IMPORTANT REMOVALS IN NEW YORK* SCOVILL MANUFACTURING Co., HAVE REMOVED THEIR DEPOT FOR FROM THEIR OLD STAND, TO Entrance, No. 36 Park Row, No. 4 Beekman, and No. 141 Nassau Streets. HOLMES, BOOTH & HADENS, Have also found that their old quarters are too limi- ted for the increase of their business, and have removed to a more spacious establishment, ]Vos. 81 Chambers, and 63 Reed Streets. HOLDS OUT AT THE OLD ESTABLISHED STAND, No, 308 Broadway, Where he is prepared, as usual, to fill all orders for PHOTOGRAPHIC MATERIALS. Agent for Simons' Book, on " Coloring Photographs." Digitized by the Internet Archive in 2014 https://archive.org/details/photographyinnutOOsimo Fi9 1 PHOTOGEAPHY In a fat S\M; OR, THE EXPERIENCE OF AN ARTIST IN PHOTOGEAPHY, ON PAPER, GLASS AND SILVER, SSxlfe Illustrations. By M. P. SIMONS, Author of " Plain Instructions for Coloring Photographs," &c. PHILADELPHIA : PRINTED BY KING & BAIRD, No. 607 SANSOM STREET. 1 8 5 8 . Entered, according to Act of Congress, in the year 1858, by M. P. SIMONS, In the Clerk's Office of the District Court of the United States, in and for the Eastern District of Pennsylvania. TO THii Pemorg of f^e Immortal DAGUERRE, TO WHOSE BRIGHT GENIUS AND GENEROUS HEART, THE WORLD IS INDEBTED FOR THE BEAUTIFUL ART OP PHOTOGRAPHY. €^is ILittle JHanual, IN BEHALF OF THE PHOTOGRAPHERS OF THE UNITED STATES, IS MOST RESPEOTFULLT INSCRIBED CONTENTS. PREFACE 9 INTRODUCTION 11 THE DAGUEREEOTYPB PEOCESS. CLEANING AND POLISHING THE PLATE 17 COATING THE POLISHED PLATE 19 TIMING THE PLATE IN THE CAMERA 21 POSITIONS 22 TO MERCURIALIZE THE PLATE 23 CLEARING THE PLATE WITH HYDRO-SULPHATE OP SODA 24 GILDING THE PICTURE 25 COLORING DAGUERREOTYPES 27 TO MAKE LIQUID QUICK 29 QUICK TO USE 80 IODINE TO USE 31 CHEMICAL BOXES IN WINTER 32 CHEMICAL BOXES IN SUMMER 33 TO MAKE DRY QUICK a8 BUFFS 35 GENERAL INFORMATION AND USEFUL HINTS 86 viii CONTENTS. CONTINGENCIES IN DAGUEREEOTYPE PROCESS. TOO MUCH BROMINE TOO LITTLE BROMINE TOO LITTLE IODINE TOO MIJCH IODINE TOO LITTLE MERCURY TOO MUCH MERCURY DIRTY PLATES THE GILDING PEALS OFF TO MAKE STEREOSCOPIC PICTURES BACKGROUNDS FANCY BACKGROUNDS RESILVERING DAGUERREOTYPE PLATES BY THE BATTERY TO PREPARE THE SILVER SOLUTION FOR THE BAT- TERY SILVERING THE PLATE TO PUT A CAMERA IN FOCUS A SIMPLE METHOD OF MAKING A FILTER SEALING PAPER THE AMBROTYPE PROCESS. PREPARING THE GLASS FOR COATING COATING THE PLATE WITH COLLODION DIPPING THE COLLODION PLATE DRAINING THE EXCITED PLATE TIMING THE PLATE IN THE CAMERA CONTENTS. ix DEVELOPING THE AMBROTYPE 62 A DESCRIPTION OF FIG. 3 6G MEMORANDUM 65 COLORING THE AMBROTYPE 67 BRUSHES USED 68 PUTTING UP THE AMBROTYPE 63 FORMULAE IN THE AMBROTYPE PROCESS, GUN COT- TON 69 PLAIN COLLODION 72 TO EXCITE POSITIVE COLLODION 72 POSITIVE BATH 73 POSITIVE DEVELOPER 74 CLEARING SOLUTION FOR POSITIVES , 74 NEGATIVE PEOCESS. CLEARING THE NEGATIVE 78 THE PRINTING PROCESS 79 SALTING SOLUTION 80 AMMONIA, NITRATE OF SILVER 80 TO SILVER THE SALTED PAPER 81 PRINTING « 82 TONING AND FIXING. ON THE PERMANENCY OF PHOTOGRAPHS 85 GOLD TONING BATH , 86 TONING BATH 89 WASHING AFTER TONING 90 MOUNTING THE PHOTOGRAPH ON CARD-BOARD 90 VARNISHING THE PHOTOGRAPH 91 X CONTENTS. FOEMULJE IN THE NEGATIVE PEOCESS. NEGATIVE BATH 95 TO EXCITE NEGATIVE COLLODION, No. 1 95 NEGATIVE COLLODION, No. 2 96 NEGATIVE COLLODION, No. 3 96 STRENGTHENING NEGATIVES 97 HINTS TO BEGINNERS IN THE NEGATIVE AND POSI- TIVE PROCESS 99 FOGING 100 STREAKS AND SPECKS 101 HINTS UPON SILVER BATHS 102 PREFACE Although so much has been written upon the subject of photography, it is not yet exhausted. Almost daily some curious de- velopment is made in this beautiful art, worthy to be set in letters of gold. No art or science has ever been favored with so much time and talent in its investigation and advancement, as photography; which is at- tributable solely to its rare fascinating nature. And yet it is but in its infancy — its manhood, who can anticipate '? Who can foretell what will be its ultimate position among the arts and sciences ; or what will be the full extent of its application and usefulness ? The won- derful advancement it has made towards per- fection surprises' the most sanguine. Those who expected the most are the most astonished 2 10 PREFACE. at its present condition. How extensive and novel has been its application already ! Old ocean has been compelled to disclose to photo- graphy its long hidden secrets. And the scholar is now enabled, by its magical aid, to decipher at home in his own studio the time-worn hieroglyphics upon the Egyptian monuments. Even the moon has been vain enough to sit for a full and three-quarter face likeness, lending to the scientific photographer its own silvery light for its accomplishment. Then who will say to this mysterious art, of the nineteenth century, " So far shalt thou go and no farther?" None but He who gave the waters their bounds and knows the cause and effect of all things. Green Hill, Philadelphia, November, 1857. INTRODUCTION. It appears to be a common opinion, that the daguerreotype picture will eventually be superseded by the ambrotype. The writer wishes to be considered among the exceptions to this opinion. The delicacy, durability and wonderful minutiae of the daguerreotype has never been approached by any of the improved pictures recently introduced. Photography on paper is, beyond all controversy, the high- est state of the "Holographic Art," yet it does not^ — to use a mercantile expression — come in competition with the daguerreotype. Artistically speaking, the photograph bears the same relation to the daguerreotype that the oil portrait does to the water colored miniature. The advantages claimed for the ambrotype, sink into insignificance, when com 12 INTRODUCTION. pared with the rare superiority of the daguer- reotype. My opinion is that it will not be long before public taste will compel photo- graphers to give their attention more particu- larly to daguerreotyping, and, I have, therefore, endeavored to give this neglected branch of photography, in the fullest and most compre- hensible manner. There are other modes of operating, in all three branches of photography, besides those recommended in the following pages. But I have deemed it advisable to give but one process for each, being much better for the student to thoroughly understand one set of formulae, than to have but a smatter- ing idea of many. Those which I have ven- tured to explain, the result will show, are equal to any in use. In giving my views and experi- ence upon the three most important branches of photography, it must not be expected that I should tread altogether an untrodden path; this I have no idea of attempting, but like an old traveller, I will endeavor to point out the best and shortest road to success. Brevity INTRODUCTION. 13 and clearness should be the chief aim of all writers, when attempting to elucidate a sub- ject so difficult to comprehend, and so full of detail as photography. This rule I have strictly observed, dwelling upon nothing but what is absolutely necessary that the student should perfectly understand. The " illustra- tions," "manipulations," and "contingencies explained," have bgen prepared and described with the greatest care, with the hope that they may prove beneficial to the student, amateur and professor, who have no fixed, or certain method of operating. It is not enough, that a process should be capable of producing the best efifects, but it should do so, with the greatest certainty, and the least possible trou- ble. The public are now too well schooled in the art of photography, to be set up as heretofore, like lay-figures to be experimented upon. 2* THE DAGUERREOTYPE PROCESS. THE DAGUEUEOTYPE PROCESS. CLEANING AND POLISHING THE PLATE. This is the first important step in daguer- reotyping, and although, seemingly, a very simple operation, it is one very difficult, in which, to become proficient, requiring consid- erable practice and skill. A bad picture may be made on a clean plate, but a good one cannot be made upon one that is dirty. Most failures are caused by imperfectly cleaned plates, — bear this in mind. For rubbing, use the finest rotten stone, and the finest Canton flannel, with alcohol and water in equal pro- portions, use less alcohol in summer, scour with these materials until all the planishing marks have disappeared, which will require about five minutes rubbing for new ones, and about three for old ones ; then take a second piece of flannel and rub until the rotten stone is efiectually cleaned off" the plate, and a dull 18 THE DAGUERREOTYPE PROCESS. polish is obtained. The higher the finish produced by simply rubbing with the flannel, the greater is the probability that the plate will be clean ; endeavor, therefore, to give by this first operation a high polish, leaving as little as possible for the rouge bufi*s to do. All buff's unless kept in the most perfect order, are apt to deposit a scum^, more or less, upon the plate, which will very materially efi*ect its brilliancy and sensitiveness. The rule to be observed in buffing is to have the buff's well cleaned and dry ; they should be frequently brushed with a stiff brush, and fresh rouge dusted upon them, make the strokes long and light; if the pressure is too great, the polish will not be so fine, nor so bright. * Explanation of the Frontispiece. Figures 1 and 2, are intended to represent the shades of color which should be given to the plate, over the iodine and bromine. And although, the rich tints produced by these chemicals, cannot be very closely imitated with pigments, yet the amateur will find the colored illustrations very useful, showing the depth of colors, if not the peculiar shade neces- sary to produce the finest effects upon the daguerreotype plate. THE DAGUERREOTYPE PROCESS. 19 COATING THE POLISHED PLATE. Immediately after the plate is polished and while it is still warm from the buff, it should be submitted to the vapors of iodine, dusting it previously with a soft camel's hair brush. It is as well to look at the plate several times while being coated, turning it each time end for end, to insure a more uniform coating. If the iodine goes on even, the quick is almost sure to follow its example. Color over the iodine to match as near as possible figure 1, (examine the color as it progresses, by holding it at an angle of forty-five degrees, against a piece of clean white paper, having a strong light reflected upon it,) then over the quick until it assumes the color of figure 2, and over the iodine again one-fourth the time given at first; you will then have a plate coated, for all ordinary purposes, in the most perfect manner. When a more sensitive plate is wanted, for making likenesses of children, etc., it will be necessary to coat somewhat lighter than this standard, which may be done very readily by making a note of the number 20 THE DAGUERREOTYPE PROCESS. of seconds it required to produce colors No. 1 and 2 ; then reduce the time one-fourth. "When a still greater sensitiveness is wanted, expose the coated plate to the light a moment before placing it in the camera. This though should only be resorted to when nothing else will answer, as plates treated in this manner are apt to give hazy pictures. The same end may be arrived at, and probably with less risk of injuring the picture, by letting the plate stand, after it is coated, from fifteen to thirty minutes, beyond which time it com- mences to impair and loses its sensitiveness to light, but may be restored to some extent by placing it over the iodine again for a few seconds. THE DAGUERREOTYPE PROCESS. 21 TIMING THE PLATE IN THE CAMERA. For this part of the operation no definite directions can be given, a certainty of expo- sure cannot be attained with the longest experience. The oldest operators are only able to judge by former sittings; and yet with a little practice the youngest, may soon acquire pretty good success in hitting the time of exposure to the light. With a whole size camera, the time will vary from seconds to minutes according to the light. 22 THE DAGUERREOTYrE PROCESS. POSITIONS. No set rules can be given for the artistic arrangement of the sitter ; and yet it is of the utmost importance, and is more under the control of the photographer, than any other part of the process ; good taste and long practice will alone accomplish perfection in this department. It is adviseable to allow sitters to assume their natural positions* which if awkward, may be improved upon, but not to such an extent as to lose the likeness. Discountenance the practice many sitters have, of holding bouquets, books and oranges, in their hands, as it reflects, more or less, upon the taste of the photographer. ^ This reminds me of an anecdote of Henry Clay, which I will now relate, being interesting and somewhat to the point. I think it was in the year '49, when I took my best picture of Mr. Clay. He came to my rooms at the time this anecdote occurred, in company with his friend, Mr. Potter, who was standing by when I asked Mr. Clay — as I am in the habit of asking my sitters — if he had any choice of position, his reply was, " None whatever, sir, I am Clay in the hands of a Potter, let him mould me as he will." THE DAGUERREOTYPE PROCESS. 23 TO MEECURIALIZE THE PLATE. The mercury should be kept at a point to develope the picture in about three minutes, which will be between seventy and eighty degrees of the scales, generally attached to the baths ; a few experiments will soon deter- mine where this point is. It should be slightly agitated before exposing the plate to its vapors. The plate may be looked at during the operation, with a faint light, with- out doing it any injury whatever, although time as a general thing may be depended upon. The mercury should be at the proper heat when the plate is placed over it, or it should be approaching the maximum, so that it will reach it before the time allowed for mercurializing expires. When the mercury is too cold, a longer time will not make up for the want of heat ; the effect produced will be a cold blue tone. When too hot, shorten- ing the time over 'its vapors will not give results as fine and brilliant, as though it had stood at the proper point, Avith a longer time, the effect will be coarse with black dots of mercury over the whole picture. 24 THE DAGUERREOTYPE PROCESS. CLEAEING THE PLATE WITH HYPO-SULPHATE OF SODA. For this purpose make a solution of hypo- sulphate of soda and water. When dissolved, filter, and it is ready for use. This mixture will last a long time, by occasionally adding fresh hypo-sulphate of soda ; it should be filtered frequently, at least every morning; sponge or cotton answers very v^^ell for this purpose. "When the pic- ture is well cleared, which should always be done in the best manner, for if the least trace of the chemicals should be left upon the plate, it will sooner or later, act upon its sur- face, and eventually spoil the picture. There are a great many daguerreotypes spoiled from this cause alone ; and, is it not shameful, when^ with the least care, it may be prevented] Keep the wash on the plate for some time, even after the picture appears to be cleared. Then wash in plenty of water, and use the same care to get off the soda, as recommended for getting off the iodine. Wash well, both the front and back, and it is ready for gilding. Water, - - - . Hypo-sulpliate of Soda, 16 oz. 2 oz. THE DAGUERREOTYPE PROCESS. 25 GILDING THE PICTURE. For this operation make a solution called hypo-sulphate of gold, made thus : Efypo-sulphate of soda, 60 gr. Chloride of gold, 15 gr. Water, which should be pure and soft, - - - 24 oz. Mix the gold and soda separately, in a por- tion of the water — the quantity not particular — then add the gold gradually to the soda, shaking it all the time, until the whole is well united, which will take several minutes. Fil- ter and set aside for a few hours before using ; it may be used immediately, but the result is not generally so good. It is advisable to make gilding solution at night, and filter in the morning. Filter very frequently and very carefully, through two thicknesses of the best filtering paper or cotton. This operation must not be slighted, or you will be troubled with fine brown spots, all over the picture. As soon as the picture comes from the mer- cury and pronounced good, its edges should be bent up with a pair of plyers or otherwise, so that it will hold the gilding ; take the plate 3* 26 ' THE DAGUERREOTYPE PROCESS. by one corner with the plyers, pour on as much gilding as it will hold, and apply the heat; use a large flame, move the solution gently to and fro, to insure an even deposit of gold. The greatest care must attend this operation, as upon it the durability of the picture depends. Stop the operation as soon as the whites are clear, assuming a yellowish hue. If continued longer, the picture will become clouded and dull ; on the other hand, if checked too soon, it will fade and will be liable to become scratched in coloring. After gilding, the plate must be washed in plenty of water, and then dried, using as little heat as possible. The black or brown specks which frequently appear upon a picture after gilding, is owing to the gilding solution not being well filtered. They may be removed with cyanide of potass, disolved in about ten times its bulk of water ; use this mixture as you do gilding, but with less heat. Wash off carefully, using but little heat in drying. THE DAGUERREOTYPE PROCESS. 27 COLORING DAGUERREOTYPES. If you color your pictures, color them with taste ; use but little color upon the brush at first, until you see how the picture will take it. All daguerreotypes are not equally adapted to color. Those which have been slightly over-set, and fully developed over the mer- cury, are the most. I do not think the rich mezzotint daguerreotype is improved by pig- % ments; The student, before he commences to color a picture, should study the beautiful blending of light and shade upon it ; he will then see with what exquisite delicacy, and wonderful defination, nature puts in her touches of light and shade. We cannot ex- pect to equal her exquisite handling, but having such perfect models before us, it is expected that we will use sufficient care^ not to mar their exquisite beauty with paint. Use for the local flesh color, Indian red and chrome yellow mixed; the proportions will depend upon the tone of the picture, and complection of the subject. For the cheeks and lips, use carmine or pink madder. For 28 THE DAGUERREOTYPE PROCESS. draperies, use Prussian blue, chrome yellow, chrome green, Indian red, burnt sienna, burnt amber and Vandyke brown. For hair, sepia and burnt umber, &c. The brushes should be pointed, but not too long ; the sable will be found to answer best. Having described thus far the daguerreo- type process, the next in order will be the formulae connected with the art; together with the manipulation, which have not been given, and other information. THE DAGUERREOTYPE PROCESS. 29 TO MAKE LIQUID QUICK. Put into an eight ounce tincture-mouthed bottle one ounce of good alcohol, to this add as much best iodine as it will take up— shake while adding — then add one ounce of best German bromine, and four or five ounces of pure soft water. If there are any doubts about the water being pure, add a few drops of nitric acid. An excess of bromine should be left in the bottom, the object of which is to keep the quick at a uniform strength. This quick the writer has used successfully for many years, and therefore has the greatest confidence in recommending it to others. 30 THE DAGUERREOTYPE PROCESS. QUICK TO USE. Put into a deep whole plate box, a sufficient quantity of water, — prepared if necessary, as directed for making quick with a few drops of acid — to cover the bottom about one inch deep, and add enough quick to give it a pale brandy color, or until it produces the proper hue to the iodized plate, between ten and forty seconds. Its exact strength, however, cannot be ascertained until some time after the box has been charged. THE DAGUERREOTYPE PROCESS. 31 IODINE TO USE. The best method of using dry iodine is a very simple one, and can be given in a few words. Spread evenly, upon the bottom of a whole plate box, one ounce of iodine, upon which lay a piece of paper — ^filtering paper I find to answer best. In summer use a much smaller quantity of iodine; common sense will soon dictate this. It is much better to keep adding a few grains daily, than to be troubled with an excess of vapor, and be compelled to let it escape into the room, which is never very pleasant, if wholesome when taken in such allopathic doses. 32 THE DAGUERREOTYPE PROCESS. CHEMICAL BOXES IN WINTER. The temperature of an operating room should never be allowed to fall below sixty degrees Fahrenheit, and even then in ex- tremely cold weather the boxes should be warmed by the fire. This should never be neglected ; the tone of a daguerreotype de- pends as much upon the temperature of the room and chemicals, as upon their peculiar composition. This is no longer theory, but settled practice. I have found it impossible to produce even the proper color upon a plate when the chemicals were cold. THE DAGUERREOTYPE PROCESS. 33 CHEMICAL BOXES IN SUMMER. In summer the chemicals should be kept in a cool place, and their strength should be kept quite moderate, otherwise they will be found very unmanageable, and just as impos- sible to produce fine results as when too cold. TO MAKE DRY QUICK. As this quick is so much in use, being easy to manage, and in its effects so nearly like the quick I have recommended, that I will describe a mode of making it. For a whole sizie box, select a piece of fresh shell lime, about the size of a hen's egg ; slack by soaking in water for about one minute ; water that has been previously saturated with lime will hasten the operation, and seems to an- swer better. Have the lime rather under- slacked, bromine and air will soon finish the slacking ; add as much bromine to this as it 4 34 THE DAGUERREOTYPE PROCESS. will take up, without leaving an excess of vapor in the vessel in which it is made.. Use as directed to use the liquid quick, and coat about the same color, except that the iodine may be a little deeper. In a day or two this quick will be ready for use, when it should be spread evenly upon the bottom of a box. The quantity will depend upon the season of the yoar ; it should be strong enough to coat in about twenty seconds. The same lime will last a long time ; it can be strengthened up by adding more from the bottle, or by adding bromine in small quantities. THE DAGUERREOTYPE PROCESS. 85 BUFFS. Hand biilFs are preferable to wheels, for small plates, and since photographs have been introduced, large daguerreotypes are seldom or ever called for. Hand buffs are made of a great variety of shapes, and covered with a variety of materials. Buckskin is the best, and decidedly the most economical. I will give a description of the kind I use : length, twenty-two inches; width, from two and a half to three and a half inches, according to the size plate to be buifed ; shape, slightly curved from end to end, with a handle either in the middle or at one end like a plane. The face is covered with four or five thick- nesses of cotton flannel ; tack neatly upon this a piece of fine, soft buckskin, which can be had of the dealers, prepared for the purpose. Two buffs of this description will answer, one to buff* down with, and the other to be kept for finishing. To get a new buff* in order, fill its surface with lamp-black and rouge, and rub it in well with cotton, or buff* hard upon an old plate for several hours, until the leather 36 THE DAGUERREOTYPE PROCESS. appears black with silver. A new buff will never work so well, as one that has been carefully used for several months. GENERAL INFORMATION AND USEFUL HINTS. In copying daguerreotypes, &c., the fol- lowing rules should be observed. Firstly, have the plate perfectly cleaned, and as free as possible from scratches. Secondly, coat rather heavy with iodine, and endeavor to get it on evenly. Thirdly, use a small diaphragm. Fourthly, copy in the sun, and if a still greater amount of light is wanted, reflect it with a mirror. Fifthly, give less mercury by one- fifth, than for a portrait from life. Dia- phragms should always be used in the camera, when the light is sufiiciently strong to admit of it. They may be used also to advantage in making pictures from life, the extra sharp- ness and defination resulting from their use, will more than pay for the extra time it takes for a sitting with a good subject. THE DAGUERREOTYPE PROCESS. 31 Dark drapery — especially velvet — requires more quick than lighter, to produce the proper tone. A plate coated full, over the iodine, slightly over-set, and fully mercurialized, will give a white picture; that is, provided the plate has been well cleaned. No satisfactory tone can be depended upon, unless the plates are perfectly cleaned. The rich greenish tones are produced by a slight excess of quick on a clean plate, buffed with a new buff, after it has been well worked in with rouge. This style of daguerreotype will stand rather more gilding than the white tone, and looks better without color than with it. Mix the chemi- cals at night, so as to have them ready in the morning, for use. The gold should be filtered always before using ; keep a bottle of cyanide of potassium dissolved, ready for removing specks caused by gilding. It is also useful for removing stains and spots from old pictures. Strengthen up the quick early in the morn- ing, and 7iot at night, for unless the boxes are perfectly tight, the very life of the quick will escape before morning, that which should be used in making the finest pictures. If the boxes are not tight set them aside, and get 45K 38 THE DAGUERREOTYPE PROCESS. those that are. Deep boxes are always pre- ferable for chemicals especially in warm weather. Hypo-sulphate of soda can be used over and over again, until it becomes saturated with iodine, which will be indicated by a dirty red color. It should be filtered every morning, and kept free from dust. Mercury should be kept covered up at night, and filtered every few days, through a cone made of stifi* paper. If the mercury is wet before running it through, it will cleanse much more effectually. Four or five ounces of mercury will be sufficient for any size bath, and will develop thousands of pictures. Buff's should be kept dry. In damp weather they should be set by the fire, or in an oven, heated with a spirit lamp. CONTINGENCIES EXPLAINED IN THE DAGUERREOTYPE PROCESS. THE DAGUERREOTYPE PROCESS. 41 TOO MUCH BROMINE. A picture with an excess of bromine has a dull leaden appearance, the whites are of a dirty yellow, and the blacks gray. It must be kept in mind though, that there is a dis- tinct difference between getting too much quick upon a plate, from a coating box in good working order, and from one when the bromine is too strong. The latter will pro- duce a plate clouded with dark spots. Plates coated in this manner it would be useless to set, as no length of exposure would produce a picture upon them. The only remedy is to let off some of the vapor and if still too strong add a little water. 4 42 THE DAGUERREOTYPE PROCESS. TOO LITTLE BROMINE. • A picture with too little bromine has an olive green appearance, and unless the chemi- cal is quite weak, it is caused by the eye being deceived in the color while coating. Study the color m figure 2, try to imitate it more closely, and if it cannot be done, in sixty sec- onds, the quick is too weak and should be strengthened up. Chemicals should be tried in the morning, to ascertain how they are working, and if too strong put in a small por- tion of water ; if too weak, add a few drops of quick from the bottle, "When the quick is in the best working order, it will coat in from ten to fifty seconds, and should be kept ranging between these points — at all times. In warm weather especially, the minimum time should not be less than twenty seconds. THE DAGUERREOTYPE PROCESS. 43 TOO LITTLE IODINE. A picture with too little iodine, has a dull greenish appearance, and is apt to turn darker under the hypo-sulphate wash. Gilding will not improve pictures of this description. TOO MUCH IODINE. Too much iodine will produce a thick blue picture, dull in the high light, and a bluish gray in the shadows. No amount of gilding will bring up the whites to the proper tone. 44 THE DAGUERREOTYPE PROCESS. TOO LITTLE MERCURY When a picture appears of a sky blue color all over except the shadows, the exposure to the light has been too long, and the exposure over the mercury too short ; for when a plate has been properly coated and sufficiently mer- curialized, if set too long, a white picture will be the result, and not a blue one. When the mercury is not hot enough or wants fil- tering, the picture will have a pink cast of color, many times nothing but its contour can be seen. TOO MUCH MERCURY. Too much mercury upon a picture is in- dicated by black dots in the shadows of the drapery and hair; the high lights are not so bright, and the whole picture will not be so sharp as though it had been properly mer- curialized. THE DAGUERREOTYPE PROCESS. 45 DIRTY PLATES. A dirty plate will show itself whilst being coated over the iodine, and still more plainly over the quick, the iodine goes on uneven, and instead of a bright, clear yellow, or golden color, it is dull and heavy. The quick goes on in greenish spots, instead of a rich deep purple. Plates coating in this manner, it would be useless to set ; a clean plate will take the chemicals in less time than one that is dirty, though the mercury seems to act slower upon plates not properly cleaned, another indication of a dirty plate, is the unusual length of exposure required to make a picture, even in a strong light. THE GILDING PEALS OFF. When this occurs in gilding, the gilding solution is too strong, and should be reduced with water, or less heat should be used. When 5 46 THE DAGUERREOTYPE PROCESS. a white scum or cloulds appear upon the sur- face during this operation, the proportion of hypo-sulphate is too great; correct by adding chloride of gold in small quantities. TO MAKE STEEEOSCOPIC PICTUEES. This wonderful and beautiful style of picture has never been appreciated according to its merits, and I am inclined to think that the fault is not on the part of the public, but rather with the photographer, for not using that judgment and care in making them they require. In order that they may be made with as little trouble as possible, I will explain briefly, the most simple, and I think the best mode. Procure a plate shield arranged in the back, so that a quarto plate can be moved lengthwise to the right and left at pleasure, with a square opening in the front just sufficient to expose one half of the plate at a sitting. Buff the plate lengthwise, coat in the ordinary manner, then place it in this sliding shield, take the first focus on the right side of the sitter, and expose the left end of the plate, (i. e. the left side of THE DAGUERREOTYPE PROCESS. 47 the operator as he faces the sitter,) when suiSciently exposed, stop off the light, and move the camera for an ordinary size picture, about eight inches in a direct line to the left — the sitter keeping the eyes fixed upon the same point, and remaining perfectly still during both operations — adjust the focus again, and expose the right end of the plate, about one-fifth less time than the first. It is very im- portant to produce the finest results, that the plate should receive the highest possible polish, and be free from specks and scratches, and lastly be careful not to over-mercurialize ; the fault had better be on the other side. Stereo- scopes should be very carefully sealed up, to prevent dust from getting between the glass and plate, which effect very considerably the beauty of the picture when magniiipd. Stereoscopes may also be made on paper and glass, by observing the above directions with these exceptions, that the second sitting must have the same length of exposure to the light as the first, and must not be forced too much in developing, or the picture, when magnified, will have a gray dotted appearance, somewhat like the effect pijoduced by too much mercury upon a daguerreotype picture. 48 THE DAGUERREOTYPE PROCESS. BACKGROUNDS. There are a great many colors suitable for backgrounds, such as blues, drabs, grays and white. White produces the best effect upon ambrotypes. Avoid red, green, yellow and black, for either style of picture. FANCY BACKGROUNDS. Fancy backgrounds may be used to advan- tage, but they must be of the most artistical character, and adapted to your subject's age, profession, &c. THE DAGUERREOTYPE PROCESS. 49 RESILYERING DAGUERREOTYPE PLATES BY THE BATTERY. When the student is sufficiently advanced in the art of daguerreotyping, he may be desirous of learning the battery process, for the purpose of resilvering his plates. There are works published, devoted exclusively to galvanism, which the student should procure and study, in order to understand more per- fectly its peculiar and mysterious nature, when the directions I am about to give will be much better comprehended. Smee's batteries, will be found the cleanest and the most economical, ^hey are composed of zinc and platinized silver, set in a glass tumbler, excited with sulphuric acid ; when the battery is not in use it should be taken apart, and washed; the zinc should be kept well amalgamated with mercury, which saves the metal and makes the action more vigorous. Batteries of this description can be purchased of most dealers in photographic materials. 5* 50 THE DAGUERREOTYPE PROCESS. TO PREPARE THE SILVER SOLUTION FOR THE BATTERY. Dissolve silver coin with strong nitric acid ; when dissolved, precipitate with common table salt; wash the precipitate in several waters until no trace of acid is left, which may be ascertained by tasting; then dissolve the precipitate — which is chloride of silver — in a saturated solution of cyanide of potassium; weaken with as much more water, and it will be ready for the solution dish. Use a large flat plate of pure silver for the negative pole. The silver solution will require to be strength- ened up every few days with cyanide and silver. Keep the wires clean and bright. THE daguj:rreotype process. 51 SILYERING THE PLATE. Before the plates are silvered they should be polished in the brightest manner. Stir up the solution when they are put in — which in a measure will prevent streaking and staining. The connection should be made simultaneous with the dipping ; leave in until they become sky blue — the most sensitive color — and should not be much deeper, except for such as have been gilt, which should have a white coat, dried off, rubbed down, polished and silvered again, until they are of a clear sky blue color. Silvering by the battery has many advantages, making the plate more sensitive to light, giving better whites and blacks, and enabling the operator to have his plates in a condition always ready for use at a moment's notice. I have used plates successfully that have been galvanized over twelve months, by merely buffing them in the usual manner required for plates recently silvered. 52 THE DAGUERREOTYP|) PROCESS. TO PUT A CAMERA IN FOCUS. Set on end three or more books, plainly lettered on the back. Take the focus on the middle one, set a plate, and if the focused book comes out the sharpest, then the camera is in good focus ; should the nearest one appear the sharpest, the ground glass must be set back from the tube. The exact distance can be ascertained by marking the tube while in focus on the middle book, and then moving it until the nearest one is in focus ; mark again and measure the space between the two marks, which is the distance the ground glass should be moved back, and vice versa^ if the farthest book should come out the sharpest. As simple as this operation is, I have known many to be very much perplexed with it. THE DAGUERREOTYPE PROCESS. 53 A SIMPLE METHOD OF MAKING A FILTER. Take a small tuft of clean cotton, soak it in alcohol and crush it slightly in the funnel. For filtering most chemicals, such as gilding, solution, ammonia, nitrate of silver, collodion, silver-bath, &c., it will answer as well as paper, and will frequently be found more con- venient. When collodion is to be filtered, it should be thinned as much as it will bear, that it may pass freely through the cotton. Lay a piece of fiat glass on the top of the funnel to prevent loss by evaporation. Funnels are made for this purpose, which would soon prove a great saving. 54 . THE DAGUERREOTYPE PROCESS. SEALING PAPER. The strongest and the best sealing paper for putting up daguerreotypes, &c., is made in the follow manner, and with the following named materials. Boil three or four ounces of fish glue, in water sufficient to make it a stiff paste ; strain it and add about two drachms of the tincture of ben- zoin; stir it up and spread it evenly upon strong vanilla paper, with a flat bristle brush ; hang up to dry and it is ready for use. THE AMBROTYPE PROCESS. THE AMBROTYPE PROCESS. PREPARING THE GLASS FOR COATING. I HAVE found that the more simple the operation of cleaning glass is performed the more satisfactory are the results, and have therefore adopted the following mode, assuring the student that if he attends strictly to the directions I am about to give, he need never fail to have clean glasses, upon which the finest results may be produced. First Grind or file the edges, on one side only, of all new glasses. This answers a double purpose, saving the fingers, and desig- nating which side of the glass is cleaned, as it would be useless to bestow much pains upon but one side, Second. Let them lay in a bath for several hours, composed of one part nitric acid and 6 58 THE AMBROTYPE PROCESS. eight or ten parts water, the exact proportions not important. Third. "Wash well in plenty of clean water, and set np to dry ; after which, all that is ne- cessary is to dust off and coat. COATING THE PLATE WITH COLLODION. This is a nice operation, requiring much care and practice. Hold the glass at one corner, either in the right or left hand, which ever upon trial will be found the most convenient, and pour on the collodion at one end, see that it covers the plate evenly, and without any delay, letting the excess drain hack into the bottle, working the plate at the same time to and fro, which tends to prevent the checkered appearance so frequently ob- servable in negatives when new collodion is used. THE AMBROTYPE PROCESS. 59 DIPPING THE COLLODION PLATE. When the film upon the plate is nearly set, being slightly adhesive to the touch, which will usually take not over fifteen seconds, it should be dipped very carefully, without any hesitation in the silver bath. It is advisable to keep the plate in gentle motion, for a few seconds, just before taking it out of the bath. This should not be done until the plate has been immersed at least half the time required to excite it. The object of keeping it in motion is to wash away the greasy appearance seen upon the plate, caused by the ether refusing to mix with the water. The sooner this is efi*ected, the sooner will the plate absorb its maximum quantity of silver, and should be immediately set whilst its sensi- tiveness is at its height. The length of time that a collodion plate should be immersed in ^ the silver bath will depend upon various causes. First. The strength of the bath and its temperature. 60 THE AMBROTYPE PROCESS. Second. The proportions of ether and alcohol in the collodion, and thickness of the film, and the quantity of excitant it contains. If the temperature is between sixty and seventy, Fahrenheit, which it should be ; the bath from forty to fifty grains strong, the proper strength ; and the collodion very heavily iodized, it will require a very few minutes, even less than a minute will fre- quently suffice. Yet when the silver bath is in good order, neither too neutral, too acid, nor too alciline, a plate may remain immersed any reasonable length of time without doing it any injury. The appearance of a plate properly sensi- tized, is an opake yellow white, resembling somewhat white kid leather. If after the plate has been immersed for three or five minutes, it has a bluish cast of color, the collodion employed has not been sufficiently iodized. The proportions probably have been reduced by thinning too often, the collodion too slight, or the bath too weak. The cause however is mostly attributable to the former. Correct by adding to the collodion iodide of ammonium. If the fault is in the bath, THE AMBROTYPE PROCESS 61 strengthen by adding a saturated solution of nitrate of silver. Other particulars upon collodions, baths, etc., will be found in another place. DRAINING THE EXCITED PLATE. When the plate is taken from the bath, it should be well drained for at least thirty or forty seconds. This care, besides saving the silver, prevents in a great measure the lia- bility to streaking and staining, so annoying to the photographer. Have the holders wiped dry after each sitting. Arrange the sitter whilst the plate is in the bath, which will occupy about the same length of time. 6* THE AMBROTYPE PROCESS. TIMING THE PLATE IN THE CAMERA. The time required for an ambrotype, will of course vary with the light, sensitiveness of the plate, and power of the camera; consequently no set rules can be given. DEYELOPING THE AMBEOTYPE. This is the most delicate manipulation in ambrotyping. The whole tone of the picture turns upon this point, and not so much depends upon the developer as upon the skill and experience of the operator^ hnowing at what particular moment to arrest the develop^ ment. If continued beyond a certain point the picture, being properly timed, will be frosty and opaque, with fine dots in the shadows like a daguerreotype over-timed. THE AMBROTYPE PROCESS. 68 both in the camera and over the mercury. On the other hand, if arrested too soon, under similar circumstances, before the development is complete, the picture will be thick and dull in the shadows. Hair and drapery wanting in defination. And again, if the development is continued too long upon a plate under-set, its appearance will be harsh, high light, grey and flat, resembling some- what a daguerreotype forced with mercury. We see that there is but little latitude between the maximum and the minimum point in the development of the ambrotype. Therefore it is necessary to watch very care- fully the operation as it progresses. The developer must not be too strong, or the change produced would be too sudden, and its eff*ect upon the plate could not be checked as soon as desirable, or in the anxiety to have it just right, it may be stopped too soon, and in either case the picture would be spoiled as a work of art. Before sitting the plate, pour a sufficient quantity of the developer into a convenient sized vessel — a small-size tumbler answers a good purpose — ready for developing the exposed plate, which should be done with 64 THE AMBROTYPE PROCESS. the least possible delay. The solution should be poured on very gently, but quickly, hold- ing the vessel containing it close to the plate that it may cover the surface evenly and at once. If applied with too much force upon a delicate collodion, it will produce a dark spot where it first touches, much to the detriment of the picture. It must now be evident, as I have stated at the outset, that the process of developing the ambrotype is the most delicate operation connected with the art of photography. And not only is it a delicate operation, requiring much care and practice to produce the finest effects, but one, from its peculiar nature, the most difiicult to describe by mere words. I have, therefore, to elucidate my description more effectually, prepared an illustration which will be found facing page 65. THE AMBROTYrE TROCESS. 65 A DESCRIPTION OF FIG. 3. Fig. 3 represents an ambrotype, the de- velopment of which having been checked at the exact point — washed off, and ready for the clearing solution. This illustration will furnish to the student a very good idea of a positive at this delicate stage of the process. The water upon the glass plate would, of course, give a gloss, and somewhat alter its appearance. The student will, there fore, make an allowance for this, as it would be impossible to give, upon paper, a closer imitation. MEMORANDUM. The original picture, of which this illustra- tion is a careful copy, was made upon a white background ; time in the camera, five seconds; the sitter wore a black suit. The collodion, bath and developer used were the same as I have recommended in the ambro- type process. Similar effects, however, can 66 THE AMBROTYPE PROCESS. be produced with most other processes, if the development is arrested at the proper point. In developing, the face should be the p;tincipal guide, as draperies develope according to their material and color. For example, dark silk velvet developes slowly, whilst white satin, on the contrary, appears almost instantly under the ordinary developer. When the proof is properly brought out, it must be carefully washed in plenty of water, that all traces of iron and acid may be removed. The clearing solution should be used in a flat dish. This part of the process is attended with no difficulty whatever; the time required for clearing varies from one to five minutes, according to circumstances. The best way to judge when a proof is entirely cleared, is to examine it on the obverse side. After clearing it must be washed again in plenty of water, and set away carefully to dry. For this • -purpose nails are driven in the wall a few inches apart, and the plates are set upon them, face inwards. The drying can be hurried with a spirit lamp; yet it is far better to allow them to dry spontaneously. It may be as well to state here that negatives are THE AMBROTYPE PROCESS. 6T benefitted by drying in this way, as heat renders the film tougher, and less liable to become scratched in printing. COLOEING THE AMBROTYPE. Ambrotypes can be colored in the same manner and with the same colors used for coloring daguerreotypes ; there are some ex- ceptions to this rule, among which, are car- mine and the lakes,— the most useful colors, with the daguerreotyper, — but are too light to adhere to the collodion plate, and they do not imitate flesh so closely as they do upon the silver plate, which probably is the greatest objection to their use. The chromes, umbers, raw and burnt seinna, Prussian blue, Indian red and Venitian red, will answer to com- pound all the tints desired for coloring ambro- types. For black — which answers finely for subduing other colors — use lamp-black, made by holding a piece of glass over a fluid lamp. 68 THE AMBROTYPE PROCESS. BRUSHES USED. The brushes for coloring ambrotypes should be of the finest quality of sable, and of various sizes. The points of some should be quite sharp, while others for draperies, &c., may be blunt, but soft and elastic. PUTTING UP THE AMBROTYPE. The very best mode of putting up ambro- types is the following: Lay another glass upon the collodion side, separating them with thin strips of card board ; then seal the edges with a cement composed of beeswax and rosin, in equal parts, melted together, and used while warm. This will secure — without varnishing — the collodion picture much better than any other method. Above all things, if you have any regard for your patrons, never seal with balsam, the hermitically sealing THE AMBROTYPE PROCESS. 69 varnish^ as pictures sealed in this manner fade and blister in a short time. This balsam process, for which a patent has been so foolishly granted, is a cheat upon the public, and should be frowned down, by all honest operators. When the picture requires to be brightened up, seal with gum-demar, dissolved in pure turpentine, which, in time, becomes almost as solid as the glass itself. FOEMUL^ IN THE AMBKOTYPE PROCESS. GUN COTTON. This article can be procured ready manu- factured, yet it is much better that the photo- grapher should understand thoroughly ^ ow to manufacture it for himself, otherwise he may have to put up with an indifferent article, when no remedy is at hand. I will therefore give directions for making it, and explain as far as I am able, all the contingencies attend- ing its preparation : Sulphuric aeid, (C. P.) . . . . * 1 oz. Nitric acid, (CP.) 1 oz. Cotton, (finely carded,) . . . . 80 gr. 70 THE AMBROTYPE PROCESS. Put the acids together in a mortar or bowl, and let it stand for a few minutes until it becomes cool, then put in the cotton, stirring it up until it is fully saturated with the acids, when it should be covered up and set away for five or six hours; turn it over several times during this operation. When the ac- tion of the acids is thought to be sufficient, it is then to be washed in plenty of running water. This should be done very expediti- ously, changing the water several times, to get out the acids, as soon as possible. When all the acid is removed — which can be tested with litmus paper — it should be dryed quickly or washed in alcohol, changing the alcohol two or three times, to be certain that no water remains. In this state, it can be dis- solved in the ether and alcohol, which answers much better than though it had been allowed to dry first. Gun cotton may be tested in the following manner: when perfectly dry, set fire to a small portion of it, and if no ashes is left, the acids have been too strong. If it burns without explosion, like ordinary cotton, leaving a large proportion of black ashes behind, the acids have been too weak. If it explodes quickly like gunpowder making but a THE AMBROTYPE PROCESS. n small portion of coal, then the acids have been of the proper strength, and it will bq, found — if the ether and alcohol are pure — that good collodion will be the result. If the cotton dissolves in the acids, the probability is, that the mixture has been too hot, it should invari- ably be allowed to cool for several minutes before the cotton is immersed. On the other hand, if it burns during the operation, emit- ting red vapor, the acids contain too much water, causing the action to be too violent — sulphuric acid should be kept well corked, as it attracts moisture so readily. Another formulae for making gun cotton : — Refined nitre, ... 3 ozs. Oil of vitriol, . . . 2J ozs. Pulverize the nitre in a mortar, and dry it over a spirit lamp, put in the acid, let it stand a few moments, then put in the cotton, have it well saturated with the acid, and set away, cover up close for five or six hours. Either of these processes will make good gun cotton, and it is difficult for the writer to say which is the better of the two, having been equally successful in making good collodion by both methods. 72 THE AMBROTYPE PROCESS. PLAIN COLLODION. Ether, .... 10 ozs. Alcohol, absolute . . . 6 ozs. Dissolve in this mixture, a sufficient quantity of gun cotton, to make a collodion that will flow evenly over the plate. TO EXCITE POSITIVE COLLODION. Collodion, . . . . 1 oz. Bromide of cadmium, . . .2 grs. Iodide of cadmium, . . .4 grs. These chemicals will readily dissolve in the collodion without first being dissolved in water, which is an advantage, as water pro- duces an injurious efi*ect upon the collodion. THE AMBROTYPE PROCESS. 73 POSITIVE BATH. Water,. . . . . 16 ozs. Nitrate of silver, . . . 1 oz. Iodide of cadmium, about . . 3 grs. Mix these well together and filter: this should be done in the dark. After it has stood a while, test with litmus paper, which should be turned slightly red after an immer- sion of a few seconds, but if it does not, add a few drops of nitric acid until it does. This is the best bath for positives known. Yet the same bath used for negatives, will answer for positives by adding a few drops of nitric acid to the ounce of developer, which, in a measure, will make up for the want of it in the silver bath. Nitrate of silver produces the best positives whilst the acetate of silver gives the most intense negatives. 74 THE AMBROTYPE PROCESS. POSITIVE DEVELOPER. Water, ..... 32 ozs. Proto- sulphate of iron,^. . . 2J ozs. Acetic acid, No. 8, . . , 3J ozs. Alcohol, . . . .2 ozs. Grind the iron in a mortar, filter, and add the acid and alcohol. It has been recom- mended not to add the acid, until just before using, but this I have found, from actual experiment to be a useless precaution. De- veloping solution will be as effective, if not more so, a week old as when first made. CLEARING SOLUTION FOR POSITIVES. Water, .... 16 ozs. Cyanide of potassium, . . 2 ozs. This solution should never be thrown away, as it gets better with age, filter and keep adding cyanide of potassium, as it weakens. After each of these processes of developing and clearing, use an abundance of water. THE KEGATIYE PROCESS. THE NEGATIVE PROCESS. In many particulars the negative process is similar to the positive ; and only so far as it differs, will it be necessary for my purpose to enter into any of its details. The most impor- ► tant difference is in the time of exposure to the light. The collodion bath and developer, are also different, yet a negative can be made by the positive process, and even ambro types have been rendered sufficiently intense to print pretty fair positives from. The glass is prepared with the same care, and in the same manner as for positives; coating and dipping the plate are the same. A negative sufficient- ly intense should be produced in about double the time required for an ambrotype ; hence, it is an easy matter to ascertain the proper time to give one, by first taking an ambrotype and noting the time it took. When a negative is properly timed, the picture will appear almost as soon as the developer is flooded upon its surface. Keep the developer upon the plate until the middle tints of the face are seen by transmitted light, or until it produces no further change which does not generally exceed thirty or sixty seconds. IS THE NEGATIVE PROCESS. CLEARING THE NEGATIVE. For this purpose use the following mixture. Hyposulpliate of soda, . . . . 4 oz. Water, , . 16 oz. Filter before using. This solution can be used over and over again, the proportions are not arbitrary, as it becomes weak add more soda ; this strengthening— ^if the solution is in constant use — will be required every day. The operation of clearing may be hastened in winter by warming the solution. When thoroughly cleared, which may be readily seen by examining the obverse side, it should be washed in plenty of water, and either allowed to dry spontaneously or by means of a gentle heat. Some collodion (especially that which has been made a long time,) is very lia- ble to become scratched in printing, when this is the case, the film should be protected with some suitable varnish, I have found nothing to answer better than bleached shellac dis- solved in dbsoliUe alcohol. Put the shellac in the alcohol, and let it stand for several days ; then pour off the clear, and dilute it about one third with absolute alcohol. To use this, warm the negative very slightly, and pour on THE NEGATIVE PROCESS. 79 the varnish as you would collodion'; set away to dry free from dust, and in a few hours it will be ready for printing ; all negatives, however tough the film, should be protected with varnish, when a large number of copies are wanted. Another plan, although not quite so durable, is to flood gum arable upon the plate whilst it is still wet, after washing. This answers very well when only a small number of impressions are wanted, but not otherwise. Varnish lessens the intensity of a negative, therefore those that are weak should not be varnished. THE PRINTING PROCESS. This is the most fascinating as well as the most particular stage in photography, and like all the preceding ones, much depends upon careful manipulation. In the first place none but the best make of paper should be used ; all experienced operators agree that Saxe's — a German manufacture — is the best, which must be prepared in the following manner : 80 THE NEGATIVE PROCESS. SALTING SOLUTION. Water, 64 oz. Chloride of ammonium, .... 2 dm. Make this solution in a clean shallow dish, run the paper through two or three times, or until it becomes evenly wetted all over, then hang up to dry in a clean place free from dust. Salted paper will last a length of time, if kept flat in a dry place, a port folio answers well for this purpose. The same solution may be used a number of times, it should be filtered before using. When the prints tone up too red, increase the proportion of salt to the ounce of water. AMMONIA, NITRATE OF SILYER. Dissolve one ounce of nitrate of silver in sixteen ounces of distilled water, when dis- solved pour one eighth out into a separate vessel. To the bulk add ammonia drop by drop, until the whole is converted into a dark olive precipitate, which is ammonia of silver. When at this point, watch very carefully, and THE NEGATIVE PROCESS. 81 keep adding the ammonia until the solution clears up without an excess of ammonia. Then add the reserved eighth of silver, which will make it slightly turbid, silver being in excess, which should always be, for preparing plain paper for printing. This solution should be filtered always before using. TO SILVER* THE SALTED PAPER. Lay the paper down, pinning it at each end, on a clean piece of board, made a trifle smaller than the paper, to be silvered. Fix a bunch of cotton upon a glass rod, with this brush the ammonia nitrate of silver upon the paper, use plenty of silver, and brush it evenly and carefully all over the surface. This operation should not be hurried. Cast the eye across the surface and see that there are no dry spots — if any appear, it must be gone over again with more silver. After the paper is silvered, hang it up in a dark place, free from dust and chemicals. And not until it is per- fectly dry will it be fit for printing. The fore- going applies to plain paper only, Albumenised paper is sold ready salted, and should be very 8 82 THE NEGATIVE TROCESS. carefully floated upon plain silver solution for about five minutes. This plain solution is simply, nitrate of silver dissolved in distilled water, sixty grains to the ounce of water. Both of these solutions should be very care- fully filtered before using. PRINTING. The time it takes to print positives, varies from one minute to sixty, according to the light, and the intensity of the negative. A good negative prints slower than a poor one, owing to its intensity — a quality all negatives should possess to a large extent. The student wall soon be able to judge by the appearance of the proof, when it is sufficiently printed. The deep shadows should be of a dark bronze color, to allow for toning. As the positives are printed, they may be laid carefully aside in the dark, and when too late to print, they can then be toned, and washed altogether, which will insure a much greater uniformity of color, than when they are put into the bath, one after the other as they are printed. TONINa AND FIXING. TONING. ON THE PERMANENCY OF PHOTAGRAPHS. A great deal has been said and written upon the fading of photographs. It is now, however, a settled fact, that they are, with the proper treatment, as permanent as any other description of picture. The photo- grapher should bestow his especial attention and greatest care upon this branch of his art. It should be a matter of principle with him, as well as one of business and profit, to have his photographs fixed indelibly. The fixing process given below, will be found, not only durable, but one producing the most brilliant and beautiful effects, and although somewhat more expensive than the old method, it should always be adopted for first class pictures. I will give the manipulation and formulae of this process in the order in which they are to be used. In the first place after the print partakes of the proper tone, which must not be much darker than a 8* 86 THE NEGATIVE PROCESS. jBnished picture, as this mode of toning and fixing, produces very little change upon the printed photograph. It should be immersed in clean water, containing a small quantity of salt, to remove all the chloride of silver — this will require about five minutes — then well wash in plenty of water, and it is ready for the gold bath made in the following manner. GOLD TONING BATH. Chloride of gold, . . . 15 grs. Hyposulphate of soda, . . 90 grs. Water, . ... 24 ozs. Dissolve the gold and hyposulphate of soda separately, in a small portion of the water, then add the gold to the hyposulphate of soda, sha:ke well, add the remainder of the water, and the bath is ready for use^ and will tone several hundred prints. For bright sepia or violet tones, leave the prints in this bath — when new — from five to seven minutes. For the darker or blue-black THE NEGATIVE PROCESS. 8t tones, leave in about ten minutes. When the desired tones are produced, they must be washed again in pure running water for at least five minutes, then carried to the final clearing or fixing-bath. Composed of hypo- sulphate of soda and water. Hyposulphate of soda, . , .4 ozs. Water, . . . . .24 ozs. Immerse the proof in this bath until it looks clear by transmitted light, which usually requires from ten to fifteen minutes, according to the strength and temperature of the solu- tion. From this bath they are again placed in running water over night, face downward. It must be remembered, that during the whole of this operation up to the last soda bath, that the proof is sensitive to light, and should, therefore, be conducted in a darkened room. Besides permanency, this process possesses another and a very great advantage over the other toning baths, which is, that the photo- grapher can print his proof very nearly the tone or shade he pleases without any fear of its changing to any great extent in the opera- tion of toning ; he will, consequently, be care- ful not to print much deeper than he wishes 88 THE NEGATIVE PROCESS. it to be when finished. Experience— dearly bought — has taught me that this is the toning bath. I have subjected prints, treated in this manner, to the severest tests, viz., exposing them for a length of time to the strong sun- light, leaving them all night in a concentrated hyposulphate of soda bath, etc. I have even tried the effect of coal gas upon them, and I am happy to state that this experiment, the severity of which would be ruinous to the ambrotype, had no visible effect upon the photograph, proving that they are, when properly fixed, as indelible as they are beautiful. It is a singular , fact, that neither the daugerreotype nor photograph are perma- nent without chloride of gold, and yet the nature of the two pictures are so very different. As some may desire a less expensive bath, one not quite so complicated, I will give the formulae of one, but cannot speak so positive as to its preservative qualities, as I can of the former. THE NEGATIVE PROCESS. 89 TONING BATH. Dissolve four ounces of hyposulphate of soda in sixteen ounces of water. Saturate this solution with chloride of silver, then dissolve about fifteen grains of chloride of gold in about two ounces of water. Add this dis- solved gold gradually to the hyposulphate of soda, shaking it well to insure an intimate chemical mixture ; then add about four drops of muriatic acid. The older this solution is, the better it will work, that is, if the gold and hyposulphate of soda are kept up. I have known this bath to give fine rich tones — and apparently durable — when it had been in use over two years. The strength of this toning solution should be kept as uniform as possible, by replenishing it every day or two with hyposulphate of soda and chloride of gold, the quantity to be regulated by the number of prints toned daily. I have endeavored to be particular in giving clear and definite direc- tions for toning and fixing, as it certainly is, an important part of photography. Toning 90 THE NEGATIVE PROCESS. with gold is to the^ photograph what gilding is to the daugerreotype, neither would be durable without its agency. WASHING AFTEB TONING. After the photograph is toned, it must be well washed in plenty of running water for at least twelve hours, otherwise it would be likely to fade in a very short time. The face of the print should be turned downwards whilst being washed — hung up to dry, on pins fixed in calks, to prevent staining. MOUNTING THE PHOTOGRAPH ON CARD- BOARD. For this purpose use gum arable and gelatin mixed. Six parts gum arable to one of gelatin, water sufficient to make a thick paste, after it has been boiled down. THE NEGATIVE PROCESS. 91 YARNISHINa THE PHOTOGRAPH. After the photograph is mounted, it may be varnished with this same article, some use the gelatin alone : the great point is to have the varnish of the proper consistence and well strained. Apply with a good brush — hog- hair will be found the best for the purpose. Varnishing should only be applied to plain photographs, those intended to be colored should be rubbed or burnished, which renders the surface much better for coloring. Another plan in use, with some water colorists, is to float the back of the photograph upon a weak solution of gum arable, about one part gum to twenty parts water. This will give a hard- ness to the paper well adapted to coloring. FOMULiE IN THE NEGATIVE PROCESS. FORMULA IN THE NEGATIVE PROCESS. NEGATIVE BATH. Water, . . . . . 12 oz. Nitrate of silver, . . " . . 1 oz. Iodide of ammonia, . . . . 3 gr. Filter and add acetic acid suflBlcient to turn litmns-paper a pale red. TO EXCITE NEGATIVE COLLODION. No. 1. Collodion, . . . . . 1 oz. Bromide of ammonia, . . . 1 gr. Bromide of cadmum, . . . . 1 gr. Iodide of ammonia, . . , . 4 gr. Make these excitants fine, by pulverizing them in a glass mortar, then add them to the collodion, and shake until the collodion becomes colored. Let stand over night and it will be ready for use. The result will be 96 FORMULA IN THE NEGATIVE PROCESS. better if the cotton is put in last, after the ether and alcohol have been excited, with the desired chemicals. NEGATIVE COLLODION. No. 2. Collodion, . , , . . . 1 oz. Bromide of potash, . . . . . 2 gr. Iodide of potash, . . . . . 4 gr. NEGATIVE COLLODION. No. 3. Collodion, . . . . . . 1 oz. Bromide of potash, . . . . J gr. Bromide of ammonia, . . • • J gi*- Bromide of cadmine, . . • • i gi'* Iodide of potash, . . . . 1 gr. Iodide of ammonia, . . . . 2 gr. Iodide of cadmine, . . . . 1 gr. The above I have used and found good ; it is founded upon the idea, that mixed collodion works more smoothly, though I am inclined to think that it is age which gives it this quality. There are a number of other excitants for collodions, such as the iodides and bromides of magnesia, &c., but they have been found upon frequent trials, to be inferior to either of those I have mentioned. FORMULA IN THE NEGATIVE PROCESS. 9Y STRENGTHENING NEGATIVES. Very frequently negatives, owing to the collodion, state of the bath, or want of light, are too weak to print from, the proofs are undefined in the drapery, and without high ^ light in the face. Such negatives may be very considerably improved by submitting them to a chemical process, technically called intensifying^ or strengthening. There are many modes of accomplishing this end, but the fol- lowing I have used in preference to any of the others : Water, . . . . . 16 oz. Sulphuret of potassium, . . . 2 oz. This solution is poured freely upon the negative, and kept in motion, after it has been cleared and washed, but before it is dry. It may be done even after it has been dried, by wetting it again. Although it is attended with some little risk, being apt to stain or split and peal off. The first application of this intensify er has the effect of making the negative appear more positive; that is, the 98 FORMULA IN THE NEGATIVE PROCESS. picture is seen more distinctly by reflected light. Keep on the solution until this posi- tive appearance disappear, w^hich w^ill seldom exceed five or six minutes ; wash afterwards in plenty of water^ and set up carefully to drain and dry. THE NEGATIVE PROCESS. 99 HINTS TO BEGINNERS IN THE NEGATIVE AND POSITIVE PROCESS. Too much ether in collodion retards the ac- tion of light, whilst alcohol in excess facihtates it. A plate takes longer to excite in the silver bath when ether is in excess, but it does not require so long to set ready for the bath, as when alcohol predominates. I have seen it somewhere recommended to thin collodion in summer with alcohol only. This I think is a mistaken idea, as collodion must contain a certain proportion of ether^ and if it evapo- rates faster in warm weather — which it does- leaving the alcohol behind, it is the ether and not the alcohol which should be added. The best method of thinning, is with a thin collodion properly excited. A collodion which has been prepared for several days, will give the most intense nega^;ives, and the prints will be much finer. When a negative or positive developes slowly, the sitting has been too short, and the developer should in consequence be kept on a 100 THE NEGATIVE PROCESS. much longer time than usual, although the full effect cannot be produced by this means. An ambrotype slightly over-timed and under-developed, produces a transparent pic- ture, under-timed and over-developed produces a picture somewhat resembling an ivory min- iature. When the film is thick and tough, inclining to wash off the plate in the silver bath, thin with alcohol. Ether makes the collodion tough, and alcohol rotton ; therefore, when the collodion is thick, having no dispo- sition to leave the plate, add ether. FOGING The most common causes for foging are light getting upon the plate, either before or after sitting, or want of acid in the bath, the operator can easily ascertain which of the two is the cause. THE NEGATIVE PROCESS. 101 STREAKS AND SPECKS. Streaks upcn the plate are more frequently caused by carelessness in the manipulations than in the quality of the chemicals. The following may be named as some of the most likely causes. First. The plates not being properly cleaned. Second. Taking the plate out of the -bath before the ether has been washed away or dipping before the collodion is sufficiently set. Third. The developer not being poured on evenly at first Fourth. Too much water in the collodion. Fifth. The bath too neutral. Sixth. The plate shield being dirty, the shield should be wiped quite dry after each sitting. Specks are of frequent occurrence, especially when new collodion is used, then it is caused by loose particles floating in the collodion, it should be allowed to settle for several days, then decant and set carefully away for use. 102 THE NEGATIVE PROCESS. HINTS UPON SILYEE BATHS. The silver bath should be very frequently filtered and kept free from dust; flooding answers a good purpose also, but does not do away with the necessity of filtering, when the bath becomes too alkaline, which will be the case if the ammonias are used as excitants. Add a few drops of acetic acid for negatives, and for positives a few drops of nitric acid. If by any cause it should become too acid, add pure aqua ammonia, until it becomes neutral, and then put in the proper quantity of acid desired. Another method, and probably a much better one, although attended with more time and trouble, is to heat the solution over a slow fire, and add to it whilst it is warm oxide of silver, until it becomes neutral. Then, if too much nitric is present, the oxide will be con- verted into the nitrate of silver, and on the other hand if too much acetic acid is present, acetate of silver will be formed in the shape of needles, which can be filtered out, and reduced THE NEGATIVE PROCESS. 103 to metallic silver. Baths should be filtered very carefully through two thicknesses of paper, and flooded, if used much, every day or oftener. "When the bath becomes weak, add nitrate of silver, dissolved in a small quantity of water. Another very simple method of reducing the proportion of acid or alkali in the nitrate bath, is to add to it nitrate of silver dissolved in a small quantity of water. In conclusion, I will repeat in substance what I have said at the commencement, that success depends more upon a thorough ac- quaintance with one set of formulae, than having a general knowledge of all in use. If the student, keeping this fact in view, is observing, and carefully attend to the directions I have given, however imperfectly they may seem to those who adopt a difi*erent course, he will find photography to be an easy and a fas- cinating study, highly worthy of his leisure time and talents. NOTICES OF THE PRESS OP SIMONS' BOOK ON COLOEING PHOTOGRAPHS. Instructions for Coloring Photographs. — M. P. Simons, photographer, of this city, has issued a small volume intended to instruct students in the art of color- ing photographs. The instructions are very full and clear, both in reference to the preparation of the colors and the manner of working them. The proper flesh tints are prepared upon an engraved palette, set in as a frontispiece to the volume, and every tint is, in the directions, alluded to by the number. With very little practice in water-color painting, the student will find, with the aid of these instructions, that he will soon be able to produce a satisfactory portrait, having a photograph ground-work. — Ledger. well written and useful book."- Christian Observer. Instructions for Coloring Photogaphs. — Recent improvements in the heliographic art have astonished us by the fidelity of the likenesses produced, and the photograph is, perhaps, the highest development of the art yet given to the world. All that seemed wanting to make photographic portraits perfect was to invest them with the flesh tints of nature, instead of the mere 10 106 NOTICES OP THE PRESS. black and white as are produced in the camera. This has been attained both in water colors and India ink ; and by their agencies we are enabled to obtain life-like miniatures, which cannot partake of the perishable qualities of the common daguerreotype. To meet a great public requirement, Mr. M. P. Simons, one of the most successful operators in our city, has prepared a little volume of Plain Instructions for Coloring Photo- graphs in Water Colors and India Ink, with a Palette of Flesh Tints and Explanatory Notes." By a study of this very practicable work, any one may color photo- graphs as an amusement or the means of livelihood. We recommend it to public attention. It is published in the most attractive typographical form from the press of T. K. & P. G. Collins.— Kmes. This work appears to furnish the valuable practical information needed by young photographers. A great change is taking place in portrait painting by the use of photographs as a base. Mr. Simons seems to under- stand his art well. We have seen some very fine speci- mens from his establishment. — Freshyterian Quarterly Review, The Art of Coloring Photogaphs. — Mr. Simons, of our city, has published a second edition of his excellent little book of instructions in the art of coloring Photo- graphs. The palette of colors which is given, and the clear manner in which their use is taught, will enable any lady who has taste, and some skill in painting, to color Photographs in almost any style. The book fills its place admirably. — Home Magazine, NOTICES OF THE PRESS. 107 Plain Instructions for Coloring Photographs IN Water Colors and India Ink ; with a Palette of Flesh Tints, and notes and explanations. By M. P. Simons. Philadelphia : T, K. & P. G. Collins. Just the manual that is wanted. There are hundreds of young ladies with taste and skill in coloring, who, by the aid of this little book, can apply that taste and skill to the coloring of Photographs, either as a means of earning money, or as an elegant accomplishment. The instructions here given are minute and ample, apparently covering the whole ground. — T. S, Arthur^ s Home Magazine, " Must proVe of great use to Amateurs and Photo- graphers." — Pennsylvania Inquirer. Price, One Dollar, can be had of all Photographic Material dealers. M. P. SIMONS, No. 922 Chestnut Street, below Tenth Street, Philadelphia. W. A. WETHERBEE, M. D., No, 1099 Broadway, corner 32 d Street, New York, TAYLOR & WETHERBEE, Corner of Ninth and Chestnut Streets, Philadelphia, Have constantly on hand and for sale, at Wholesale and Retail, every variety of Photographic and Daguerrean Chemicals, consisting, in part, of the following : ACID, ACETIC, « " GLACIAL, « " 8d BAUME, " GALLIC, « HYDROCHLORIC, " NITRIC, « PYROGALLIC, « SUCCINIC, " SULPHURIC, ALCOHOL, ABSOLUTE, AMMONIA, AQUA, « HYDROSULPHATE, " BROMIDE, « IODIDE, BARIUM, CHLORIDE, « NITRATE, BROMINE, CADMIUM, CADMIUM, BROMIDE, " IODIDE, DEXTRINE, ETHER, SULPH. CONCEN. 10* GOLD CHLORIDE, " HYPOSULPHITE, GUN COTTON, IODINE, " BROMIDE, " CHLORIDE, IRON, BROMIDE, « IODIDE, " PROTO-SULPH. CRYS. POTASSIUM, BROMIDE, CYANIDE, GRAN. « " FUSED. " IODIDE, SILVER, CHLORIDE, " CYANIDE, « IODIDE, " NITRATE, CRYS. « OXIDE, SODA, HYPOSULPHITE, SODIUM, BROMIDE, " IODIDE, ZINC, IODIDE. HENRY BIESTER'S WHOLESALE AND KETAIL PLAIJT & ORFAMENTAL GILT LOOKING-GLASS AND kinxt Jframe ^stabli^ment, No. 804 MARKET STREET, PHILADELPHIA, Pa. H. B. most respectfully calls the attention of Photographers and Dealers, to his large assortment of Plain and Ornamental Gilt and Oval Frames for Photographs, Daguer- reotypes, Ambrotypes, &C.5 which are not to be exceeded in design or cheapness. Orders punctually attended to, and goods sent to any part of the Country. JOSEPH A. SPEEL'S MOMl BOOl BINDER!, COWPERTHW AIT'S BUILDING, CHESTNUT ABOVE SIXTH, Entrance No. 10 Carpenter Street. Publishers and Booksellers who are getting up large editions of sheep and muslin work would do well to give him a call before making their contracts for Binding. The extraordinary facilities he has for the speedy and perfect completioa- and finish of all work undertaken by him, place this Establishment second to none in the United States. Forty thousand copies of that interesting and beautiful book, Kane's Arctic Explorations," were bound by the Proprietor, to the entire satisfaction of the publishers, sub- scribers, and purchasers. Booksellers and others visiting Philadelphia are respectfully invited to call and examine this Model Bindery," which, in all its arrangements and appointments, is believed to be so perfect as to stand without a rival. He has also bound the two large editions of Simons' work on Coloring. MANUFACTURER OF ALL KINDS OP AND OVAL BLACK FRAMES. A very beautiful article for framing Pho- tographs, &c. The attention of Dealers is earnestly solicited. Samples will be sent by express on application, at Wholesale prices to Dealers only. E. MASSE, No. 201 North Eighth Street, Philadelphia, Pa. OPTICAL, MATHEMATICAL & PHILOSOPHICAL INSTRUMENTS. Glasses, Telescopes, Magic Lanterns, MX6B.0S60Paes. Microscopic Photographs containing the Lord's Prayer, Creed, Ten Commandments, Declaration of Independence, Groups, Scenery, copies of Aticient Letters, &c. ; each not over one sixteenth of an inch in size, and yet can be read distinctly with the Microscope — Microscopic objects, such as portions of Insects, sections of Wood, Bone, Teeth, Foot, Wing, Eye, &c., of Fly, Bee, Wasp, and various other objects. Stereoscopes of the most approved construction, made of Mahogany, Rose Wood, &o. Views for the same on glass or paper, consisting of the Marriage Ceremony, Pic-Nic Party, Tight Shoe, Ghost, English Scenery, and an almost endless variety of subjects. Families, Schools and Colleges supplied with apparatus on the most favorable terms. Illustrated and priced catalogues gratis, No. 924 Chestnut, near Tenth Street, Philadelphia, BRIif Ol BOIRD (for mounting photographic pictures,) for sale by A. M. COLLINS^ CARD WAREHOUSE, No» 506 Minor Street, Philadelphia. Samples furnislied, if desired, and extra sizes made to order at short notice. Dealers should examine our stock, whicli, for quality and cheapness, is not surpassed. We, the undersigned, take much pleasure in adding our testimony to the superior quality and finish of the BRISTOL BOAKD, (for mounting Photographic Pictures) as above named, and can recommend them with confideiice to the use of all Photographers and Artists: Jas. E. McClees, 626 Chestnut Street. W. L. Germon, 702 Chestnut Street. Walter Dinmore, 730 Chestnut Street. Broadbent & Co., 814 Chestnut Street. ; /