49
" " to iodize 49
" " to neutralize 137
Nitric acid — its nature and properties 225
Nitrate of potasli — its nature and'properties 226
Nitrate of silver — its nature and properties 226
Old collodion, to purify 106
" to remove water from 106
Pearl Ambrotypes, to make 210
Plates, to clean, on flat board 120
Plate-holders, varnish for 191
Plates, to hold, in proper position 147-143
Plate-holders necessary for Ambrotypes 125
Patent-leather process 155
Patent, Fox Talbot's, notice of 22
Plate-blocks for holding glasses 126
Plate-vise for holding glxsses j IjiO
Paper, Photographic, quality of 117
240 INDEX.
PAGB
Paper, to dry salted 5S
Practice of the negative process 89
Printing, instantaneous 101
" frames 109
Prints, to restore faded 102
" from negatives 62
" positives with chloride of sodium paper and pure silver 29
" " with ammonia-nitrate of silver ,. ... 58
Photographic printing 56
" views 79-80
" process, theory of the 30
Photographs, to wash 65
" to mount 67
" to varnish 67
" to print 56
" positive, on glass 29
Photography — its history and progress 19
" its introduction into the United States 28
" chemicals first employed in 20
Pictures, negative and positive, on glass and paper 31
Positive process, theory of the 32
" fixing the 63
" washing the 65
" drying the 67
" mounting the 67
" printing the 62-63
Pyrogallic acid, solution for negatives 88
Protosulphate of iron — its nature and properties 224
Quick method of printing 93
Kc-developing processes 87, 90, 92
Ketouching negatives 113
" " for views 112
" positives on paper 1 19
Eemoving stains from the hands 204
" " from linen and clothes 205
Rehn's recipe for Ambrotype collodion 180
Statuary, to copy, in Ambrotype 173
Screens and backgrounds 175
" blue and white 177
Stains, to remove, from the hands 204
" to remove, from clotlics 205
Single glaaa process ; 161
INDKX. 241
PAGE
Silver, to add, to negative bath 52
Silver solution, plain 59
" " ammonia nitrate 95
Silver, to recover, from old solutions 103
Silvering the pnptr 5S
Salting solutions for paper 57
Stereoscope pictures, to make 75, 76, 77, 78
" pliilosopiiy ol'the 76
Stereoscopic Ambrotjpes 152
Skylight, arrangement of 174
Spots or streaks on plates 115, 2U0
Solutions, developing, for Ambrotypes 141, 142, 143
" " for negatives 87
Solution, alcoholic, of iodide of potassium 1S6
" " of bromide of potassium 187
" " of iodide of silver lS:i
" " of bromide of silver 1S4
" " of bromo-iodide of silver 1S5
Sulphuric acid— its nature and properties 228
" " impurities of 2J9
" " test of 229
Treble glass process 153
Transparent and opaque spots 19S
Toning or fixing tlie print 63
" bath for positives on jjaper 93, 94
" '• for iron Photographs 74
Transferring Ambrotypes on paper 1 70
Uncertainties of the art 55
Varnishing the pictures 152
Varnishes, to prepare 1S9
" applying the 192
Varnish, for negatives 44
" new, for Photographs 102
" to remove superfluous 156
" thick white, instead of Canada balsam 191
" used instead of Canada balsam 155
" white copal 1$9
" gum-demar 190
" black asphaltum ] 90
" white of .shellac and copal 190
" gum-shellac, for plate-holders 191
Vocabulary of Photographic chemicals 211
21
242 INDEX.
PACB
Washing positive prints 65, 66, 118
" the positive pictures 65
Water, properties of 231
'■ impurities of 231
" distilled 231
■Weislits and Measures, tubles of 233, 234
Window-glass for negatives 47
SCOVILL MllFACTURIXC COMPiNV,
4 BEEKMAN ST., N. Y.,
Manufacturers, Importers, and Dealers in all Articles
pertaining to the PiioToGRAPnio, Ambuotype, and
Daguerreotype Processes.
ScoviLL Manufacturing Co. liave always on hand
A FULL assortment OF
MATERIALS FOR PHOTOGRAPHS AND AMBROTYPES,
At WHOLESALE and RETAIL. Consisting of
CHXSIMXCALS
Of the PUREST QUALITY, fully warranted. Also,
APPAEATTJS, GUTTA PERCHA, PORCELAIN, and GLASSWARE,
of all kinds used in tlia Art;
CASES, MATTINGS, PIIESERVEIIS, and GILT FRAMES,
Of every known pattern and finish. Together with .ill kinds of
Of "White, f White, and other qu.Mities, in large varieties.
Particular attention is called to the
desi<:ned e^cprossly for Inyins over AMnp.oTYPKS and P Ar.irEP.nF,oTYPF.9. im-
partinsr to the AMitnOTYi'R a hi^h artisiic tirii>h, even withont the nppliiaiii>n
of the white varnish. The ntility of this Glass is prommnced unsurpassed by
the most successful Artists, and it is sold as low as the ordinary Plate Glass.
Also, a New Article of highly polished
BIiACK GLASS,
on which Ambrotypks are taken, supersedins the necessity of using black
varnish. Tliis needs only to be known to bo adopted.
Collodion (Iodized and Plain), Gun Cotton, &c.,
Made expressly for them by one of the most successful operators in the country.
^ ■ »
Agents for IfarrUon'x Improved Comera-i, Taglialnie'fi Coliodiometert,
and Actino- Hydrometers for tenting Chemicals, cf-c, d-c.
Address SCOVILL MANUFACTURING CO.,
4 Beekman St., Nkw Youk.
HOLMES, BOOTH &1I1YDENS,
MAKUFACTUREIIS & IMPORTERS
OF EVERY VARIETY OF
m^
Mm>i
:s\\psis^\
WE
'91
DA&UERREOTYPE,
AND
PlOTOSMPHie GOOD§,
OF THE
BEST QUALITY ONLY.
HOLMES, BOOTH AND HAYDENS'
CAMERAS,
From i to mammoth size, warranted.
81 CHAMBERS STREET, XEW YORK.
MMiiufaolory at Waterbury, Conn.
Pill iiiiiiits
FOR THE
AMBROTIPE, PIIOTOORAPIIIC,
AND
DEPOT FOR
Anthony's Celebrated Iodized Collodion for Am-
brotypes,
Anthony's Iodized Collodion for Negatives,
Diamond Varnish for Ambrotvpes,
Negative Varnish,
Photographic Varnish,
" Black Varnish
Pure IVentral \itrate of Silver,
Pure Iodides of Potassium, Cadmium, & Ammonium,
" Bromides " " «
And Pure Chemicals of all kinds used in the Art.
Plate Glass for Ambrotypes, in great quantities, and
of every quality.
Gutta Percha Baths, Trays, &c.
Ambrotype Preservers and Mattings.
An experience of seventeen years in the business gives us
confidence in ottering our goods. Catalogues furnished on
api)lication.
E. ANTHONY,
Manufacturer of Dayuerreolijpe and Amhrolijpe Cases and Apparatus,
501 Broadv(ray, New York.
AMBROTYPE SHIELDS ON HAND, AND MADE TO OEDER.
Agents for C. C. Harrison''- Cv.\.v.TZKTT.r> Camfp.as.
K
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