The photograph and ambrotype manual : a practical treatise on the art of taking positive and negative photographs on paper and glass ...

Front matter

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THE

Preface

The publication of the Ambrotype Manual, by the author of this work, a short time since, and the great demand for the same, has induced him to enlarge that work by the addition of the practice of Photography in all its branches.

It may not be inappropriate at the present time to refer to the progress of this wonderful art, since its first advent in 1839, and to note its tendencies and its effects, to trace its leading features and results up to its present high position in the scientific world ; and, finally, to mark out the commanding results which it is destined yet to achieve in its onward progress to perfection.

The Photographic Art was ushered into the world on the day when the immortal Daguerre, in 1839, announced his sublime discovery to the

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PREFACE.

French savans, and it has steadily progressed from that day to the present time.

It lias made many strides towards perfection, and has astonished all with its accomplishments. In the short space of eighteen years, what has it not done ?

From the small and almost imperceptible impression upon the silver plate first exhibited by Daguerre, which could only be seen at a certain angle of light, and that very dimly, and of a blueish cold tone, to the magnificent jmotograph of the size of life, with all the perfect delineations of light and shade, what a wonderful advance ! And these great improvements have been so gradual, that few, if any, could mark the changes. Yet all will acknowledge, that the art is just now beginning to attest its true worth, for we now begin to receive the homage of all true lovers of art. The day has dawned in which the photographer can command even the service of the artist, whose highest pride should be to copy nature in all her works. For now we can exhibit true works of art drawn with the pencilings of the sun's rays, and drawn with such an unerring correctness that it were sacrilege to touch it with the hand of the artist. It defies the artist's skill. It fairly out-

PREFACE.

vies the creations of a Raphael or a Rubens in portraiture, and in the other certain works of the pencil.

The Photographic Art has become of such importance in this country, that many persons have embarked large amounts of capital in the manufacture of materials for the use of the photographic artist. The inducement has been fully warranted from the fact that all these persons who have invested in this branch of commerce have been fully rewarded.

In view of these facts, it is thought proper and necessary to embody in this edition of the work a set of full and complete practical formulae for the production of all kinds of Photographs on paper, as well as those on glass, known as Ambrotypes. The aim will be to give only such known receipts as have been in actual practice by the author and others, and to explain them in the plainest and most explicit manner possible, in order that the least practised operator may reap the benefit from the perusal of the work, as those of more mature experience.

The practice of the art of taking Photographs on paper has been attended with very diverse results in the United States, owing in a great degree to 1* c

PREFACE.

i the fact that most persons who have embarked in it have heretofore been Daguerreian artists. They imagined that it only required the necessary skill and experience of a Daguerreian artist to render them good Photographers. But this has been soon found to be a fallacy. There are many who are skilful in the process known as the Daguerreotype, who can produce specimens of that art which would do credit to the profession, who nevertheless utterly fail in this higher branch of Photography. The reason is obvious. They have vainly imagined that only the same care was necessary in the paper process that was demanded in the manipulation of the silver plate. But how soon have their hopes of success been blasted ! Where the ordinary care bestowed upon a Daguerreotype would produce satisfactory results, the same care upon a Photograph on paper would produce a worthless picture. Hence we see the necessity of looking into a higher range of art for the perfection of this branch. And as Ave approach near the goal of perfection in this sublime art, so much the more does it demand of its votaries greater sacrifices on the altar of patience and perseverance, more nearly resembling the long and weary road of the successful painter, who rises in his profession through many

TREFACE.

years of patient toil, with his pencil and his pallet, to the highest eminence.

And the day may not be far distant when only those who have been for many long and weary years followers of the Photographic Art, shall become masters of their profession.

It is well, therefore, to fully comprehend the greatness of the task one assumes who embarks in this profession. And to become a perfect master of it, will require all the known resources of his perseverance. Therefore such aids as may be found in the experience of others, will be given here, and it is trusted may be found of essential service to those who may purchase the work and follow the art as a profession.

To the amateurs this work will no doubt be acceptable as a practical treatise, leading them into the more intricate fields of practice not found in scientific works on kindred subjects.

Fortunately for this beautiful art, the number of amateurs is increasing in the United States, and we trust they may continue to augment until the number shall equal those of England and other European countries. For like all beautiful arts, the tempting field of pleasurable labor here opened, is beckoning onwards a host of fellow-laborers, which

PREFACE.

will render the task of ultimate success of very easy accomplishment ; and it is trusted they will emulate those artists in England who have so willingly opened their stores of knowledge to the photographic world, so that all may reap the "benefit of their valued experience.

C ONTENTS.

Preface 3

Introduction 9

Chapter I

History and Progress of the Photographic Art — Its Introduction into the United States — The Discovery or Uses of the various Chemicals — Positive Photographs on Glass 19

Chapter II

Theory of the Photographic Process — Negative and Positive Pictures — Negatives on Paper and on Glass — Positives on Glass — Theory of the Positive and the Negative Process 30

NEGATIVE PROCESS.

CHAPTER I.

On the Practice of the Negative Process through all its details — The Manipulations — Cleaning the Plate — Coating with Collodion —Drying the same — Time in the Camera — Developing — Re-developing for Intensity — Varnishing the Negative— Frames or Shelves for Negatives — General Remarks on the Manipulation of the

Negative Prooess— Arrangement of tlio Light — Use of the Camera, &C, &c 39

Contents

CHAPTER II.

The Nitrate of Silver Bath for Negatives — Preparation of the same- Formation of the Iodide of Silver for the Nitrate Bath— On the practice of the Negative Bath — Observations on the use of the Negative Bath — On the Intensity of the Negative — Color of the Negative, &c., &c 43

Chapter III

On Photographic Printing — Salting Solutions — Salting the Paper- Silvering the Paper with Ammonia Nitrate of Silver — Plain Silver Solution — To prepare the Albumen for Paper Positives — Silvering Albumen Paper — On the practice of printing Negatives — Toning or fixing the Print — Washing the Positive Prints — Drying the Pictures — Varnishing and Mounting the Prints 56

Chapter IV

To copy Daguerreotypes and other Pictures into Photographs — On Enlarging Pictures — To enlarge Pictures from Daguerreotypes, Ambrotypes, or Photographs ; and to produce Photographs from them — To make Life-size Photographs on Paper — Iron Photographs, or Instantaneous Printing — On taking Stereoscope Pictures, Photographic Views, &c, &c 69

Chapter V

On tbe Preparation of Negative Collodions — The Formulae for Negative Collodions — Mixing various Collodions — Dissolving the Iodides — Double Iodide Collodions — The celebrated German Process complete — The Negative Developing Solutions — Re-developing Process — Bichloride of Mercury as a Re-developer — Fixing Solution — The Toning Baths — The Ammonia Nitrate of Silver Solution 81

Chapter VI

Details of the various Recipes in the Photographic Process — Quick Method of Silvering and Printing Paper — Best Method of Salting Paper — Test for good Collodion or Gun-Cotton — Varnish for Positives on Paper — Instantaneous Printing Process — New Method of

CONTENTS, varnishing Positives — To restore Prints that have changed color — Cleaning Glass Plates — To varnish Negatives — Dextrine Paste tor mounting Photographs — Gum-Arabio and Gelatine — To restore Silver from Old Solutions — To remove Water from Collodion, and to purify it — Test of Hyposulphite of Silver in Positive Prints — Printing various Backgrounds 97

Chapter VII

Hints and Suggestions in regard to the Negative Process — Imperfections peculiar to Negatives — How to avoid them — Cautions in taking Negatives — Hints and Suggestions in regard to printing Positives on Paper — Cautions in regard to them — Imperfections found in Positives — How to avoid them Ill

AMBROTYPE PROCESS.

Chapter VIII

The Camera — Plate-holders necessary for the Camera — Preparing the Glasses — Plate-blocks for holding the Glasses- — Cleaning Substances — Cleaning the Glasses — Cleaning old Glasses — Removing the Varnish — Holding Glasses after they are cleaned — Glasses used a number of times — Quality of Glasses necessary for Ambrotypes 125

Chapter IX

Apparatus for Ambrotypes — Chemicals used— Substances for finishin? the Picture — Preparation of the Nitrate Bath — To Iodize the Bath — Filtering Process — -Adding Acid — -Neutralizing the Bath — Full Directions for keeping the Bath in order — Renewal of the Nitrate of Silver 131

Chapter XIII

The Manufacture of Gun-Cotton — Test of the Acids employed — Washing and Drying the Gun-Cotton — Preparation of the Collodion — Its Nature and Properties — Ether and Alcohol — To Iodize Collodion for Ambrotypcs — Method of preserving Collodion, and keeping it ready for use— Tests of good Collodion — To remove the color from Collodion 157

Chapter XIV

Coloring Ambrotypes— Colors employed — Ambrotypcs for Lockets — Taking Views — Copying Daguerreotypes by the Ambrotype Process — Copying Engravings, Statuary, Machinery, &e 166

Chapter XV

On the manner of Arranging the Light — The Falling of the same on the Drapery — Use of a Diaphragm — Light on the Eyes — Using Screens — Backgrounds — Reflectors — Diaphragm — Time in the Camera — Over-exposure, and Under-developing — Taking Children's Portraits 174

Chapter XVI

Alcoholic Solutions for preparing Collodion — -Iodide of Silver Solution — Bromide of Silver Solution — Bromo-Iodide of Silver Solution—Saturated Solution of Iodide of Potassium in Alcohol — <>f Bromide of Potassium — To make Hydro-bromic Acid 179

CONTENTS.

Chapter XVII

Preparation of the Varnishes — White Copal Varnish — Gum-demar Varnish — Black Asphaltum Varnish — White Varnish of Shellac and Copal — Thickened Varnish for Cementing Glasses, in place of Canada Balsam — Gum-shellac Varnish for Plate-holders — -Applying the Varnishes 189

Chapter XVIII

Causes of Failure in the Practice of the Art — Fogging the Pictures — To detect the Fogging of Plates — Black and White Specks on the Plates — Transparent and Opaque Spots — Impurity of Chemicals — Spots or Streaks on the Glass Plates -. 194

Chapter XIX

Cautions with regard to using the various Chemical Suhstances in making Gun-Cotton — Use of Ether and Alcohol — Use of Cyanide of Potassium — Nitrate of Silver — Cleaning the Hands — Solution for cleaning the Hands — Hints on the various Processes connected with Positives and Negatives — To render Collodion highly Sensitive — The Lampratype Process 202

Chapter XX

Vocahulary of Photographic Chemicals — Acetic Acid — Alcohol — Ammonia — Bromine — Bromide of Potassium — Carbonate of Soda — Cyanide of Potassium- — Chloride of Gold — Hyposulphite of Gold- — Hyposulphite of Soda — Iodine — Iodide of Ammonia — Iodide of Potassium — Iodide of Silver — Protosulphate of Iron — Litmus— Nitric Acid— Nitrate of Potash— Nitrate of Silver— Sulphuric Acid— Properties of Ether — Properties of Water 211

Weights and Measures

Introduction

TO

THE AMBEOTYPE MANUAL.

The Photographic Art, as known and practised at the present time, is capable of a great variety of modifications. Among these are positive pictures on glass, which, on account of their imperishability, are denominated Ambrotypes — a name given to them by Mr. Cutting, a successful artist of Boston. They are said to be impervious either to air or water.

It is by this name that all positive pictures on glass are known in this country. They are attracting the attention of the Daguerreian artists from the peculiarity of their appearance, and the new phenomena of their production, differing so widely from the Daguerreotype process.

A desire has been often expressed that a work written by a practical operator, and of a practical

INTRODUCTION.

nature, might be within the reach of those who wish either to begin the study of the art at the outset, or to modify and improve the practice in which they may be already engaged. "With a view to meet this want, the present work has been undertaken.

It is designed to present the results of a long practical experience, and of a uniform series of experiments in all the details of the art, together with receipts by the most skilful and successful operators of the present day.

Ambrotypes being positive photographs on glass, it will necessarily require some knowledge of photography to fully understand the so-called ambrotype process.

In this manual will be found such practical hints on the various processes (divested, as much as possible, of technical expressions, which may tend to mislead the inexperienced artist), as, with a little practice under the supervision of one who has some knowledge of manipulating, will enable any person to master the art.

The patented process known as " Cutting's Patent" has tended in some measure to retard the efforts of many who were desirous to work by this process. At present, however, certain investiga-

INTRODUCTION.

tions are being made so as to undeceive the public on tliis point, and we can see the good results of a removal of this drawback to the successful practice of this beautiful art. There are various other methods of sealing the ambrotypes which will answer as well as those indicated in the patented process, if not better, which no one need be deterred from adopting.

In this work will be found detailed the many various processes which have been adopted by skilful artists. The whole operation from the first cleaning of the glass plate to the final sealing of the picture will be elucidated and explained in such a clear and satisfactory manner, as that it may be hoped that the amateur may make great proficiency in his practice after the perusal of the work.

The process, however, is capable of such a variety of changes, all tending to the same result, and liable, also, to a slight variation, without due care, that many, perhaps, who may adopt the practice will meet with difficulties where none were expected. But perseverance, which accomplishes great deeds in all things, will at length reward the industrious student in this almost magic field of science. We believe that the clay is not 2*

IS

INTRODUCTION.

far distant when ambrotypes will be classed among tlie most beautiful creations of the Photographic Art, and command the wonder and regard of the picture-loving public.

The art is capable of much greater variety of effects than the lung-practised Daguerreotype. Here we may seal a "picture with or without coloring, and make the same picture appear to be colored on viewing it on one side, and uncolored on viewing it on the other side — in truth, viewing two sides of the face with only one portrait. Added to which is the great reduction of the time in the camera, by which moving objects and views may be taken without reversing, and likenesses of young children can be indelibly fixed on the glass tablet.

For the production of groups, this process offers many facilities not possessed by any other, from the fact that the ordinary iron head-rests may be dispensed with, if desirable, and an easy, graceful, and natural position attained.

These and other considerations render the Ambrotype in many respects superior to other photographic processes, and it will deservedly command the attention of all artists who wish to excel in this profession.

PHOTOGRAPHY.

Chapter I. Histoet And Progress Of The Photographic Art

ITS INTRODUCTION INTO THE UNITED STATES

THE DISCOVERY OR USES OF THE VARIOUS CHEMI- CALS POSITIVE PHOTOGRAPHS ON GLASS.

The history and progress of an art so peculiarly distinct from all other arts, demands from its votaries a certain knowledge of its early stages, its introduction to the world, and its authors who brought it into being.

The names of many of those w T ho have been instrumental in perfecting it, are fast passing away, and it seems befitting that, if only as a tribute of respect to their memories, some mention at least should be made of their noble achievements in this field of science — especially their long and wearisome researches and labors in perfecting this wonderful work.

To H. Daguerre, of France, whose name is so

PROGRESS OF riTOTOGRAPHY.

identified with the Photographic Art, from the fact of/its being associated with all those impressions on the metallic plate, is the world not only indebted for the first sublime idea, but also the first successful result. Although Mr. Fox Talbot, of England, who was prosecuting experiments at the same time with Daguerre, claims priority of discovery, yet the world would have slumbered in ignorance had not M. Daguerre so clearly demonstrated that light falling upon a certain substance known by chemists as iodide of silver, would impress thereon whatever image was presented for its magic work, and reproduce its own image with all the fidelity of an artist's skill.

The details of M. Daguerre's process, as given to the world in June, 1839, were, of course, very imperfect; yet the principle was thereby established, and has been so successfully carried out by his successors, that he is fully entitled to the credit, and deservedly stands pre-eminent in the ranks as the original discoverer or inventor of this beautiful art.

All the photographic processes since made known and practised, owe their origin, if not directly, at least indirectly, to the fact of his original discovery.

TEOGKESS OF rilOTOGKAPHY.

Pictures on paper, glass, &c, are in fact only modifications of his great achievement. They involve a change in the nature of the mere materials used, and do not in any degree affect the original fact that light must be brought to act upon the substance known as iodide of silver to produce the required result.

The researches of Wedgewood and Sir Humphrey Davy, in 1802, are familiar to most scientific readers. These individuals were cognizant of the fact that light acting upon certain salts of silver affected its color. They engaged in these experiments in order to fix the image in the camera obscura at that early day ; yet owing to the imperfect state of chemical science, and the fact that iodine itself was not discovered at that time, they finally abandoned it, and left the field for such industrious and worthy investigators as Daguerre and Niepce, who successfully prosecuted their researches, beginning in 1814, and finally announcing their successful result in June, 1839.

The world was astounded to be told that the seeming evanescent image that had flitted so beautifully before the vision of a dreamer's mind in the camera obscura for so many long years, had been caught and impressed indelibly upon a tangible

PROGRESS OF rHOTOGKAPHT.

substance ; that the long wished-for aspirations of an artist's soul had been realized ; that now it was possible to transform the living pictures which Portia, two hundred years before, had exhibited to the gazing world as wonders of his genius; that they could all be imperishably impressed, and be made to retain their beauty for ages.

Philosophers in science prosecuted their researches, and finally made additional discoveries. We find Sir John Herschel as among the foremost in the ranks. Hunt, Archer, and Mr. Fox Talbot himself, made great progress soon after it was announced that Daguerre had finally perfected his discovery.

Mr. Talbot, however, was unwilling the world itself should profit by his discovery, and he forthwith commissioned agents to all parts of the world to secure patents wherever they could be obtained. "With what success he met in their sale may be known from the fact that no one now claims any interest whatever in them.

Mr. Talbot has seen proper of late to withdraw all claims to a patent by his process, and for the reason, no doubt, that it has been so immeasurably superseded by new and more useful improvements.

A patent for any portion of this process is almost fox talbot's patent.

conceded to be a misnomer. Certain it is that one always militates against the successful practice of it ; and had M. Daguerre claimed one all over the world, his name would not have attained its present fame.

Mr. Talbot has been very justly censured in England for his long persistency in the claims to his patent. Many litigations were the consequences of it, in all of which Mr. Talbot was not declared the victor, but he always brought upon himself the deserved censure of the photographers in Europe.

M. Daguerre himself, very reluctantly, however, yielded to the wishes of some of his friends, and secured a patent in England, by taking advantage of a peculiarity in the patent laws of that country, yet it has been said he often regretted it.

Wherever any patent has been secured for any peculiar detail of the Photographic Art, it has always tended to bring discredit on its projectors, and render them odious in the eyes of the fraternity, as grasping and over-reaching in their endeavors to gain a few dollars and cents out of this beautiful process, which seems to belong to a higher race of discoveries than most others, partaking almost of the things spiritual.

DAGUEKRE S PENSION.

France awarded M. Daguerre a pension for life, as well as one to M. Niepce, junior, the father, who was the original co-laborer with Daguerre, having died in 1833. This pension was small, yet it evinced a noble and generous spirit in the French government, and an example that is worthy of emulation in other countries.

The process on silver plates soon made rapid strides towards perfection, and in a few years we find the art capable of producing specimens of great beauty. The discovery of the use of chloride of iodine, and bromine, and finally the gilding process of Mr. Fizeau, resulted successfully in completing the whole process so perfectly, that few, if any, material improvements have been made since.

This led others to investigate and essay experiments on various substances instead of the silver plate, that being an expensive article ; and, moreover, as the daguerreotype could only be seen with distinctness in a certain position, or angle of light, while paper offered such unequal surfaces, a natural desire was expressed to find some other substance to remedy these defects. This first led Sir John Herschel to adopt glass as the readiest means of obviating the difficulties. This was in the year 1844, and he obtained his results by precipitating herschel's process.

iodine and bromine, and chloride of silver upon glass. With this he produced some good negatives, which could be converted into excellent positives.

Herschel describes his process as follows : " The glass plate so prepared receives in the camera a distinct negative image, which appears either in a natural position, or reversed, as you look at it in front or behind. If a solution of hyposulphite of soda is spread cautiously over the surface, and the latter is afterwards rinsed with water, the picture vanishes, but as soon as the plate is dry, it comes again to light, when it looks similar in appearance to a daguerreotype, more especially if it is placed on a dark ground, or blackened over the lamp, whereby, indeed, the negative is made positive."

Here, then, we have the first germ of a positive picture on glass. Herschel himself was searching after a negative picture whereby to produce a positive on paper, nor did it occur to him to pro duce a positive on glass. Had he done so, then the far-famed Ambrotypes, or positive photographs on glass, would have been of an earlier creation than those of 1850 in England.

We see here the actual beginning of this art as far back as 1844.

DISCOVERY OF GUN-COTTON.

The next improvement was made by Niepce de St. Yictor, of France, in 1848, which consisted in the use of albumen (the white of an egg), containing iodine and a small portion of water. This was used for coating glass plates, and was practised with good success. It was found to possess only a small degree of sensitiveness. Yet it has been since used for taking views, having a further combination of bromine, with excellent results. M. Le Grey, of Paris, was the first to suggest the use of waxed paper. This process, with albumen, gives highly satisfactory pictures, and is only excelled by the use of collodion. It was in 1850 that tha* substance first was known as the great desideratum of the Photographic Art, and from its discovery and foundation has been laid a superstructure which commands so much admiration in the scientific world.

Had not Professor Schonbein, of Basle, Switzerland, in 1846, made that curious, and at that time almost useless, discovery of gun-cotton, we should have groped our way in darkness in search of a substance that would render all our labors so sure of success.

The use of gun-cotton as an explosive material instead of gunpowder, was by some predicted

FIRST USE OF COLLODION.

when its discovery was first made known ; but it was soon found to be useless as an explosive agent, when happily a new element of its nature was developed in the fact of its solubility in ether or alcohol. This produced the substance known as collodion, from a Greek word signifying "to stick." Its similarity to albumen soon caused it to be used instead of that substance, when lo ! a servant was obtained for the photographic artist at once so useful and willing that he has ever since, and probably ever will, be subject to his rule.

Collodion was first used in 1850, several claiming the origin of the discovery. Amongst the number may be mentioned Messrs. Archer, Fry, and Diamond, of London, together with Le Grey, of Paris, and De La Motte. The latter asserts that M. Simon, an apothecary of Berlin, suggested its properties to him in the spring of 1850.

After collodion had been established as a photographic agent of such vast utility, it w T as soon found that positive pictures could be taken on glass with greater facility than those on the silver plate, and we find that many were sold in 1851 in that manner in England ; yet they did not command much attention, owing to their peculiar nature — being taken with a thin film, and a weak

ME. CUTTING'S PATENT.

nitrate bath, they did not possess that strength which those of the present day exhibit.

The use of collodion was employed mainly with a view to produce good negatives on glass, in order to obtain from them satisfactory positives on paper. It was not until positive pictures on glass were taken in this country, that they elicited any praise from the artist ; and we find Mr. Cutting, of Boston, running with railroad speed towards the Patent Office in Washington, and securing the exclusive privilege of sealing two glasses, with one of them blackened, in order to render the picture apparent — the examiners at Washington not dreaming of the capital joke which was being played on them, for it is well known that these positives cannot be seen without the black varnish.

The necessity of the second glass blackened has since been entirely obviated by applying the varnish directly to the picture, and at the same time rendering the picture more durable, by entirely excluding from it the air or dust.

Since that patent w r as obtained, there have been many improvements made in the preparation of the chemicals, and their use, all of which have entirely superseded those of Mr. Cutting's, whose chemicals, strange to say, were also patented.

DAGUEKEE AND HIS FOLLOW KRS.

The name of Ambrotype was also given them, and they are now so well known by it, that it is presumed they will be ever after called by that newly-coined word, which of itself is perhaps as suggestive and appropriate as any.

Thus we see the progress of photographs on glass has resulted in establishing an entirely new name for pictures which owe their origin to the immortal Daguerre. And although many of the followers of the great master in the art claim originality in many of the details of this art, and they are indeed entitled to much praise, yet had Daguerre and Niepce never lived, this art might not yet have had an existence. But Daguerre developed and perfected an art which will be prac tised as long as the sun shall shine. 3*

Chapter II. Theory Of The Photographic Process Negative

AND POSITIVE PICTURES NEGATIVES ON PAPER

AND ON GLASS POSITIVES ON GLASS THEORY OF

the PosrrrvE and the negative process.