I^lintogrnpljir fflatiiptlntinti. 
 
 THE 
 
 WAXED PAPER PROCESS 
 
 (JUSTAVE LE GRAY 
 
 TUANSLATKD FROr^I Till] FIIKNCIJ. 
 
 LONDON : 
 
 PUBLISHED BY GEORGE KNIGHT AND SONS, 
 FOSTER LANE, CHEAPSIDE. 
 
^^ntngmpljir jaatiiplatinti. 
 
 THE 
 
 WAXED PAPER PROCESS 
 
 OP 
 
 GUSTAVE LE GRAY. 
 
 TRA.NSLATED FROM THE FRENCH, 
 
 LONDON : 
 
 PUBLISHED BY GEORGE KNIGHT AND SONS, 
 FOSTER LANE, CHEAPSIDE. 
 
 M.DCCC.LV. 
 
The following translation of the admirable process of M. 
 Gi3 STAVE LE Gray, it is hoped, will not be unacceptable to the 
 lovers of the Photographic art. In order to render it as concise 
 as possible, the translator has left out several paragraphs, which, 
 though in the original, he considered unnecessary. He trusts, 
 however, that nothing of importance to the carrying out of the 
 processes with entire success has been omitted by him. 
 
 In respect to the weights and measures, the ounce is the 
 avoirdupois of 480 grains, and the pint the imperial of twenty 
 ounces. 
 
PREFACE 
 
 TO 
 
 SECOND EDITION. 
 
 Amongst the discoveries of the present day, Photography 
 may be considered as the one likely to render the greatest 
 service to art. 
 
 Its influence upon painting must be considerable, for at the 
 same time that it removes many difficulties with which the 
 artist has to contend, it raises the public taste by accustoming 
 them to view nature in all her fidelity, frequently accompanied 
 with exquisite taste and sentiment. 
 
 Since its first discovery. Photography has made rapid pro- 
 gress, especially as regards the instruments employed in its 
 practice, it now remains for the artist to raise it to its proper 
 position among the fine arts. 
 
 It is my belief that the future success of Photography rests 
 entirely on the paper process ; and I cannot, therefore, too 
 strongly recommend the amateur to direct his attention to 
 this branch of the art. He will obtain upon paper as much 
 finish and more artistic efiect than upon glass. The pictures 
 upon the latter are certainly very fine but artistically hai d, 
 and give often a false appearance as regards the tones of the 
 lights and shadows, not afibrding an impression true to 
 nature. Pictures upon glass by the aid of Collodion, ofi*er 
 
 B 2 
 
iv 
 
 some advantages in the rapidity of the action and exquisite 
 finish ; this is of great importance in portraiture, but its 
 fragility made me abandon it after the discoveries I made in 
 1849. 
 
 The success of my process rests entirely on the fabrication 
 of the paper. By the carrying out the method of preparation 
 which I have laid down in the following pages, a good picture 
 cannot fail to be the result. I think every one will agree with 
 me that the paper process is far more agreeable, more con- 
 venient for travelling, lighter to carry, and not fragile like 
 glass. I consider the results hitherto obtained by the glass 
 process cannot for one instant counterbalance the advantages 
 possessed by the paper. 
 
 GUSTAVE LE GEAY, 
 
PREFACE 
 
 THIED EDITI a JST. 
 
 Since the publication of my former treatise, Photography 
 has undergone but little change ; experience, however, has 
 improved some of the details, and the result of these modifi- 
 cations may be found useful to amateurs in this delightful 
 art. 
 
 There are fev^^ inventions which have been carried to such 
 perfection in so short a space of time as Photography — its 
 rapid progress, its immense popularity, are generally acknow- 
 ledged ; there is yet, however, much to be done. One 
 important branch still remains imperfect — the fabrication of 
 paper; and, notwithstanding the efforts of several clever 
 individuals, no better result has as yet been obtained; it is to 
 be hoped that, from the numerous applications of this neces- 
 sary article in Photography, it will be considered as an 
 especial branch of trade. 
 
 It is not at all doubtful that Photography will in some 
 respects re-place engraving and lithography. The transfer of 
 photographic proofs on to engraving plates and lithographic 
 stones will produce this result on an economical principle ; 
 and though the efforts have been as yet unsuccessful, they 
 are sufficiently promising to ensure an eventual triumph over 
 
vi 
 
 the whole methods of engraving. Many artists, foreseeing the 
 advantages to be derived from Photography, have initiated 
 themselves in its mysteries, and have become the most skilful 
 operators — their v^orks are to be distinguished among a 
 thousand others ; and this confirms me in the opinion I have 
 so often expressed on the subject, namely, that it is in the 
 hands of the artist that the invention of Daguerre must 
 obtain a complete triumph ; the artist alone has the power of 
 producing good result ; he can discriminate as to which parts 
 of the picture should be sacrificed, or which brought out, can 
 produce a more powerful shadow, or a clearer light, give an 
 effect of softness or vigour, and all from copying the same 
 model. It is thus that an artist can obtain a perfect work 
 of art from an instrument capable of producing such a variety 
 of effects, since he alone intuitively understands what will 
 best produce the object he wishes to effect. 
 
 GUSTAVE I.E GRAY. 
 
 Paris, April 20ihy 1854. 
 
PHOTOGRAPHIC MANIPULATION. 
 
 PRELIMINAHY PREPAKATION OP THE NEGATIVE PAPER, 
 OR WAXING PROCESS. 
 
 1. The object obtained by tbis process is tbe filling up 
 conypletely all tbe pores of tbe paper, by tbe introduction of 
 wax. 
 
 Tbe paper wben tbus prepared assumes tbe appearance 
 and strengtb of parchment; and after tbe development of 
 tbe image, it does not require to be again waxed to obtain a 
 positive picture. 
 
 2. Take a large daguerreotype plate, or similar piece or 
 plated metal, and place it horizontally on a stand. Warm 
 it by passing a spirit lamp under it, or it may be beated 
 more equally b}^ a water batb ; pass tben over its surface a 
 piece of wbite wax ; wben a good layer of melted wax bas 
 tbus been obtained, place a sbeet of paper on it, and facilitate 
 tbe adbesion by means of a card. Wben tbe paper appears 
 completely saturated, remove and place it between sbeets of 
 ])ibulous or blotting paper, over wbicb pass a moderately hot 
 iron, in order to absorb any excess of wax ; as it is essential 
 that the wax should be equally spread through the body of 
 the paper, and that none should remain on tbe surface. A 
 sheet of well prepared paper, when held up to tbe light, 
 should not show any shining spots or patches on its surface, 
 
8 
 
 but be uniformly transparent. Care should be taken that the 
 iron is not too hot. Thin paper is preferable for this process. 
 
 3. We may here mention some of the advantages of the 
 waxed paper process. From the great transparency of the 
 paper, we are able, when applying the sensitive solution, to 
 perceive any air-bubbles that might rest on its under surface; 
 and in the developing process, the negative may be allowed 
 to remain a very long time in the gallic acid without fear of 
 injury. I have occasionally left pictures three days in the 
 gallic acid without any detriment to them ; but the greatest 
 advantage which this process possesses, is that the sensitive 
 paper can be used dry, and kept several days without injury 
 to its sensitiveness. By this process the dark parts or shadows 
 in the picture are well defined, even when thin paper is 
 employed, which it is impossible to obtain by any other 
 method. 
 
 4. When the paper is immersed in the bath of iodide of 
 potassium, the solution penetrates completely into the wax 
 and takes from it the greasy appearance, and allows the 
 various preparations that follow to flow evenly. The paper 
 should remain from half an hour to an hour in the iodide 
 solution, according to the thickness of the paper, in order 
 that the wax may be perfectly saturated. On removing the 
 paper from the iodide solution and drying it, it assumes a 
 violet tint, the result of some combination of the iodine with 
 the wax ; and this is so far convenient, for the time for 
 immersing the iodized paper in the aceto-nitrate is just so 
 long as to remove this violet tint. 
 
 FIRST OPERATION. 
 
 PREPARATION OF THE NEGATIVE PAPER. 
 
 5. Boil 7 oz. of rice with 320 grains of isinglass in 6 pints 
 of distilled water, in a porcelain or glass vessel ; the grains 
 
of rice should only be slightly broken, so that the liquid 
 obtained is not rendered sticky by an excess of starch, but 
 contains only the glutinous portion of the rice ; the whole is 
 then to be strained through a piece of fine linen. 
 
 6. To prepare the first bath, in which the waxed paper is 
 to be immersed, dissolve in 2 pints of the rice water the 
 following — 
 
 When all are dissolved, filter the solution through fine 
 linen, and preserve the clear liquid in a bottle for use. 
 
 This preparation will keep perfectly good for a long time, 
 and may be used to the last drop ; in cold weather, it is 
 better to slightly warm the solution before using it. To 
 prepare the paper, pour into one of the photographic dishes 
 a quantity of the solution, to the depth of one inch or more ; 
 plunge into this sheet after sheet of the waxed paper, taking 
 care to remove all air-bubbles that may form; fifteen to 
 twenty sheets may be thus immersed, and they may be left 
 in from half an hour to an hour, according to the thickness 
 of the paper employed. Now turn the whole mass ; and 
 commencing with the first sheet that was put in, take them 
 out one by one, suspending them to a line by means of a 
 bent pin attached to one of the corners, and allow them to 
 dry. A roll of blotting paper applied to the angle where the 
 drops fall will facilitate the drying. 
 
 The following solution will give a greater degree of sensi^ 
 bility to the paper, but thus iodised it will not keep so long--^ 
 
 Sugar of Milk 
 Iodide Potassium 
 
 Cyanuret do. 
 Fluoride da 
 
 Rice Water , . 2 pints, 
 Sugar of Milk . . Ifoz^ 
 Iodide of Ammonium j 
 
 B 6 
 
10 
 
 7. English and French papers should not be prepared in 
 the same solution. 
 
 The paper being dry, is to be cut to the size required, and 
 kept in a portfolio for use. 
 
 8. The paper thus prepared should have a slight tint of 
 violet, this tint is very easily obtained with an old solution 
 as such solution possesses an acidity which sets the iodine 
 free. 
 
 The same result is to be obtained with a solution freshly 
 prepared, by adding to it a small portion of pure iodine, 
 about one grain to the quart. 
 
 9. This paper being nearly insensible to light, it can be 
 prepared in the day; however, too long an exposure to a 
 strong light will decompose the iodide of potassium, and 
 precipitate the iodine upon the starch of the paper ; it is, 
 therefore, much better not to expose it to a strong light. 
 
 10. This paper will serve either for landscapes or portraits, 
 it gives good modulations of tone and intense blacks. 
 
 11. The liquid which remains after having taken out the 
 paper should be corked up in a bottle ; it may be used to 
 the last drop, but should be filtered previously. 
 
 12. There may be added with advantage to this solution, 
 two whites of eggs beaten up to each quart. 
 
 SECOND OPERATION. 
 
 METHOD or RENDERING THE IODISED WAXED PAPER SEN- 
 SITIVE, AND PIT POR USE IN THE CAMERA. 
 
 13. Prepare in the dark, or by the light of a single candle, 
 the following solution in a bottle, with a ground stopper. 
 
 Distilled Water 10 oz. 
 Nitrate Silver 320 grains. 
 Acetic Acid . | oz. 
 Animal Charcoal ^ „ 
 
11 
 
 When the nitrate of silver is dissolved, add the acetic acid, 
 after which the animal charcoal. 
 
 The bottle is to be well shaken, and the solution then left 
 to settle ; the clear liquid may in about half an hour be 
 poured off and filtered, when it is ready for use. 
 
 14. The animal charcoal remaining in the bottle is to be 
 preserved, to decolorize the aceto-nitrate, should it become 
 discoloured by the iodised paper in a subsequent operation. 
 Care must be taken that all crystals formed at the bottom of 
 the bottle be re-dissolved. 
 
 15. The above quantity of solution is calculated to render 
 sensitive twenty sheets of paper, 10 in. by 14 in.; if a larger 
 number be used, the sensitiveness will be lessened. 
 
 16. Two flat porcelain dishes are now to be perfectly 
 cleaned ;* into one is put a sufficient quantity of the aceto- 
 nitrate of silver to cover the bottom to the depth of four-tenths 
 of an inch, into the other distilled water. Upon the first dish, 
 viz. the aceto-nitrate, is placed a sheet of the iodized waxed 
 paper ; the upper surface of the paper being pressed (by 
 means of a suitable brush) so as to bring it into contact with 
 the liquid, removing all air-bubbles that may form on the 
 under side. It is left in this bath four to five minutes ; 
 should the iodized paper be tinged with violet, it may be 
 removed as soon as it changes to white, as it will then have 
 received its maximum of sensibility. 
 
 17. The paper, being removed from the nitrate of silver, is 
 placed in the second dish, viz., that containing the distilled 
 water ; care being taken to remove all air-bubbles with 
 another brush, which must be kept distinct. 
 
 Ten sheets may be prepared in the nitrate of silver dish, 
 without re-filtering the solution, and may be placed one over 
 the other in the distilled water. The sheets are then to be 
 removed, by means of the brush or brushes, into a second 
 
 * For this purpose the Papier Joseph will be found very convenient. 
 
12 
 
 basin, and fresh distilled water poured upon them ; should 
 the paper have to be kept for any length of time, it should 
 receive an extra washing. 
 
 18. It is desirable to preserve these separate waters for 
 uses we shall presently explain. (§ 33.) 
 
 Take out the paper sheet by sheet, dry it between some 
 perfectly clean thick blotting paper, afterwards preserve it in 
 another case of blotting paper ready for use. 
 
 19. Some operators imagine that the sensitiveness of the 
 paper is destroyed by washing it in the way recommended, 
 but this is not the case ; the sensibility being given by the 
 iodide of silver which is formed in the paper, and is insoluble 
 in water. 
 
 2d. These washings only remove the aceto-nitrate of silver, 
 which by its causticity destroys the paper and blackens it 
 even in the dark. 
 
 Any one may convince himself af this by observing the 
 paper filters which have served for the aceto-nitrate of silver, 
 and which become black after some days even in the dark 
 chamber where light never enters. 
 
 21.. This paper should not be dried by suspending it, being 
 liable to spoil by so doing when in the gallic acid ; it is 
 better placed between blotting paper, putting alternately a 
 sheet of prepared and a sheet of blotting paper. 
 
 22. By keeping the paper from the light, it will preserve 
 its sensitiveness for a fort night . 
 
 23. This process will be found very convenient for the 
 tourist; since it dispenses with the manipulations, so incon- 
 venient to practise away from home ; it being sufficient to 
 carry some frames furnished with sheets of prepared paper, 
 and a portfolio well-closed, which should contain, in addition 
 to the sensitive paper, compartments in which to put it after 
 exposure ; on returning home in the evening or following 
 morning the pictures should be developed. 
 
 24. The paper prepared bj the waxed process is quite as 
 
13 
 
 sensitive as by the wet one, but the pictures require a longer 
 time to develop in the gallic acid, 
 
 25. However short a period the paper may have been 
 exposed to the light still an image will have been formed, 
 and it will only require a sufficient time, in the gallic acid, to 
 develop the image. 
 
 I am of opinion that the image is formed the moment the 
 rays of light reflected from the object strike the sensitive 
 paper. All amateurs should direct their attention to this 
 particular point, and seek to discover an agent to develop the 
 latent image with increased power. 
 
 Thus, to give an example ; I took two pictures of the same 
 view, exposing the paper in the first instance twenty seconds, 
 and in the second fifteen minutes ; the result was the same, 
 but the first, in order to be fully developed, required to be 
 twenty-four hours in the gallic acid, whilst the second was 
 fully brought out in an hour. 
 
 26. Since I have adopted this dry process I have scarcely 
 ever failed in a picture, so I can with confidence recommend 
 it. Amateurs may find at first a little difficulty in the 
 manipulation, from its being totally difierent from the pro- 
 cesses in general use ; but with a little perseverance they 
 will soon be convinced of its superior advantages. 
 
 27. The dirty and smeary appearance which the waxed 
 paper frequently assumes in the gallic acid, and even after 
 the picture has been dried, is of no consequence, as this com- 
 pletely disappears, and the picture becomes perfectly trans- 
 parent after the wax has been re-melted, by exposing the 
 negative to a sufficient degree of heat ; this process should 
 always be adopted, being superior to re- waxing. (§ 46.) 
 
 28. Ten sheets being finished, return the aceto-nitrate of 
 silver into the bottle, containing the animal charcoal, agitate 
 all together, and leave it an instant to settle; then re-filter it, 
 and prepare a further ten sheets (more or less) as maybe wanted. 
 
 When the aceto-nitrate of silver has served to prepare the 
 
14 
 
 proper quantity of paper, and is consequently exhausted, the 
 remainder may be made useful, by pouring into it some 
 chloride of sodium. A precipitate of chloride of silver is 
 obtained, which serves, as I shall explain, to improve the 
 hyposulphite of soda, enabling it to give finer tones to the 
 pictures. 
 
 THIRD OPERATION. 
 
 EXPOSING THE SENSITIVE PAPEK IN THE CAMERA. 
 
 29. Place the paper very smoothly in the dark slide, if a 
 double one, with a piece of bibulous paper between the two, 
 obtain a good and perfect image on the ground glass, focussing 
 upon a middle object, one neither too near nor too distant. 
 As to the time of exposure, experience only can determine 
 it, though much of the beauty of the picture depends upon it. 
 
 30. For a portrait and using a compound lens, I find thirty 
 seconds to one minute in the shade generally sufficient, and 
 from tenjo^jhi^^ seconds in the sun ; for views and with a 
 single lens and a diaphragm of | in. to | diameter, from thirty 
 seconds to twenty minutes in the sun, though much of course 
 depends upon the object. 
 
 31. Heat, which is one great cause of acceleration, when 
 operating by the wet process, has very little influence in this 
 dry one. Thus by warming the slate upon which the prepared 
 wet paper is placed, you operate much quicker, but the lens 
 must be warmed also ; if not, it will be covered with vapour, 
 which will prevent the formation of the image. When 
 operating in the sun this vapour will often form ; in this case 
 the lens must also be warmed, taking care to wipe it if neces- 
 sary. This inconvenience is sometimes obviated by placing a 
 white handkerchief over the camera, when the sun strikes too 
 forcibly on it; the rays will thus be reflected and not heat the 
 camera. 
 
 32. The exposure in the camera being finished, the image 
 
15 
 
 is but slightly apparent, and is only developed by the follow- 
 ing operation, which can be done at once or left for one or 
 two days or even longer. 
 
 I have often developed the picture ten days or a fortnight 
 after the exposure in the camera, and have obtained a very 
 good result. 
 
 FOURTH OPERATION. 
 
 DEVELOPING THE IMAGE. 
 
 33. The solution of gallic acid will not keep, it must there- 
 fore only be made when required. 
 
 Weigh up several packets of gallic acid of 7^ grains ; put 
 into a flat dish from half a pint to a pint of the water used 
 for washing the negative (§ 18), and which consequently 
 contains a small quantity of aceto-nitrate of silver, put one 
 or two of the packets of gallic acid into it, stir the whole 
 together, and then plunge the negative picture in, so that 
 both sides be well covered. 
 
 34. The development of the picture is readily seen even 
 through the thickness of the paper, it may be left from ten 
 minutes to one or two hours, and sometimes even longer, 
 until it is fully developed. It is then to be taken out quickly, 
 and put into another dish to wash it, rubbing it lightly on 
 the back with the finger or brush, to remove the crystalline 
 deposit, which might spoil it. The grey tint which the wax 
 picture takes, whilst remaining in the gallid acid, is of no 
 consequence, as it totally disappears afterwards, and the 
 lights and shades are beautifully developed. 
 
 35. The tone which the negative takes in the gallic acid 
 will enable the operator to judge whether the time of expo- 
 sure in the camera was sufficient. If it becomes immediately 
 dark grey all over, (examined of course by being held up to 
 the light,) it has been exposed too long in the camera. 
 
16 
 
 36. If the strong lights, which should be the deep blacks, 
 of the negative, are not darker than the half tints, the expo- 
 sure has still been too long. If, on the contrary, the time of 
 exposure has been too short, the lights alone will he faintly 
 marked in black, the picture will not be modified, but equal 
 all over. 
 
 If it has been the proper length of time, a superb negative 
 is obtained, which will present the contrasts of light and 
 shade very distinctly. 
 
 A first proof will serve to regulate the time of exposure in 
 the camera in future. 
 
 37. It wonderfully accelerates the operation of developing, 
 if the gallic acid is warmed, A very simple apparatus may 
 be used : it consists of a water bath, which, by means of a 
 spirit lamp, is kept at about 120 degrees of temperature; 
 upon this rests the dish of gallic acid ; an equal temperature 
 is thus obtained. 
 
 The negative being fully developed to the satisfaction of 
 the operator, it is removed into another bath of clean water. 
 
 38. If spots should form, produced by the oxide of silver, 
 they may be removed by pouring over the negative some 
 acetic acid, passing a brush lightly over it. 
 
 FIFTH OPERATION. 
 
 FIXING THE NEGATIVE. * 
 
 59. Make in a bottle the following solution — 
 
 Filtered water . 24 oz. 
 Hyposulphite of soda 3 „ 
 
 Put this in a dish to the depth of two-tenths of an inch, 
 plunge the negative completely in, payiag great attention to 
 remove all air-bubbles. 
 
 The hyposulphite of soda removes all the salts sensitive to 
 
17 
 
 light, but has no effect on the gallate of silver, forming the 
 dark part of the picture. 
 
 Only one picture should be placed at the same time in this 
 batb, though the sohition may be used for many in succes- 
 sion. 
 
 The hyposulphite may be preserved in a bottle, the clear 
 portion being filtered for use, and will be found preferable 
 for weak proofs. 
 
 40. On examining the proofs some time after they have 
 been in the bath of hyposulphite, the operator is tempted to 
 think they are spoiled, because the iodide of silver, which 
 has a pale yellow tint, being completely taken out in some 
 places, and remaining in others, forms spots destroying to all 
 appearance the image ; but by waiting till all the iodide of 
 silver is completely removed, which is seen by the yellow 
 tints disappearing, the whiteness and transparency of the 
 picture, as well as the beauty of the shadows, are fully 
 developed. 
 
 41. If the negative remain too long in the hyposulphite, 
 it will lessen the intensity of the blacks ; too much attention 
 cannot be paid to this operation. 
 
 42. The picture must now be washed in several waters, 
 then left in a large basin of water for about half an hour, in \ 
 order to remove all trace of the hyposulphite of soda ; it is ; 
 then dried between blotting paper. 
 
 43. The proof thus fixed is unalterable by light, since 
 there only remains in the paper the gallate of silver. 
 
 I have some negatives thus prepared which have served me 
 for taking from 200 to 300 positives, the last being as perfect 
 as the first. 
 
 44. Fixing the negative by bromide of potassium. This 
 method, though far inferior in point of permanence to hypo- 
 sulphite of soda, nevertheless possesses some advantages, 
 especially to the tourist ; as by means of it he may fix his 
 negatives temporarily, and avoid soiling his hands with the 
 
18 
 
 hyposulphite of soda, of which he cannot be too careful. A 
 solution being made by dissolving f ounce of bromide of 
 potassium in 2 pints of water several pictures may be put in 
 together. After being removed, they are to be washed in two 
 or three waters, and dried by blotting paper. They are now 
 sufficiently fixed for a time, and may be finally finished by 
 the hyposulphite of soda on returning home, or at the artist's 
 leisure. 
 
 For pictures too strongly developed or spotted with me- 
 tallic deposits, the following is a preferable solution to the 
 bromide of potassium ; great care, however, is necessary in 
 well washing them after the bath. 
 
 Cyanide of Potassium 300 grains. 
 Distilled water . . 2 pints. 
 
 45. Positives should not be printed from negatives thus 
 fixed till after the final fixing. 
 
 SIXTH OPERATION. 
 
 KENOVATING THE TRANSPARENCY OE THE WAXED NEGATITE. 
 
 46. After the preceding operations the negative has fre- 
 quently a streaky appearance. 
 
 To remove this, hold the negative to the fire, so as to re- 
 melt the wax, which will restore its transparency. Another 
 method is to hold the negative over some lighted sheets of 
 blotting paper which have been already used for other pur- 
 poses. 
 
 SEVENTH OPERATION. 
 
 PREPARATION OE THE POSITIVE PAPER. 
 
 47. Make a solution of — 
 
 Hydrochlorate of ammonia -| oz. 
 Distilled water . . 5 „ 
 
19 
 
 Put two-tenths deep of this solution in a dish. 
 Make then another solution containing — 
 
 Nitrate of silver, | oz 
 Distilled water, 5 „ 
 
 Put the same quantity of this into another dish. 
 
 The paper, which should be a little thicker than for the 
 negative, is to be previously cut to a convenient size, observ- 
 ing which is the wrong side, and marking it with a cross ; 
 this is easily recognised, being the side which shows the im- 
 pression of the metallic cloth used in its fabrication, the woof 
 remaining imprinted upon it, and may be seen by viewing it 
 by a bright light. 
 
 48. The best paper for this operation is that of Canson 
 , Freres. 
 
 Place the right side of the paper upon the first solution, 
 not permitting the liquid to touch the other side ; leave it 
 there from two to four minutes, then take it out and dry it 
 between several sheets of blotting paper, rubbing it with the 
 hand. 
 
 Prepare three sheets of paper thus, taking care that every 
 trace of humidity be removed. 
 
 Take the first sheet, and with a large brush rub the pre- 
 pared side, for the purpose of cleansing it from all impurities. 
 
 Place it then upon the solution of nitrate of silver, taking 
 care to wet only the salted side, and leave it whilst you cleanse 
 another sheet. 
 
 49. By leaving the paper for a short time on the nitrate of 
 silver, red tints are obtained ; prolonging the operation, black 
 tints are produced. The paper is then dried by suspending 
 it by one corner. This operation should be performed in the 
 dark, or by the light of a single candle. 
 
 Be careful that the positive paper be perfectly dry before 
 placing the negative upon it. 
 
 It is better to prepare this positive paper the evening be- 
 
20 
 
 fore ; but if used at the time of preparation, dry it well by the 
 aid of a spirit-lamp, or before a fire. 
 
 If a great number of positive pictures are required, the 
 operation can be accelerated by submitting the paper to the 
 first bath, and leaving it to dry, as before described. This 
 operation can be done at any time ; the paper will keep an 
 indefinite period, before receiving the bath of nitrate of silver. 
 
 In this case only put 60 grains of hydrochlorate of ammonia 
 to 3 oz. of water for the first bath. The second, containing 
 the nitrate of silver, remains the same, and is prepared only 
 a few hours before required for use. 
 
 ALBUMENIZED POSITIVE PAPER. 
 
 50. One of the great advantages that photography receives 
 from albumen is, without doubt, its use in the preparation 
 of the positive paper, to which it gives a brilliancy and vigour 
 which it is difficult otherwise to obtain. 
 
 Take the whites of several eggs and add to them 5 per cent, 
 by weight of crystallized chloride of sodium, or, still better, of 
 hydrochlorate of ammonia : beat them to a froth, and decant 
 the liquid, after leaving it a night to settle. 
 
 Pour this liquid into a basin, and prepare one side of the 
 positive paper by the following method. — Take a sheet of 
 paper, holding it by two of its corners ; pass it over the edge 
 of the dish and along the surface of the liquid, taking care 
 that none flows on the upper side and that no air-bubbles 
 exist on the under. Leave it on the solution two or three 
 minutes without touching it, and then remove it at once. 
 Hang it up by one corner to dry. When dry, place it between 
 two sheets of white paper, and pass a hot iron over it. The 
 paper thus prepared has a highly varnished appearance. This 
 can be modified by adding half the quantity of distilled water 
 to the chloride of sodium, before beating up the eggs. This 
 will be found an excellent mixture ; it gives great finish and 
 
21 
 
 vigour, without having the appearance of a varnished picture, 
 which is not artistique. 
 
 This albumenized paper can be preserved some time before 
 being excited by the nitrate of silver. 
 
 The albumenized side of the paper is now to be placed in a 
 bath of nitrate of silver, and left there for about four or five 
 minutes. The proportions for the bath are, 15 parts of nitrate 
 of silver to 100 parts of distilled v/ater. 
 
 Take the paper out of the bath, dry it, suspending it by 
 one corner, as before described. 
 
 This albumenized paper gives great intensity to the shadows 
 and brilliancy to the lights. 
 
 EIGHTH OPERATION. 
 
 PRINTING THE POSITIVE. 
 
 51. Take the negative and place it upon the glass of the 
 copying frame face upwards; lay over it a sheet of prepared 
 positive paper ; the sensitive side of the paper being placed 
 in contact with the right side of the negative ; over them 
 place the second glass, if two be employed, and then the back 
 of the frame, which is then pressed down by means of the 
 tightening screws. A sheet of transparent waxed or gelatine 
 paper may be placed between the negative proof and the 
 positive paper. This will preserve the negative from any 
 contact with the nitrate of silver, which might spoil it. A 
 small piece of the positive paper may be allowed to project 
 from the frame, for the purpose of judging, by the change of 
 colour, of the progress of the picture without disturbing it."^' 
 
 Expose the frame to the sun, so that its rays may fall per- 
 pendicularly on the proof. 
 
 52. The various successive tints that the proof will take 
 are as follow : — greyish blue, neutral tint, blue, violet, dark 
 
 * With a joioted back pressure frame this is not necessary. 
 
22 
 
 blue, bistre, coloured sepia, yellowish sepia, dead leaf yellow, 
 grey; all diminishing gradually till the oxide of silver is 
 reduced to its metallic state. 
 
 It is impossible to fix the precise time for the exposure to 
 the light ; it must be regulated according to the vigour of the 
 negative, and the intensity of the positive required. For 
 example : — To obtain a proof of a black tint, the dark parts 
 should have a sepia tone, and the lights a greyish blue. The 
 operator may, therefore, watch the progress of his picture by 
 the projecting piece of paper, and remove it at the tint he 
 reouires. 
 
 53. The positive thus obtained is not permanent ; it must 
 be fixed promptly by the following operation: — 
 Make a solution of. 
 
 Then dissolve 277 grains of nitrate of silver in a glass or two 
 of water ; when it is dissolved, add a solution of chloride of 
 sodium, till the former loses its white appearance. Leave the 
 whole to settle for a minute, then decant the liquid ; a pre- 
 cipitate should remain of 231 grains of chloride of silver. 
 .Expose this precipitate, in a small capsule, to the sun, to 
 blacken it, taking care to stir it about with a glass rod, so 
 that all portions be affected, and expose it to the solar rays. 
 When it is quite black, put it in the first mixture, namely, 
 the hyposulphite of soda, and leave it to dissolve. By this 
 preparation, the black tints are immediately obtained with 
 the fresh hyposulphite. 
 
 NINTH AND LAST OPERATION. 
 
 FIXING THE POSITIVE. 
 
 Hyposulphite of soda 
 Filtered water 
 Chloride gold 
 
 3 oz. 
 
23 
 
 The hyposulphite being better when it is old, should it be- 
 come thick, add a fresh solution, leaving out the chloride of 
 silver ; the old containing an excess, which it has imbibed 
 whilst remaining on the proofs. 
 
 Care should be taken to filter the solution, to collect the 
 black deposit which forms. This last may be dissolved in 
 fresh hyposulphite. 
 
 By leaving the picture in this bath, for a shorter or a longer 
 period, all the tints may be obtained, from the red to the black, 
 and even to the clear yellow. A little experience will soon 
 enable the operator to obtain the required tint. To fix the 
 proof properly, it should never be left less than an hour in 
 this bath ; and even three or four days will be necessary to 
 obtain the sepia and yellow tones. 
 
 54. The operation may be accelerated by warming the 
 hyposulphite. The j)icture however must never be left for an 
 instant to itself, the rapidity of the action being very great. 
 This method should only be employed when pressed for time, 
 the results being generally not so good. 
 
 55. By adding to the preceding solution of hyposulphite 
 I ounce of ammonia, very pretty bistre tints are obtained, 
 and very pure whites. 
 
 Good yellow tones may be produced by putting a strong 
 proof — first, into the bath of hyposulphite, well washing it, 
 and then placing it in a bath, composed of two pints of 
 water and ounce of muriatic acid, washing it well after- 
 wards in water. 
 
 Liquid ammonia employed in the same proportions, without 
 previously putting the proof in the hyposulphite, will also 
 produce excellent tones. 
 
 When the desired tones are produced, wash the picture in 
 several waters, and leave it in a water bath for several days, 
 so as to extract all the hyposulphite of silver. This can be 
 ascertained by touching the picture with the tongue : if there 
 
24 
 
 be any remains of the hyposulphite, there will be a sweet 
 taste. 
 
 The proof is then to be hung up by one corner, and after- 
 wards dried between blotting paper. The whole operation is 
 then finished. 
 
 56. Printing the positive requires all the attention of a skilful 
 artist, and should not be regarded as a secondary matter. 
 
 It is necessary to observe with attention the shade of the 
 picture with the subject, and the effect to be produced. 
 
 I should add, that if a first-rate picture is required, it is 
 better to put it alone in the bath of hyposulphite of soda. 
 
 A few ohservations upon the Method of obtaining Positive 
 Pictures of varied tones, and of more j^erfectly fixing 
 them than hy the ordinary process, 
 
 57. It has often been a source of disappointment to photo- 
 graphers, to see their most beautiful pictures gradually fade 
 away, and in some instances entirely disappear ; more 
 especially with those of a deep sepia or yellow tint, though 
 these tones should be the most permanent. The picture will 
 fade from two causes ; either, from a portion of the salt of 
 silver being retained in the body of the paper, or from a 
 trace of sulphur or hyposulphite of soda remaining in the 
 paper. 
 
 58. The reasons of these accidents are various. In the 
 first instance it arises from not allowing the proof to remain 
 suflftciently long in the hyposulphite of soda, so as to clear it 
 from the chloride of silver ; also by using old hyposulphite 
 of soda. In this case the hyposulphite has lost its dissolving 
 qualities, hence the chloride of silver, instead of being cleared 
 from the picture, is changed into a double salt, vvhich will 
 remain in the paper; this salt, being partly insoluble in water, 
 
25 
 
 cannot be entirely extracted, not even by repeated washings. 
 This will cause the lights of the picture to discolour with 
 time, and the deeper tones to fade gradually away. 
 
 59. The second accident is produced from two causes— 
 1st. By the addition*of an acid to the hyposulphate of soda, 
 
 which causes a precipitate of sulphur. 
 
 2nd. By immersing too many pictures at one time in the 
 same bath of hyposulphate of soda. The reason of this is, that 
 the quantity of chloride and nitrate of silver contained in the 
 pictures is greater in proportion than that contained in the 
 hyposulphate bath ; consequently the nitric acid becomes 
 free, the bath is decomposed, and a precipitate of sulphur on 
 each picture is the result. 
 
 60. It will be understood from the foregoing observations, 
 that for the perfect fixing of the picture the body of the 
 paper must be free from all substances, but the nitrate of 
 silver blackened by the light. 
 
 61. Fresh hyposulphate of soda and liquid ammonia are 
 the best chemicals for clearing the picture, as they will 
 entirely dissolve the chloride of silver. 
 
 62. Sulphuret of carbon and alcohol will also cleanse the 
 picture from any precipitate of sulphur. 
 
 63. In order to produce red or violet tints with a perfect 
 fixing, the picture should be exposed in the pressure frame 
 sufiiciently long to enable it to bear the action of a fresh 
 hyposulphate bath for at least an hour ; washing it after- 
 wards for about four hours in clean water, taking care to 
 change the water every half hour. If greater care is thought 
 necessary, wash the picture (on its coming out of the water 
 bath) in spirits of wine ; this will entirely free it from any 
 precipitate of sulphur. 
 
 64. If however old hyposulphate is used, the picture should 
 be taken out before the desired tones are obtained, passed 
 for a minute through some clean water, then submitted to a 
 
 c 
 
26 
 
 bath of fresh hyposulphate, which will bring out the desired 
 tints ; fix it then by the ordinary methods. 
 
 65. Acids added to the hyposulphate of soda are not 
 to be recommended ; they are apt to form a precipitate of 
 sulphur, which will cause the image to fade ; but if it be 
 considered advisable to use acids, the picture must be sub- 
 mitted to a bath of alcohol mixed with a half or a third of 
 sulphuret of carbon, afterwards to a bath of pure alcohol, 
 then to the ordinary washings in water. 
 
 66. Should a picture present a tarnished and spotted ap- 
 pearance, or the whites be not perfectly pure on the reverse 
 side, these are sure signs that the image will fade. 
 
 67. A tepid bath will be found useful after the first cold 
 one, for cleaning any sulphate of silver that may have re- 
 mained on the paper. 
 
 68. The following manipulation is an excellent means of 
 producing clear and beautiful tones, at the same time ensur- 
 ing the perfect fixing of a picture. The positive paper is 
 prepared in the ordinary way, either with chloride of soda, 
 or hydrochloride^of ammonia and nitrate of silver. The proof 
 is then exposed in the camera, and should remain a much 
 longer time than by the ordinary manipulations, for the pur- 
 pose of obtaining the following results : — 
 
 Namely, 1st. A clear violet tone in the broad lights, if a 
 blue black is desired for the deeper tints. 2nd. A decided 
 violet tint in the same lights, should a deep black tone be 
 required. 3rd. A sepia tint in the lighter parts, for a 
 picture with green black, or blue green tones in the 
 shadows. 
 
 After exposing the proof in the pressure frame, wash it 
 in the ordinary waters, to free the surface from any nitrate 
 of silver that may have formed. 
 
 Place it then in a bath of the following solution, taking 
 care to turn the picture frequently. 
 
27 
 
 Distilled water . 2 pints. 
 Chloride of gold . 15 grains. 
 Hydrochloric acid . ^ oz. 
 
 The image will develop itself immediately on its immersion 
 in this bath, passing through the various tones, till it comes 
 to the deep black, when it must be taken out, and washed in 
 five or six waters, to clear it from all trace of the hydrochloric 
 acid.* 
 
 The picture is then to be placed in a solution composed of 
 one portion of hyposulphate of soda to six of water ; and by 
 prolonging it in this bath various tones may be obtained ; 
 it may be left in from half an hour to three or four hours. 
 Complete the fixing in the ordinary way by repeated wash- 
 ings. 
 
 69. Great richness of tone may be obtained by using a bath 
 of hyposulphate of soda, containing a solution of nitrate of 
 silver ; but in this case it is absolutely necessary to submit 
 the proof for an instant to some fresh hyposulphate. 
 
 70. The addition of hydrochloric acid to the chloride of 
 gold has the effect of precipitating all the free nitrate of silver 
 to a state of chloride, at the same time assisting the precipi- 
 tate of gold on the silver, clearing the whites of the picture, 
 and developing the deeper tones. 
 
 71. The action of the bath of chloride of gold is to pre- 
 cipitate the gold upon the salt of silver reduced by the light. 
 This precipitate v>^ill not take place upon the chloride of silver 
 unchanged by the light, consequently the whites of the 
 picture remain pure, whilst the deeper parts are changed to 
 dark violet tones, which are peculiar to the precipitate formed 
 by salts of gold. 
 
 72. The hyposulphate of soda also having a less dissolving 
 power on the reductions of gold than on those of silver, the 
 
 * A bath contaiinng a small quantity of liquid ammonia will neutralize 
 the acid ; two washings in water will then be sufficient. 
 
28 
 
 image loses none of its details, neither in the lights nor in 
 the shadows, its action being to modify the tones formed 
 by the precipitate of gold, causing them to mix with the 
 yellow tints which are formed in the reductions of the salt 
 of silver. 
 
 PREPARATION OF IODIZED WAXED PAPER FOR PORTRAITS. 
 
 73. I prefer iodized waxed paper for taking portraits to 
 any other, as it acts quicker and gives a greater finish. 
 
 The only modification that I make from the preceding pro- 
 cess, is to partially dry the waxed paper between sheets of 
 blotting paper, immediately after taking it out of the aceto- 
 nitrate of silver (§ 16), and without washing it in distilled 
 water (§ 17), and to place it while moist in the dark frame of 
 the camera, using it as soon as possible. Should simple 
 iodized paper not waxed be preferred, proceed as follows : — 
 Pour the filtered solution of aceto-nitrate of silver into a por- 
 celain dish, or on a flat glass plate ; taking the sheet of paper 
 by two corners, place it on the nitrate of silver, raising and 
 lowering it in order to remove all air-bubbles ; to avoid con- 
 tact with the fingers, a pair of horn forceps will be found 
 convenient. Care must be taken to prevent the solution of 
 nitrate of silver coming in contact witn the back of the paper, 
 as that causes inequalities in the sensitiveness, and conse- 
 quently spots. Leave the paper thus submitted to the action 
 of the aceto-nitrate of silver, until the formation of the sensi- 
 tive film is complete. For this purpose, and with paper pre- 
 pared with the sugar of milk, about five minutes is sufficient, 
 depending somewhat on the temperature, and also on the 
 quality of the paper, the English papers taking rather longer 
 than the French. With the waxed paper, the disappearance 
 of the violet tint will be a sufficient indication. 
 
 74. Apply the paper thus prepared, and while wet, on a 
 slate upon which has been previously placed a sheet of wet 
 
29 
 
 paper ; the slate fitting into the dark frame of the camera. 
 The back of the dark frame itself may be used in place of the 
 slate, covering it with a slight coating of wax. 
 
 The paper may also be placed between two glass plates, 
 taking the precaution to clean them well first, and to re-polish 
 the outer surface before exposing them to the light ; for this 
 purpose the Papier Joseph is by far the best material, being 
 superior to linen. 
 
 I prefer, however, the slate, as it has the property of re- 
 maining moist a considerable time. The prepared side of the 
 paper is of course the one to be exposed to the luminous 
 rays. 
 
 Care should be taken to mark the bottom side of the slate 
 so as always to place it in a similar position, in order to pre- 
 vent the liquid collecting at the bottom flowing over the 
 surface of the paper. The paper may be left on the slate 
 three or four hours, before being placed in the dark frame. 
 Should it be required to take the prepared paper to a distance, 
 the paper lining (§ 58) should be immersed in a solution of 
 gum arable in place of the water, as it preserves the paper 
 in a moist state longer. When the sheet of lining has well 
 adhered to the slate, it is better not to remove it; when 
 taking a fresh picture, it is sufficient to pour upon it a little 
 water. 
 
 The remaining operations are the same as in the dry 
 process. 
 
 THE END. 
 
 HADDOX, BROTHERS, AND CO., PRINTI.RS, CASTLB STBEKX. FINSBLUY. 
 
SUPPLEMENT. 
 
 ADVANTAGES OF THE WAXED PAPER PROCESS. 
 
 75. The following modification of Le Grey's process having 
 been carried out with considerable success by Mr. James How, 
 assistant in the philosophical establishment of the publishers, 
 George Knight and Co., Foster Lane, and being considered by 
 them to possess many advantages over the original one, they have 
 added it as a supplement to this translation. 
 
 76. The "Waxed Paper Process,"^ although not at present in 
 general use, will, I doubt not, when brought to the state of per- 
 fection of which it is capable, be universally adopted for views, 
 while the collodion will be the one selected for portraits. 
 
 77' I hold this opinion of the great value of the waxed paper 
 process for the two following reasons : — First, it is obvious, that 
 the thinner the paper used for negatives, the sharper the picture 
 will be in the positive when printed from. In the Talbotype 
 process very thin paper cannot be used, since it would be too 
 weak to allow the many and frequent washings necessary ; but 
 the process of waxing imparts a horny character to the paper, 
 making the thinnest very strong, without increasing its thickness ; 
 it may then be washed, re-washed, and soaked, for several days if 
 required, without the slightest fear of injury. And secondly, the 
 paper so prepared can be kept after it is made sensitive and ready 
 for the camera (without deterioration) from ten to fourteen days ; 
 
 * Extracted from a paper read by Mr. James How before the Chemical Dis- 
 cussion Society, May 11th, 1854. 
 
 0 
 
26 
 
 while that prepared by the Talbotype process can only be kept for 
 about as many hours. This property in a climate so varying as 
 ours must be of infinite importance, when considered in point of 
 convenience as well as of economy. One great objection which 
 has been urged against the use of waxed paper up to the 
 present time, has been the fact of its requiring so long an 
 exposure in the camera. After repeated experiments, i have 
 found that when treated in the way I shall presently describe, this 
 objection is entirely removed. Twenty minutes and even half- 
 an-hour have generally been required for obtaining impres- 
 sions, but I have lately succeeded with a 3-in. Yoigtlander lens 
 of 16-in. focus, in obtaining first rate negatives with perfectly 
 black skies, which require no painting out, the whites quite clear, 
 and the half tones also perfect, with five minutes' exposure in the 
 camera. It therefore appears to me quite certain that no process 
 will be able to obtain precedence of this, which holds out such 
 claims to superiority from the beauty and sharpness of its pictures, 
 the very valuable non-deteriorating quality of the excited paper 
 considered in connexion w^ith.the fact of so comparatively short a 
 time of exposure in the camera being required to complete the 
 impression. 
 
 SELECTION AND PRECAUTIONS WITH EEGARD TO PAPER. 
 
 78, The Paper best suited for this process is that manufactured by 
 Canson Freres, at Paris, and known as Canson's Negative and a 
 " German Paper," known under the name of " Saxony Negative;/' 
 one or other of the above should be used as they will be found to 
 answer better than any other. Now, as the sides of these, and 
 indeed of all papers, differ, the one being perfectly smooth, while 
 the other is rough and spongy, and it is somewhat difiicult for the 
 inexperienced eye to distinguish the right from the wrong, but if 
 the following method is adopted, after a little practice, it will be 
 easily ascertained : — 
 
27 
 
 TO ASCERTAIN THE RIGHT SIDE OF THE PAPER. 
 
 79. Lay the whole packet of paper upon a table in front of a 
 window, and standing a little distance from it, on one side, and on 
 one side only will be seen parallel waves or lines from one to two 
 inches broad, alternately light and dark, while the other side is 
 perfectly free from any mark. Should these waves not be dis- 
 cernible at first, the sheets must be turned over and over when 
 the difference in the two sides will soon become apparent. The 
 smooth side, or that on which no lines appear, is now to be marked 
 at each of the four corners with a +, letter, or any other distin- 
 guishing mark, this being the side which is to receive the impres- 
 sion when the paper is placed in the camera. The object of 
 marking the four corners is to prevent the possibility of making 
 any mistake as to the right side of the paper should the sheet be 
 cut into smaller pieces. 
 
 WAXING THE PAPER 
 
 80. The wax generally sold as white wax in small round cakes 
 should not be used, as it generally contains a large proportion of 
 stearine and tallow, both of which are injurious in the preparation 
 of the paper, but the proper sort, sold only in blocks, is the really 
 pure though not white, but a lightish yellow ; it is well known in 
 the drug trade. To wax the paper, I take an iron (I prefer a box 
 iron) moderately hot, in the one hand, and pass it over the paper 
 from side to side, following closely after it with a piece of the wax 
 held in the other hand, until the whole surface has been covered. 
 By thus heating the paper, it readily imbibes the wax, and becomes 
 rapidly saturated with it. The first sheet being finished, I place two 
 more sheets of plain paper upon it, and repeat the operation upon 
 the upper one (the intermediate piece serving to absorb any excess 
 of wax that may remain), and so on, sheet after sheet, until 
 the number required are waxed. 
 
 81. The sheets, which now form a compact mass, are separated 
 by passing the iron, moderately heated, over them ; they are then 
 
28 
 
 placed between folds of bibulous paper, and submitted to a further 
 application of beat by the means just described, so as to remove all 
 the superfluous wax from the surface, and render them perfectly 
 transparent ; most essential points to be attended to in order to 
 obtain fine negative proofs. 
 
 PREPARATION OF THE IODIZING SOLUTION. 
 
 82. I will now endeavour to describe the method of preparing 
 the iodizing solution. 
 
 83. Instead of being at the trouble of boiling rice, preparing 
 isinglass, adding sugar of milk, and the whites of eggs, &c., I 
 simply take some milk quite fresh (say that milked the same day), 
 and add to it, drop by drop, glacial acetic acid, in proportion of about 
 one, or one and a half drachm fluid measure to the quart ; this will 
 separate the case'ine, keeping the mixture well stirred with a glass 
 rod all the time ; I then boil it in a porcelain vessel, to throw 
 down the remaining caseine not previously coagulated, and also 
 to drive ofl* as much as possible of the superfluous acid it may 
 contain. Of course any other acid would precipitate the caseine 5 
 but I give the preference to the acetic from the fact that it does 
 not afi*ect the after process of rendering the paper sensitive, that 
 acid entering into the composition of the sensitive solution. 
 
 84. After boiling for five or ten minutes, the liquid should be 
 allowed to cool, and then be strained through a hair sieve or a 
 piece of muslin, to collect the caseine : when quite cold, the 
 chemicals are to be added. 
 
 85. I would here observe, that some difficulty is frequently 
 found in making this iodizing solution from milk, in consequence 
 of its not filtering perfectly clear, which I believe is owing to the 
 difi*erence of quality found in London milk ; however, this may 
 be obviated by adding to the strained liquid (as soon as the 
 caseine is separated) the whites of two or three eggs to every 
 quart; again boil, and on cooling, the liquid will be perfectly 
 clear. 
 
29 
 
 86. The proportions of chemicals I now use are as follow ; — 
 
 385 grs. iodide potassium. 
 100 grs. bromide „ 
 
 30 grs. cyanide „ 
 20 grs. fluoride „ 
 
 10 grs. chloride of sodium in crystals, 
 1^ grs. iodine. 
 
 2 oz. alcohol sp. gr. 8*36. 
 
 87. The above are dissolved in thirty-three fluid ounces of the 
 strained liquid, and after filtration through white bibulous paper, 
 it should be perfectly clear, and of a bright lemon colour. 
 
 The iodizing solution is now ready for use, and must be pre- 
 served in well stoppered bottles when it will keep for any length 
 of time. 
 
 lODIZIxNG THE PAPER. 
 
 88. The waxed paper is laid, sheet by sheet, in the solution, in 
 a flat porcelain or gutta-percha dish, and allowed to remain there 
 for the space of from half-an-hour to an hour, according to the 
 thickness of the paper. This refers only to warm summer weather ; 
 when cold, a much longer time is necessary ; two or three hours is 
 frequently not to much ; in all cases it is better to well soak the 
 paper, as it will not be injured by remaining in the solution several 
 hours. Should the iodizing solution after frequent using become 
 turbid or a precipitate form, it may be rendered clear again by 
 filtration, and will then be equally as good as when first made. 
 Several sheets may be immersed at once — -from twelve to eighteen ; 
 the whole should then be turned over, so that the first sheet 
 immersed may be the first taken out and hung up to dry. A small 
 piece of bibulous paper, about one or two inches square, should 
 be attached to the lower corner to facilitate the drying. The 
 paper in this state may be kept for any length of time without 
 injury, if preserved from the action of the air in a portfolio. 
 
 89. As the paper during its immersion will have deprived the 
 solution of nearly the whole of its iodine (the only colouring 
 
30 
 
 matter in it), it will be necessary to add a little more after each 
 batch of paper is taken out. The crystals of iodine being very 
 slightly soluble in the whey, the most convenient mode is to 
 add it in the form of tincture of iodine ; this is readily prepared 
 by dissolving iodine in alcohol, and being very soluble in the 
 spirit, a very stiong solution is easily obtained; a bottle of this being 
 kept at hand, a few drops are added as required ; the proportions 
 are not very important, the paper when removed from the solution 
 should be of a purple tint, and when dry of a deep amber brown. 
 
 EXCITING OR RENDERING THE PAPER SENSITIVE. 
 
 90. To excite the paper, or render it sensitive, take — 
 
 Crystallized nitrate silver . . 35 grs. 
 
 Acetic acid* (glacial) . . , 40 min. 
 
 Alcohol, sp. gr. 836 . . . . 1 dr. 
 
 Distilled water 1 oz. Mix, 
 
 91. As soon as dissolved, put this solution of aceto-nitrate of 
 silver into a glass or porcelain dish (glass should be preferred), 
 then take up one of the sheets of iodized paper by the two ends, 
 and bend it into the shape of a horse-shoe, gently drop the cen- 
 tre on the surface of the solution, and gradually lower both ends. 
 By this means all air-bubbles will be excluded ; if any should, 
 however, remain, they will be seen through the transparent paper, 
 and may be easily expelled by passing the finger-nail, or any con- 
 venient instrument, over them, after having carefully raised up 
 the corner of the paper nearest to the bubble. 
 
 92. For this operation, it is desirable to employ a glass dish, 
 those made in one piece, of flint glass, are very convenient, but 
 owing to the impossibility of making them perfectly flat, they take 
 more solution than those made of plate glass, in which the sides 
 are formed of strips of the same material firmly fixed by a cement 
 
 * It is of the greatest importance that the glacial acetic should be perfectly- 
 pure, otherwise the whites cannot be obtained perfect, and the whole result will 
 be unsatisfactory ; the cheap acid frequently sold under this name is quite 
 unfit for the purpose, and is constantly the cause of disappointment. 
 
31 
 
 not acted on by the aceto-nitrate silver. Owing to the small quan» 
 tity of solution required in these latter, fresh aceto-nitrate can be 
 taken for every few sheets, by which means, we are more certain to 
 secure clean pictures. The little that remains should be decanted, 
 and kept for blackening the skies in the after process of developing; 
 should it, however, be required for sensitizing, it should first be 
 filtered either through animal charcoal, or what is better, Kaolin 
 (China clay). This will decolourize it, and render it perfectly 
 clear, when it can be added to fresh solution. 
 
 93. The dish should now be gently tilted, to allow the greater 
 portion of the liquid to run to one side, and by means of a pair of 
 horn tongs, the edge of the paper nearest to the deep fluid should 
 be pushed under it ; by treating each edge in this way as quickly 
 as possible, and having got all the edges under, then by gently 
 shaking the whole, the entire surface Avill become immersed, and 
 by constantly agitating the dish containing the solution and the 
 paper, a very nice even coating may be obtained. This method 
 is found far preferable to merely laying the sheet upon the^ surface, 
 since it is made sensitive in much less time. The paper should 
 be left in this dish for about five minutes, two minutes after the 
 brown iodized colour appears by the light of a candle to have been 
 turned white, though by day light it would be found to be a very 
 beautiful canary-yellow. 
 
 94. By way of saving time, when a large number of sensitive 
 sheets are required, as many as three or four may be immersed 
 one upon the other, and by the time the third or fourth is put in, 
 the first will be ready to be taken out, for which purpose they 
 must be turned over, as described in the iodizing operation. 
 
 95. To economise the solution, the sheet may now be held up 
 by one or two of the corners to drain into the dish for a few 
 seconds, and then plunged into a dish (of dimensions corresponding 
 to the size of the sheet) of distilled water ; a second sheet may 
 now be taken, and the process of immersion in the exciting liquid 
 commenced with it ; as soon* as this is thoroughly covered with 
 the solution, and has been agitated as before described, it may 
 
32 
 
 remain while the first sheet is being turned over and over in the 
 water ; it is then transferred to a second dish containing distilled 
 water, in which it is again well washed and afterwards hung up 
 to drain. It should then be placed on a clean white sheet of 
 bibulous paper of a corresponding size, to absorb the moisture, 
 and another sheet of the same bibulous paper laid upon it ; by 
 this time the second slieet of excited paper will be ready for 
 treatment in the distilled water in the same manner as the first. 
 Thus any desired number of sheets may be excited. 
 
 96. Should the paper be required for immediate use, say within 
 two or three days, one washing will be suf&cient ; it will be ra- 
 ther more sensitive, though it will not keep so long. 
 
 97. The sensitive sheets should now be placed between fresh 
 pieces of clean white bibulous paper, and kept under pressure, to 
 exclude light and air until required for use. 
 
 98. Paper prepared in this manner will keep perfectly good and 
 sensitive for a very long time,"^'' a desideratum, I think, of no 
 small value to the tourist, who knows not how often, nor under 
 what circumstances, an opportunity may occur to him for a sketch. 
 The exciting part of the process must be performed only by the 
 light of a candle, or in a room with a yellow blind drawn over the 
 window, which, while travelling in the country, he should always 
 be provided with, and which will also serve for a focussing cloth, 
 - — common yellow calico doubled answers perfectly well. 
 
 99. Some may consider the use of so much bibulous paper 
 superfluous or even extravagant, but absolute cleanliness is essen- 
 tial to success, and it is far better to waste a dozen pieces of 
 bibulous paper than run the risk of spoiling a single negative pic- 
 ture, to obtain which perhaps many times the cost of the paper 
 has been expended in travelling, or otherwise. 
 
 PLACING THE PAPER IN THE CAMEEA. 
 
 100. To place the paper in the camera slide, the double paper* 
 frames should be laid open on a table, the glasses in each having 
 
 * I have kept this paper for a period of six weeks in this country, and 
 then obtained good results ; of course, in India, or other warm climateS; it 
 would not keep quite so long. 
 
38 
 
 been well cleaned ; upon one of the glasses a sheet of the sensitive 
 paper is placed with its marked side downwards, or towards the 
 glass, for the purpose of receiving the image ; upon the back of 
 this lay a clean piece of dry bibulous paper, previously cut to the 
 size of the frame, then a piece of yellow paper or opaque mill- 
 board, sufficiently thick to prevent the light passing through. 
 
 101. Now, lay a piece of bibulous paper upon this, and, lastly, 
 a second sheet of the sensitive paper with its marked surface 
 upwards. The whole of this operation must be performed in a 
 dark room, or by the light of a candle. After the frame is closed 
 it is ready for exposure in the camera. The time of exposure, 
 depending as it does on the focal length of the lens employed and 
 the amount of light admitted through the diaphragm, must neces- 
 sarily be left chiefly to the discretion of the operator — a hint or 
 two, how^ever, may not be unacceptable. The size of the dia- 
 phragm should vary with the magnitude and distance of the 
 object to be taken. If the object be a single building, and at such 
 a distance as to fill the field of view of the camera, when a 3-inch 
 or No. 2 Yoitglander view lens is employed, and its largest open- 
 ing of f-inch diameter be used (which is sufficiently small), three 
 to five minutes' exposure will be found sufficient. For more 
 distant objects, it is advisable to use the smaller diaphragm or 
 stop, which is about f -inch in diameter, and to increase the length 
 of time of exposure by two or three minutes. A few experiments 
 will give a much better notion about the working time of difi*erent 
 lenses than could possibly be imparted by many pages of written 
 instructions, so much depending upon the colour of the glass em- 
 ployed in the manufacture of the lenses, which should be perfectly 
 white. This may be ascertained by laying the lens upon a sheet 
 of white paper, and judging from the difference of colour between 
 the paper through the glass and that part not covered. 
 
 DEVELOPING THE NEGATIVE PICTURE. 
 
 102. The picture is developed with gallic acid immediately 
 after its removal from the camera ; or, if more convenient, this 
 portion of the process may be delayed for several days. I would 
 
34 
 
 here describe a method of preparing the solution of gallic acid, 
 whereby it may be kept in a good state of preservation for several 
 months. I have kept it myself for four months, and have found 
 it, after the lapse of that period, infinitely superior to the newly 
 made solution. 
 
 What is generally termed a saturated solution of gallic acid is, 
 I am led to believe, nothing of the kind. In all the works on 
 photography, the directions given run generally as follow ; — " Put 
 an excess of gallic acid into distilled water, shake the mixture for 
 about five minutes, allow it to deposit, and then pour off the 
 supernatant fluid, which is found to be a saturated solution of the 
 acid." 
 
 103. Now, I have found by constant experiment, that by keeping 
 an excess of acid in water for several days, the strength of the 
 solution is greatly increased, and its action as a developing agents 
 materially improved. The method I have adopted is to put half- 
 an-ounce of crystallized gallic acid into a stoppered quart bottle, 
 and then to fill it up with water, so that, when the stopper is 
 inserted, a little of the water is displaced, and consequently every 
 particle of air excluded. 
 
 104. If the solution of gallic acid be required for immediate 
 use, the water should be warmed previous to adding the gallic 
 acid, and when cold it will be perfectly saturated. Another 
 method is to make a saturated solution of gallic acid in alcohol, in 
 which it is more soluble, a small quantity of this may then be 
 added to the aqueous solution ; this method has the advantage 
 that the gallic acid solution more quickly developes the pictures 
 immersed in it. 
 
 105. The solution thus prepared will keep for several months. 
 When a portion of it is required, the bottle should be refilled with 
 fresh distilled w^ater, the same care being taken to exclude every 
 portion of atmospheric air,— to the presence of which, I am led to 
 believe, is due the decomposition of the ordinary solution of gallic 
 acid. 
 
 Of this saturated solution of gallic acid put into a dish about 
 sufficient to cover the sheet, lay the face of the undeveloped pic- 
 
35 
 
 ture downwards in the solution, taking care that no air-bubhles 
 are present, completely cover this sheet wdth the liquid, by 
 agitating the dish, and lay another sheet requiring development 
 with its back on this, or face upwards ; again agitate the dish 
 with its contents, so as to entirely cover the whole of the upper 
 surface, and allow the sheets to remain until the pictures partially 
 show themselves. 
 
 If required, the pictures may be left in the solution of gallic 
 acid, excluded from light, for several hours, without fear of injury, 
 as no danger of over-developing is to be apprehended until after 
 the addition of the aceto-nitrate. 
 
 106. Now pour the solution of gallic acid from the dish into a 
 glass measure, or other convenient vessel, taking care that it is 
 quite clean, and free from any hyposulphite of soda, and add some 
 of the aceto-nitrate of silver (the solution left from exciting the 
 paper) in the proportion of from 8 to 10 drops to the ounce, add 
 also one or two drachms of alcohol ; stir these with a glass rod 
 and return them to the dish containing the negatives for their 
 complete development. They should now and then be turned 
 over, that is, the picture which is at the bottom should be 
 at the top, and so changed two or three times. It is advisable to 
 adopt this means of adding the aceto-nitrate of silver, for if 
 poured directly into the dish in which the negatives are, before 
 being mixed with the gallic acid solution, a black deposit would 
 be formed upon that part of the dish where it was poured, the 
 picture would also be probably spoiled by its having a marbled 
 appearance in some parts. The solution may sometimes have a 
 tendency to turn cloudy or black, in which case it should be 
 changed for fresh, should the development not be completed ; 
 the negative should be allowed to remain in this solution, till, by 
 holding it by the corners to the light of a candle, the sky appears 
 perfectly black, when it should be taken out and rinsed in a 
 little clean common w^ater, to wash off the excess of acid. 
 
 FIXING THE PICTURE. 
 
 107. The picture is now fixed by plunging it into a solution of 
 
36 
 
 hyposulphite of soda in common water, in the proportion of 1 oz. 
 of the former to 8 ozs. of the latter. It should be allowed to re- 
 main in this solution for from thirty minutes to one hour, or until 
 the yellow parts appear perfectly white and transparent, but cer- 
 tainly not so long as to injure the blacks, which w^ould be the 
 consequence of leaving it too long. 
 
 108. Should some parts of the negative appear of a red colour 
 instead of white, and this is sometimes the case from over expo- 
 sure in the camera, they may be recovered by immersing the 
 whole in a weak solution of cyanide of potassium of 1 or 2 grains 
 to the ounce of water ; by over immersion in this solution the 
 blacks are liable to injury, in which case it is necessary that they 
 be replaced with Indian ink or lamp-black, and prepared ox-gall 
 sold for the purpose^' (the ox-gall serves only as a vehicle for the 
 ink or lamp-black, and will cause either of the above substances 
 readily to adhere to the waxed paper). 
 
 109. After the fixing is satisfactorily performed, each negative 
 should be allowed to soak for several hours in common water, 
 which should be changed several times, in order thoroughly to 
 dissolve out the hyposulphite of soda ; unless this be done the 
 picture will eventually be entirely destroyed by the action of this 
 salt. 
 
 ] 10. When sufficiently soaked the negative should be attached 
 by means of a pin by one of its corners to a shelf or other conve- 
 nient place ; its drying being facilitated by attaching a small strip 
 of bibulous paper to its other extremity. 
 
 111. When perfectly dry, the negative should be held before 
 the fire to remelt the wax it contains, or (which is preferable) 
 placed between two sheets of blotting-paper, and a hot iron passed 
 over it, to diffuse and equalize the wax. 
 
 112. The negative now finished is ready to print from ; a 
 process to which I hope to draw your attention on a future occasion. 
 
 * This composition may be purchased ready for use. 
 
37 
 
 INDEX. 
 
 Alcohol, § 65. 
 Albumeiiized paper, 50. 
 Ammonia, use of, 55. 
 Animal charcoal, 14. 
 Bath, tepid, 67. 
 Blackening negatives, 106. 
 Blotting paper, 18, 99. 
 Brushes, 17. 
 
 Camera, exposure in, 29, 100. 
 Canson's paper, 48, 78. 
 Development, method of, 33, 102. 
 Development, time of, 25, 34. 
 Dishes, glass, 92. 
 
 Drying the sensitive paper, 21, 97. 
 Drying the finish negative, 41, 44, 
 110. 
 
 Drying the positive, 55. 
 Eggs, white of, 12. 
 Exposure, time of, 29, 30, 101. 
 Fading of positives, cause of, 57, 58, 
 59. 
 
 Fixing the negative, 39, 107. 
 Gallic acid, preparation of solution^ 
 103. 
 
 Gallic acid, warming, 37. 
 Gold chloride, use of, 68, 71. 
 Heat, cause of acceleration, 31. 
 Hyposulphite soda, action of, 39. 
 Hyposulphite soda, for fixing proofs, 
 53. 
 
 Hyposulphite soda, old, 53. 
 Hyposulphite soda, preservation of 
 39. 
 
 Image, when formed, 25. 
 Iodized paper, preparation of, 5, 88. 
 Iodide of potassium, 4. 
 Iodizing solution, 6, 83, 86. 
 Kaolin (China clay) for filtering, 92. 
 
 Milk, 85. 
 
 Negative paper, preparation of, 5. 
 Ox-gall, use of, 108. 
 Paper, Canson's, 48, 78. 
 Paper, Saxony, 78. 
 Paper for positives, 47. 
 Paper, preparation of, 48. 
 Papier Joseph, 74. 
 Positives, fixing, 53. 
 Positive paper, preparation of, 47. 
 Potassium bromide, 44. 
 Printing the positive, 51. 
 Red colour of negatives, 108. 
 Selection of the paper, 78. 
 Sensitive paper, 13. 
 Sensitive solution, 13, 90. 
 Sensitiveness of the waxed paper, 24, 
 77. 
 
 Sides of the paper, to distinguish, 47, 
 79. 
 
 Spots, removal of, 38, 44. 
 Time of exposure, to judge of, 36, 
 101. 
 
 Tints, black, how formed, 53. 
 Tints, different, how obtained, 53. 
 Tints, bistre, 55. 
 Tints, yellow, 55. 
 Tints, red, 63. 
 Tints, violet, 68. 
 Tone of negative, 35. 
 Transparency restored, 46. 
 Warming, apparatus for, 37. 
 Washing, 55, 96. 
 Washing, effect of, 20. 
 Wax, 80. 
 
 Waxed paper, advantages of, 3, 23, 
 
 75, 77. 
 Waxing process, 2, 80. 
 
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