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PUBLISHED BY R I C H AR 0 CH FFI H
I iCPCLASCO
 0.1fljLUltlt..

A POPULAR TREATISE

ON THE

ART OF PHOTOGRAPHY,
INCLUDING
%

DAGUERREOTYPE,

ALL THE NEW METHODS OF PRODUCING PICTURES

BY THE CHEMICAL AGENCY OF LIGHT.

ROBERT HUNT,
SECRETARY OF THE ROYAL CORNWALL POLYTECHNIC SOCIETY.

ILLUSTRATED BY ENGRAVINGS.
CONV
. NH
*

H5t
GLASGOW:
PUBLISHED BY RICHARD GRIFFIN AND COMPANY.

MDCCCXLI.
 INTRODUCTION.

The announcement of the discovery of a process by which lightthe

most subtile of the elements, the mysterious agent of vision was made
to pencil, on solid tablets, the objects it illuminated, and permanently fix
the fleeting shadow, possessed, at the same time, so much of the mar-

vellous and beautiful, as to excite more than common wonder.

Nor was this feeling in any way lessened by the examination of the
first specimens of the new art, which were presented to the world by
Mr. Talbot, so perfect in their outline, so minute in their detail, were
these early photographic * delineations. But when the delicate pictures

produced by M. Daguerre became public, words were weak to express

the general admiration of those beautiful things, which infinitely sur-
passed, in their exquisite finish, the most perfect specimens of human
art ;
and which, in their distribution of light and shadow, and the magic
of atmospheric effect, had a charm almost equalling that of the living
landscape in its richest aspects. At the same time, these pictures con-
vinced one of the strict fidelity of those productions which the pencils
of some of the old masters have given to the world.

All men, even the most unintellectual, are sensible to the influences

of beauty, whether presented to their view in the completeness of

Natures works, or in the approaches of human effort towards perfec-
tion. There is, with men in general, a soul-felt wish to approach to the

excellence they admire, but it is too frequently trammelled by the bonds

of ignorance and sensuality. The desire being but seldom seconded by
persevering industry, is unfortunately too often abortive the approach
to perfection being granted only as the reward of labour.
The photographic processes appeared, when first reported, to be so

* Photographic, or as they are sometimes called, Photogenic drawings, signify light

delineated, or light generated pictures.
IV INTRODUCTION.

simple, that most persons conceived they could procure, without trouble,

specimens of equal beauty with those exhibited by the artist and the
philosopher ;
and the desire of which we speak, was at once manifested
in an unusual degree. It requires but the slightest consideration to
convince us, that an element inappreciably subtile, must, in its action

on chemical preparations, be affected by the most trifling change ;

and
that differences beyond detection by any other test, would become
glaringly evident under the influence of light.

Failure damped the ardour of the pursuit, and owing to the uncer-

tainty of the results with the sensitive paper, and the delicacy of the
manipulation required for the silver plate, coupled with its most unfor-
tunate expense, the enthusiasts of the moment wearied, and at length

resigned the task they had felt so certain of accomplishing, displeased

that they had met with difficulties, where none were anticipated.
This is scarcely to be regretted ;
for that which is too easily obtained

is rarely prized, and becoming common, it does not afford that stimuli

which impels men onward in their pursuits, and leads to the improve-

ment of every department of science or of art. .

Photography does not possess the advantages of perfection, any more

than other human inventions. Had it been left where we found it

when the discovery was announced, it would have remained a beautiful,

but almost useless thing a philosophic toy, which lent a little assist-

ance to the cultivation of taste, but afforded none to the economy of

manufactures : whereas it now promises to be of important use to many
of the arts of industry.

The multiplication of pictures from an original photograph is

the great end of the art. The attempts made to engrave the Dagu-
erreotype plate are all of them, to a certain extent, failures, the finer

details being lost, and the cerial perspective entirely destroyed.

Indeed, the employment of strong nitric acid, to etch the tracery

marked out by the magic finger of light, appears much as if we were to

employ a smith to rivet the downy feather to the wing of the butterfly.

It appears natural to suppose that the picture drawn by light must

be multiplied by the same agent ;
and that it is to processes on paper,
similar to those of our countryman, Mr. Talbot, or on some transparent
substances, as glass, in the way suggested by Sir John Herscliel, that

we must direct our attention, if we wish to arrive at photographic pub-

lication.
 INTRODUCTION. V

All noble growths are slow, is .the remark of an American moral

philosopher, of which a thousand examples proclaim the truth ;
and,

looking at the progress of our new art in the very infancy of its being,

what may we not expect from its maturer age.

It is with the view of arranging all the various processes which have

been devised, into a systematic form, that the present treatise has been
undertaken. Desirous of promoting the study of the art of photo-
graphy to the utmost of my ability, the greatest care has been taken in
verifying the different manipulatory processes which I have introduced.

Nothing is inserted which has not been put to the test of many ex-

periments, from which it is hoped that this publication will render real

assistance, not only to those whom it may induce to experiment in

photography, but even where the practice of the art has given a con-
siderable degree of certainty in manipulation.

I arrogate not to myself any superiority in this respect, far from it;

the constant difficulties I have encountered, particularly from missing

the exact proportions for producing any desired effect, was the first

inducement to the present arrangement; and finding it of much use

myself, and learning from many quarters that some popular information
on the subject was required, I have studied to form a manual which
might be extensively useful.

It appears necessary to state in this place, that throughout the volume

the terms positive and negative as suggested by Sir John Herschel, are
,

used to express, respectively, pictures in which the lights and shades are
as in nature, and in which they are the opposite, lights being repre-

sented by shades, and shades by lights. The Frontispiece contains

examples of both these kinds of pictures. From the same authority the

terms direct and reversed are also borrowed, to indicate pictures in

which, as regards right and left, the objects appear as they do in the

original, or the contrary.

ROBERT HUNT.
 CONTENTS.

Page
HISTORY OF PHOTOGRAPHY, 1

PROCESSES ON PAPER, 6

1. On the Selection of Paper for Photographic Purposes, ... 6

2. Negative Photographs, 9

A. On the Preparation of the Sensitive Paper with the Salts of Silver, . 9

a. Nitrated Paper , 10

b. Muriated Paper, 11

c. Iodidated Papers , 18

d. Bromidated Papers , 19

e. Phosphated Papers ,
21

f Papers Prepared with other Salts of Silver , 21

g. Dr. Schafhaeutls Negative Process ,

23

B. On the Methods of Using the Photographic Papers prepared with the

Salts of Silver. Negative Kind, 24

a. On talcing Copies of Botanical Specimens, Engravings, <<?., ... 24
b. On using the Photographic Pager in the Camera Obscura ,
... 26

C. On Fixing the Negative Photographs, 30

3. Positive Photographs, '

32

A. On the Production of Photographs with Correct Lights and Shadows,

by means of Transfers, 32

B. Positive Photographs from Etchings on Glass Plates, .... 34

C. On the Production of Positive Photographs, by the Use of the Hy-
driodic Salts, 35
D. Directions for taking Photographs, 41

PROCESSES ON METALLIC AND GLASS TABLETS, 48

1. Heliograph y, 48
2. Daguerreotype, 53
A. Original Process of Daguerre, 53
B. Improvements in Daguerreotype, 60
a. Improved Method of Iodizing the Silver 60
b. Methods of Fixing the Daguerreotype Pictures 61

C. Engraving the Daguerreotype Designs, 62

D. Application of the Daguerreotype to taking Portraits from Life, . 63
E. Simplification of the Daguerreotype Processes, 67
F. On the Manner in which the Light operates to produce the Daguerreo-

type Designs, 70

3. Processes on Glass Plates, by Sir John Herschel, . . . . 71

 Vlll
Page
MISCELLANEOUS PROCESSES, 73

1. On the Application of the Daguerreotype to Paper, .... 73

2. Photographic Processes without any Metallic Preparation, . . 76

3. Dr. Schafhaeutls Process on Carbonised Plates, . . . . 79

4. A New Construction of the Photographic Camera Obscura, . . 80

5. On the Possibility of Producing Photographs in their Natural Colours, 82

6. Invisible Photographs, and their Reproduction, .... 84

7. On the Spontaneous Darkening of the White Photographic Papers, 84

8. On the Use of the Salts of Gold as Photographic Agents, . . 85
9. On the Action of Heat on the Hydriodic Photographic Papers, . 86
10. On Copying Letter- Press, &c., on the Photographic Papers, by means
of Juxtaposition, 86

11. On the Use of Photographic Paper for Registering the Indications

of Meteorological Instruments, 87
12. The Influence of Chlorine and Iodine in rendering some kinds of
Wood sensitive to Light, 89
13. Process for Preparing the Hyposulphite of Soda, .... 90

CONCLUSION, 91

SUPPLEMENTARY CHAPTER, 94
A New Photographic Process by the Author, for Producing Pictures
with the Camera Obscura in a Few Seconds, . . . . 94
 HISTORY OF PHOTOGRAPHY.

The art of Photography is hut as of yesterdays birth. The earliest

recorded attempts at fixing images by the chemical influence of light,
being those of Wedgwood and Davy' published in the Journal of the
Royal Institution of Great Britain, in June, 1802. Neither of these
eminent philosophers succeeded in producing a preparation of sufficient
sensitiveness to receive any impression from the subdued light of the
camera obscura. By the solar microscope, when the prepared paper was
placed very near the lens, Sir H. Davy procured a faint image of the
object therein but being unacquainted with any method of preventing
;

the further action of light on the picture, which is, of course, necessary
to secure the impression, the pursuit of the subject was abandoned.
From no attempt was made to overcome the difficulties
this period
which stopped the progress of a Davy, until 1814, when M. Niepce, of
Chalons, on the Soane, appears to have first directed his attention to
the production of pictures by light.

Although that branch of the subject, which had for its object the
fixation of optical images, was unattended to, the chemical influences
exerted by the individual rays of the solar spectrum, attracted the atten-
tion of men of science, and many important phenomena were discovered.
As most of these have a practical bearing on the subject in hand, it
may not be uninteresting 4o take a rapid survey of the progress of this
inquiry.
The philosophers of antiquity appear to have had their attention ex-
cited by many of the more striking characters of light. Yet we have
no account of their having attended to any of its chemical influences,

although its action on coloured bodies deepening their colour in some
cases, and discharging it in others
must have been of every-day occur-
rence. The only facts which they have recorded, are, that some pre-
cious stones, particularly the amethyst and the opal, lost their sparkle
by prolonged exposure to the rays of the sun.
It has been stated I know not if on sufficient authority that the
jugglers of India were for many ages in possession of a secret, by which
they were enabled in a brief space to copy the profile of any individual,
o HISTORY OF PHOTOGRAPHY.

by the action of light. However this may have been, it does not appear
that they know any thing of such a process in the present day.
The alchemists, amidst the multiplicity of their manipulations,
dropped on the combination of silver and muriatic acid, to which white
salt they gave the name of caustic silver, or, when fused, of horn silver,
and they noticed that it was blackened by light but, appearing to pro-
;

mise nothing to their cupidity, it attracted but little of their attention*

The illustrious Scheele, in his admirable Traite de V Air et du Feu ,

gave us the first philosophical examination of this peculiar property #

of the salts of silver, and showed the dissimilar powers of the different
rays of light in effecting this change. In 1801, Ritter proved the ex-
istence of rays a considerable distance beyond the visible spectrum,
which had the property of speedily blackening chloride of silver. These
researches excited the attention of the scientific world, and M. Berard,
Lubeck and Berthollet, Sir William Herschel, Sir Henry Englefield,
and others, directed their attention to the peculiar condition of the dif-
ferent rays in relation to luminous, calorific, and chemical influences.
Dr. Wollaston pursued and published an interesting series of experi-
ments on the changes effected by light on gum guaiacum. He found
that papers washed with a solution of this gum in spirits of wine, had
its yellow colour rapidly changed to green by the violet rays, while the

red rays had the property of restoring the yellow hue. Sir Humphry
Davy observed, that the puce-coloured oxide of lead became, when
moistened, red, by exposure to the red ray, and black when exposed to
the violet ray that hydrogen and chlorine entered into combination
:

more rapidly in the red, than in the violet rays, and that the green
oxide of mercury, although not changed by the most refrangible rays,
speedily became red in the least refrangible.
The revival of gold from their oxides, by the action of the
and silver
suns light, also occupied the attention of Count Rumford, who com-
municated two valuable papers on this subject to the Royal Society.
These, and some curious observations by Morichini and Configliachi,
M. Berard and Mrs. Somerville, on the power of the violet rays to in-
duce magnetism in steel needles, are the principal points of discovery
in this branch of photometry. Indeed, with regard to the last men-
tioned, Berzelius states, from a review of the experiments of Seebech,
that he concludes the fact announced by Mrs. Somerville rests on an
illusion; which agrees with the opinions of Snow Harris, who endea-
voured to produce polarity in needles exposed in vacuo to the influence
of violet light, but failed in every instance.* These researches led the
way to the establishment of the art, on the consideration of which we
must now more particularly enter. It being admitted on all hands that
the firsts attempts to delineate objects by light were those of Wedg-

* The Rev. Thomas Knox, and G. J. Knox, Esq., have very recently repeated these ex-
periments; they have, however, only proved that the induced magnetism is dependent upon
the oxidation of the steel, which takes place more rapidly in the violet, than in any of the
other rays . See the Reports of the Royal Irish Academy.
 HISTORY OF FIIOTOGRAFIIY. 3

wood and Davy, we must allow tho second in order of time to be those
of M. Niepce.
The Photographic researches of M. Niepce, as before stated, appear
to have commenced in 1814. It does not seem his early attempts were
very successful ones, and after pursuing the subject alone for ten years,
he, from an accidental disclosure, became acquainted with M. Daguerre,
who had been for some time endeavouring, by some chemical process, to
fix the images obtained with the camera obscura. In December, 1829,
a deed of copartnery was executed between M. Niepce and M. Daguerre,
for mutually investigating the subject.
M. Niepce had named his discovery Heliography* In 1827, he pre-
sented a paper to the Royal Society of London, on the subject; but as
he kept his process a secret, it could not, agreeably with one of their
laws, be printed by them. This memoir was accompanied with several
designs on metal, which were afterwards lodged in the collections of the
curious. They prove M. Niepce to have been then acquainted with a
method of forming pictures, by which the lights, demi-tints, and sha-
dows, were represented as in nature and he had also succeeded in
;

rendering his Heliographs, when once formed, impervious to the further

effects of the solar rays. Some of these specimens appear in the state
of advanced etchings, but this was accomplished by a process similar to
that pursued in common etchings, to be hereafter explained. Glass,
copper plated with silver, and well plannislied tin plate, were the
substances on which M. Niepce spread his sensitive preparations.
Paper impregnated with the chloride or the nitrate of silver, was the
substance first selected by M. Daguerre. Heliography does not appear
at any time to have produced any very delicate effects. The want of
sensibility in the preparation, the resin of some essential oils, or the oil
of Lavender, in which asplialtum was dissolved,
rendered it necessary
that the prepared plate should be exposed to luminous influence from
seven to twelve hours. During so protracted an interval, the shadows
pass from the left to the right of objects, and consequently all the fine
effects arising from the contrasts of light and shade are destroyed. The
first attempts of Daguerre appear to have been little more successful

than those of Wedgwood. M. Aragothus speaks of the prepared papers:

The want of sensibility in this preparation, the confusion of images it
produced, the uncertainty of the results, and the accidents which often
interfered with the operation of transforming the lights into shadows,
and the shadows into lights, could not fail to discourage so able an
artist. Had Daguerre persisted in his first intention, his photographic
designs might have found a place in collections, as the result of a curi-
ous philosophical experiment, but assuredly they never would have occu-
pied the attention of the Chamber of Deputies. M. Arago should have
hesitated ere he gave utterance to the concluding portion of this para-
graph : experience has shown that all the difficulties he speaks of, were

* Pencilled by the Sun.

4 HISTORY OF PHOTOGRAPHY.

to be overcome and two years from the delivery of the above speech
;

had not elasped, when M. Biot presented to the academy a series of

specimens on paper, the production of Mr. Fox Talbot, obtained, both
by application, and with the camera, in which the lights and shadows
were correctly represented, and which rivalled in point of sensitiveness
the magic iodidated plate of Daguerre.* The discovery of Daguerre
was reported to the world early in January, 1839, but the process by
which his beautiful pictures were produced, was not made known until
the July following, after a bill was passed, securing M. Daguerre a
pension for life of 6,000 francs, and to M. Isidore Niepce, the son of M.
Niepce above mentioned, a pension for life of 4,000 francs, with one
half in reversion to the widows. be regretted, that after the
It is to
French Government had thus liberally purchased the secret of the pro-
cess of the Daguerreotype, for the glory of endowing the world of science
and of art, with one of the most surprising discoveries that honour their
native land, f on the argument that the invention did not admit of
being secured by patent, for as soon as published all might avail them-
selvesof its advantages,f that it should have been guarded by a patent
right in England.
On the 31st of January, 1839, six months prior to the publication of
M. Daguerres Mr. Fox Talbot communicated to the Royal
process,
Society his photographic discoveries, and in February he gave to the
world an account of the process he had devised for preparing a highly
sensitive paper for photographic drawings. In- the memoir read before

the Royal Society, he states,- In the spring of 1834, I began to put
in practice a method which I had devised some time previously, for em-
ploying, to purposes of utility, the very curious property which has been

* I have been recently favoured with a communication from Mr. Talbot, accompanied
by some most exquisite specimens of this new photographic art. One of these draw-
ings, am elm^tree, was effected by an exposure of one minute in the camera, and the
minutest details, even the topmost twig that looks up at the sky, are given with con-
siderable strength and much picturesque effect. To distinguish this process from the
ordinary ones and from the Daguerreotype, Mr. Talbot has bestowed upon it the name of

Calotype, and truly from its perfect character it well deserves its title the beautiful.
It must however be borne in mind, that though this process is one of exquisite sensibility,
it does not at once give the correct light and shadow to the picture, it is a negative process,

and it is therefore necessary to take a second copy on ordinary photographic paper, to

produce a faithful representation of the original. The discovery was accidental, and affords
another proof of the very extensive inquiry which Photography has brought into view. It
appears Mr. Talbot was trying some experiments on the relative sensitiveness of several
kinds of papers, by exposing them for very short periods in the camera. Some papers
which were taken from the instrument exhibiting no impression, were thrown aside in a
dark room ; after some time these were again examined, and strange to say, by a process
of natural magic, pictures of the objects to which the camera had been pointed, were
formed on them in the dark.
The secret of preparing this very extraordinary variety of photographic paper is still
retained by Mr. Talbot, who has patented the process, and is desirous of improving, if
possible, the already exquisitely sensitive calotype paper, before he gives in his specification
to the Patent Office.

+ M. Duchatel, Minister Secretary of State, on presenting the Bill to the Chamber of

Deputies.
 ;

HISTORY OF PHOTOGRAPHY. 5

long known to chemists to be possessed by the nitrate of silver, namely,

its discolouration when exposed to the violet rays of light. From
this it appears that the English philosopher had pursued his researches
ignorant of what had been done by others on the continent. It is not
necessary to enlarge, in this place, on the merits of the two discoveries
of Talbot and Daguerre but it may be as well to show the kind of sen-
;

sitiveness towhich Mr. Talbot had arrived at this early period, in his
preparations, which will be best done by a brief extract from his own
communication.
It is so natural, says this learned inquirer, to associate the idea
of labour with great complexity and elaborate detail of execution, that
one is more struck at seeing the thousand florets of an Agrostis depicted
with all its capillary branclilets, (and so accurately, that none of all this
multitude shall want its little bivalve calyx, requiring to be examined
through a lens,) than one is by the picture of the large and simple leaf
of an oak or a chesnut. But in truth the difficulty is in both cases the
same. of these takes no more time to execute than the other
The one
for the object which would take the most skilful artist days or weeks of
labour to trace or to copy, is effected by the boundless powers of natural
chemistry in the space of a few seconds. And again, to give some
more definite idea of .the rapidity of the process, I will state, that after
various trials, the nearest valuation which I could make of the time
necessary for obtaining the picture of an object, so as to have pretty
distinct outlines, when I employed the full' sunshine, was half-a-second.
This is to be understood of the paper used by Mr. Talbot for taking
copies of objects by means of the solar microscope.
From this period the progress of Photography has been rapid. Sir
John Herschel has devised many extremely ingenious and useful methods
for preparing and fixing the drawings and the curious scientific results
;

which he has obtained, whilst studying the peculiar functions of the

different rays of light, and of the various photographic materials which
he has employed, are of the highest importance. It were useless to
enumerate all who have by their experiments arrived at practical im-
provements in the art particularly as they will be noticed under the
;

different sections to which their discoveries properly belong. Suffice it

then in this place to state, that the researches of Ponton, Fyfe, Draper,
Becquerel, Donne, Soleil, and Bayard, with many others, have already
advanced the art of Photography, and the processes of the Daguerreo-
type, to that point, atwhich their ultimate utility is clearly shown to
depend merely on the simplification of their manipulatory details.
 PROCESSES ON PAPER

1. On the Selection of Paper for Photographic purposes.

It is natural to suppose, that a process, which involves the most
delicate chemical changes, should require that more than ordinary care
be taken in selecting the substance upon which preparations of a photo-
graphic character are to be spread. This becomes more evident as we
proceed in our experiments to produce improved states of sensitiveness.
As the material, whatever it may be, becomes more susceptible to
luminous influence, the greater is the difficulty of producing perfectly
uniform surfaces, and with paper this is more particularly the case than
with solid plates. Paper is, however, so convenient and so economical,
that it is of the first importance to overcome the few difficulties which
stand in the way of its use, as the ground on which the photographic
picture is to be drawn.
The principal difficulty we have to contend with in using paper, is,

the different rates of imbibition which we often meet with in the same
sheet, arising from trifling inequalities in its texture. This is, to a
certain extent, to be overcome by a very careful examination of each
sheet, by the light of a lamp or candle at night. By extending each
sheet between the light and the eye, and slowly moving
up and down, it

and from left to right, the variations in its by the

texture will be seen
different quantities of light which permeate it in different parts and it ;

is always the safest course to reject every sheet in which such inequali-

ties are detected. By day it is more difficult to do this than at night,

owing to the interference of the reflected with the transmitted light. It
will however often happen, that paper which has been carefully selected
by the above means, will imbibe fluids very unequally. In all cases where
the paper is to be soaked in saline solutions, we have another method of
discovering those sources of annoyance. Having the solution in a broad
shallow vessel, extend the paper, and gradually draw it over the surface
of the fluid, taking care that it is wetted on one side only. A few trials
will render this perfectly easy. As the fluid is absorbed, any irregulari-
ties are detected by the difference of appearance exhibited on the upper
part, which
will, over well defined spaces, remain of a dull white, whilst
other portions will be shining with a reflective film of moisture. Where
the importance of the use to which the paper is to be applied, as for
instance, copying an elaborate piece of architecture with the camera,
 SELECTION OF PArER FOR PHOTOGRAPHS.

will repay a little extra attention,it is recommended that the paper be

tried by this test with pure water, and dried, before it is submitted to
the salting operation. It will be sometimes found that the paper corn-
tains minute fibres of thread, arising from the mass of which it is formed

not having been reduced to a perfect pulp. Such paper should be re-
jected, and so also should those kinds which are found to have many
brown or black specks, as they materially interfere with some of the
processes. Some specimens of paper have an artificial substance given
to them by sulphate of lime, (plaster of paris) but, as these are generally
the cheaper kinds of demy, they are to be avoided by purchasing the
better sorts. No really sensitive paper can be prepared when this sul-
phate is present, and it has the singular property of reversing the action
of the liydriodic salts on the darkened chloride of silver, producing
a negative, in the place of a positive photograph. It is often desirable to
when we wish to transfer our
operate on very thin paper, particularly
designs. be found that most sheets of this description are
It will
actually pierced with minute holes, through which the light passes
uninterruptedly, and consequently, impairs any copy which may be
taken from a drawing on such a sheet. In selecting such paper, of
which the kind known as thin post is the best, the closest texture should
be chosen. A plan will be hereafter given for remedying, to a certain
extent, the imperfections of thin sheets. It is the custom for paper-
makers to fix their names and^ the date, on one leaf of the sheet of
writing paper. It is generally wise to reject this leaf, or to select paper
which is not so marked, as, in many of the photographic processes which
will be described, these marks are brought out in most annoying dis-
tinctness. From the various kinds of size which the manufacturers use
in their papers, it will be found that constantly varying effects will arise.
A well sized paper is by no means objectionable: on the contrary,
organic combinations exalt the darkening property of the nitrate and
muriate of silver. But unless we are careful always to use the same
variety of paper, for the same purpose, we shall be much perplexed by
the constantly varying results which we shall obtain. No doubt when,
with the advance of the art, the demand for paper for photographic
purposes increases, some manufacturers will find it worth the necessary

care to prepare paper agreeably to the directions of scientific men. Then

we may expect uniform effects. In the mean time, all who desire to
make any progress fn Photography, must take the necessary precautions
meet with repeated failures.
in selecting paper, or be content to
It has been noticed by Sir John Herschel, that when thin post
paper, merely washed with nitrate of silver, without any previous or
subsequent application, exposed to clear sunshine, partly covered by
is

and strongly pressed into contact with glass, and partly projecting be-
yond it, so as to be freely exposed to air, the darkening
produced in a
given time very unequal in the two portions.
is That protected by the
glass, contrary to what might have been expected, is very much more
affected than the part exposed; more, indeed, in some instances, than
 . .. ;

8 SELECTION OF PAPER FOR PHOTOGRAPHS.

would be produced by free exposure during three or four times the given
time. When fixed by hyposulphite of soda, the difference is rendered
yet more striking, to an extent hardly credible without trial. It was
also found that the same glass in several instances exercised quite as
remarkable an influence in depressing, as in others it did in exalting the
solar action. The researches of the author of the present volume, all
go to prove that this peculiar effect is mainly dependent on the quality
of the paper employed. It is certain that the result is considerably
influenced by it. This being the case, the necessity of endeavouring to
establish by experiment, some data, by which we might always throw
the balance of action on the exalting side, isvery evident, as by this
means we are enabled to increase the strength and decision of outline in
an extraordinary degree. The following tables will exhibit the results
of an extensive series of experiments, undertaken after the publication
of Sir J. Herschels memoir on the Chemical Action of the Rays of
the Solar Spectrum, in which he has given a table of results, obtained
with different preparations on various kinds of paper but as he has not ;

established the influence of the paper, except in a few instances, in-

dependent of the preparation, it became desirable to endeavour to do so.
In pursuing this inquiry, it was found that the same description of
paper, from different manufacturers, gave rise to widely different effects
so that the most carefully conducted experiments, several times repeated,
have only given approximations to the truth; and it is advised that
each inquirer should himself try the effect of plate glass, in exalting or
depressing the darkening property of the silver, on the paper he may
employ. In the event of this being neglected, the following table will
be of considerable utility:

I. PAPERS PREPARED WITH MURIATE OF SODA.

a. Superfine satin post, Considerable exalting effect.
b. Thick wove post, Depressing influence.
c. Superfine demy, Slight exalting effect.
d. Bath drawing card, . No influence.
e. Thick post, Slight exalting effect.
f Common bank post,.. Ditto.
g. Thin post, No influence.
h. Tissue paper, Considerable exalting effect.

II. PAPERS PREPARED WITH MURIATE OF BARYTES.

a. Superfine satin post, , Slight exalting influence.
b. Thick wove post, Ditto, but stronger.
c. Superfine demy, Similar to a .

d. Bath drawing card, , Similar to a.

e. Thick post, Considerable exalting influence.
f Common bank post, Similar to cl.
g. Thin post, , Similar to e.
h. Tissue paper, Results uncertain.
 .

NEGATIVE PHOTOGRAPHS. 9

III. PAPERS PREPARED WITH MURIATE OF AMMONIA.

a. Superfine satin post, Strong exalting influence.

b. Thick wove post, Results uncertain.
c. Superfine demy, , Slight exalting effect.
d. Bath drawing card, . Results uncertain.
e. Thick post, Ditto.

f Common hank post,.. Depressing influence.

g. Thin post, No influence.
h. Tissue paper, Strong exalting influence.

IV. PAPERS PREPARED WITH BROMIDE OF POTASSIUM.

a. Superfine satin post, No influence.

b. Thick wove post, Results uncertain.
c. Superfine demy, Strong exalting influence.
d. Bath drawing card, No effect.

e. Thick post, Depressing influence.

f Common hank post, Slight exalting effect.
g. Thin post, Ditto.
h. Tissue paper, Results uncertain.

Unsized paper has been recommended hy some, hut in no instance

have I found it to answer so well as paper which has been sized. The
principal thing to be attended to in preparing sensitive sheets, is to
prevent, as far as it is possible, the absorption of the silver solution into
the pores of the paper. Therefore the superficial roughness of unsized
sheets, and the depth of the imbibitions are serious objections to their
use. It must not, however, be forgotten, that these objections apply in
their force, only to the silver preparations in some modifications of
;

Mr. Pontons processes, with the bichromate of potash, the common

bibulous paper, used for filtering liquids, has been found to answer
remarkably well, on account of the facility with which it absorbs any
. size or varnish.

2. negative photographs.
A. On the Preparation of the Sensitive Paper with the Salts of
Silver.

The only apparatus required by the photographic manufacturer for the

preparation of his papers, are, a very soft sponge brush, a large camel-
hair pencil, a wide shallow vessel capable of receiving the sheet without
folds,and a few smooth planed boards, sufficiently large to stretch the
paper upon. He must supply himself with a few sheets of good white
blotting paper, and several pieces of soft linen, or cotton cloth, a box of
c

10 NEGATIVE PHOTOGRAPHS.

pins, (the common tinned ones will answer, but, if the expense is not a
consideration, those made of silver wire will do better,) and a glass rod
or two.

The materials necessaryto produce all the varieties of sensitive

paper which will be brought under consideration in this section are
I. Nitrate of Silver. The crystallized salt should, if possible,
always be procured. The fused nitrate, which is sold in cylindrical
sticks, is more liable to contamination, and the paper in which each
stick of wrapped being weighed with the silver, renders
two drachms is

it less economical. A
preparation is sometimes sold for nitrate of
silver, at from sixpence to ninepence the ounce less than the ordinary
price, which may induce the unwary to purchase it. This reduction
of price is effected by fusing with the salt of silver a proportion of some
cupreous salt, generally the nitrate. This fraud is readily detected by
observing if the salt becomes moist on exposure to the air. A very
small admixture of copper renders the nitrate of silver deliquescent.
The evils to the photographer are, want of sensibility to light, and the
perishability (even in the dark) of the finished drawing.
2.
10. Muriate of Soda, (Common Salt.)
3. of Baryta.
4 . of Strontia.
5. of Ammonia.
6. of Peroxide of Iron.
7. of Lime.
8. Chlorate of Potash.
9. Chloride of Soda, (Labarraques disinfecting Soda Liquid.)
Hydrochloric Acid, (Spirits of Salts.)
II. Solution of Chlorine in water.
12. Phosphate of Soda.
13. Hydrochloric Ether.
15. Tartrate of Potash and Soda, (Rochelle Salts.)
16. Iodide of Potassium, (Hydriodate of Potash.)
17. Bromide of Potassium, (Hydrobromate of Potash.)
18. Diacetate of Lead, (Sugar of Lead.)
19. Spirits of Wine.
20. Nitric Ether.
21. Distilled Water, or Boiled Rain Water.
Many other chemical preparations, and some of the elementary
bodies, will be often mentioned in connection with many processes to
which the white papers are applied, but it is not thought essential to
enumerate them in this place.

a . Nitrated Paper.
The most simple kind of photographic paper which is prepared, is
that washed with the nitrate of silver only and for many purposes
; it
answers remarkably well, particularly for copying lace or feathers, and it
 A. PREPARATION OF PAPER WITH SALTS OF SILVER. 11

has this advantage over every other kind, that it is perfectly fixed by
well soaking in warm water.
The best proportions in which this salt can be used, is one part, dis-

solved in four of water. Care must be taken to apply it equally, with

a quick but steady motion, over every part of the paper. It will

be found the best practice to pin the sheet by its four corners, to one of
the flat boards above mentioned, and then holding it with the left hand,
a little sweep the brush, from the upper outside corner, over
inclined, to
the whole of the sheet, removing it as seldom as possible. The lines in
figure 1 will represent the manner in which the
Fig. I.
brush should be moved over the paper, commencing
at a and ending at b. On no account must the
lines be brushed across, nor must we attempt to
cover a spot which has not been wetted, by the
application of fresh solution to the place, as it

will, in darkening, become a well defined space of

a different shade from the rest of the sheet. The
only plan is, when a space has escaped our atten-
tion in the first washing, to go over the whole sheet
with a more dilute solution. It is indeed always
the safest course to give the sheet two washings.
The simply nitrated paper not being very sensitive to luminous
agency, .it is desirable to increase its power. This may be done to some
extent in many simple ways.
By soaking the paper in a solution of isinglass or parchment size, or
by rubbing it over with the white of egg, and drying it prior to the
application of the sensitive wash, found to blacken much more
it will be
readily, and assume different tones of colour, which may be varied at
the taste of the operator.
By dissolving the nitrate of silver in common rectified spirits of
wine, instead of water, we produce a tolerably sensitive nitrated paper,
which darkens to a very beautiful chocolate brown; but this wash must
not be used on any sheets prepared with isinglass, parchment, or albu-
men, as these substances are coagulated by alcohol.
The nitrate of silver is not sufficiently sensible to change readily in
diffused light, consequently it is unfit for use in the camera obscura,
and it is only in strong sunshine that a copy of an engraving can be
taken with it.

b. Muriated Paper.
As the method of preparing photographic paper, published by Mr.
Talbot in 1839, is the first with which the public became acquainted, it
is right that that gentlemans processes should take precedence of

any others. We cannot do better than use his own description of them.
In order to make what may be called ordinary photogenic* paper,

Photogenic was the term first used, by the suggestion of Mr. Talbot.
 :

12 NEGATIVE PHOTOGRAPHS.

I select, in the first place,paper of a good firm quality and smooth

surface. do not know that any answers better than superfine writing
I
paper. I dip it into a weak solution of common salt, and wipe it dry, by
which the salt is uniformly distributed throughout its substance. I
then spread a solution of nitrate of silver on one surface only, and dry
it at the fire. The solution should not be saturated, but six or eight
times diluted with water. When dry, the paper is fit for use.
Ihave found by experiment that there is a certain proportion
between the quantity of salt and that of the solution of silver which
answers best, and gives the maximum effect. If the strength of the
salt is augmented beyond this point, the effect diminishes, and, in cer-
tain cases, becomes exceedingly small.
This paper, if properly made, is very useful for all ordinary photo-

genic purposes. For example, nothing can be more perfect than the
images it gives of leaves and flowers, especially with a summer sun, the
light, passing through tiie leaves, delineates every ramification of their
nerves.
Now, suppose sheet thus prepared, and wash it with a
we take a
saturated solution of and then dry it. We shall find (especially if
salt,

the paper has been kept some weeks before the trial is made) that its
sensibility is greatly diminished, and, in some cases, seems quite extinct.
But if it is again washed with a liberal quantity of the solution of silver,
it becomes again sensible to light, and even more so than it was at first.

In this way, by alternately washing the paper with salt and silver, and
drying it between times, I have succeded in increasing its sensibility to
the degree that is requisite for receiving the images of the camera
obscura.
In conducting this operation, it will be found that the results are
sometimes more and sometimes consequence of small
less satisfactory, in
and accidental variations in the proportions employed. It happens
sometimes that the chloride of silver is disposed to darken of itself
without any exposure to light this shows that the attempt to give it
;

sensibility has been carried too far. The object is to approach to this
condition as near as possible without reaching it, so that the substance
may be in a state ready to yield to the slightest extraneous force, such
as the feeble impact of the violet rays when much attenuated. Having
therefore prepared a number of sheets of paper, with chemical propor-
tions slightly different from one another, let a piece be cut from each,
and having been duly marked or numbered, let them be placed, side by
side, in a very weak diffused light for a quarter of an hour. Then, if
any one of them, as frequently happens, exhibits a marked advantage
over its competitors, I select the paper which bears the corresponding
number to bo placed in the camera .obscura.*
In this extract from Mr. Talbots communication, we have enumer-
ated, in brief, most of the peculiarities of the photographic processes

The London and Edinburgh Philosophical Magazine, March, 1839, page 209, vol. 14.
 ;

A. PREPARATION OF PAPER WITH SALTS OF SII^ER. 13

-
the increased sensitiveness given to paper, bj alternate ablutions of
saline and argentine washes the striking differences of effect produced
by accidental variations of the proportions in which the chemical ingre-
dients are applied
and the spontaneous change which takes place, even
in the dark, on the more sensitive varieties of the paper, are all sub-
jects of great interest, which demand yet further investigation, and
which, if followed out, promise some most important explanations of
chemical phenomena at present involved in uncertainty, particularly
of some which appear to show the influence of time an element not
sufficiently taken into account
in overcoming the weaker affinities.
A few particulars of remarkable changes, as observed in photographic
papers, will have a place in this volume.
The proportions in which the muriate of soda has been used, are
exceedingly various in general, the solution has been made too strong
;

but several respectable chemists have recommended a wash as much

too weak. For different uses, papers of various qualities should be
employed. It will be found well in practice to keep papers of three
orders of sensitiveness prepared; the proportions of salt and silver for
each being as follows :

Sensitive Paper for the Camera Obscura.

Muriate of soda, fifty grains to an ounce of water.
Nitrate of silver, one hundred and twenty grains to an ounce of
distilled water.
The paper is first soaked in the saline solution, and after being care-
fully wiped with linen, or pressed between folds of blotting paper and
dried, it is to be washed twice with the solution of silver, drying it by
a warm fire between each washing. This paper is very liable to become
brown in the dark.

Less Sensitive Paper for copies of Engravings Botanical or Entomo-

logical specimens .

Muriate of soda, twenty-five grains to an ounce of water.

Nitrate of silver, ninety grains to an ounce of distilled water.
Applied as above directed.

Common Sensitive Paper, for Copying Lace-work Feathers Patterns

, ,

of Watch-work , &;c.

Muriate of soda, twenty grains to an ounce of water.

Nitrate of silver, forty grains to an ounce of distilled water.
Applied as above directed.
This paper keeps tolerably well, but we cannot always depend upon
its darkening equally in all parts.

The irregularities discoverable in the texture of the finest kinds of

paper have before been mentioned. These give rise, however carefully
the successive washes may
have been applied, to irregular patches with
sharply defined outlines, exhibiting a much lower degree of sensibility
 14 NEGATIVE PHOTOGRAPHS.

than the other parts of the sheet. These patches have been attributed
by Sir John Herschel and Mr. Talbot to the assumption of definite
and different chemical states of the silver within and without their
area. A few experiments will prove this to be the case.
Prepare a piece of the less sensitive paper, with only one wash of
silver, and whilst wet expose it to the sunshine in a few minutes it
;

will exhibit the influence of light, by becoming very

irregularly darkened, assuming such an appearance
as that given in fig. 2, the light part being a pale
blue, and the shaded portions a deep brown. In pur-
suing our inquiry into the cause of this singularity,
it will be found that over the light parts a pure
chloride of silver, or a chloride with a slight excess
of the muriate of soda is diffused, but over the dark
parts the chloride of silver is united with an excess of
the nitrate of silver. Where the rates of imbibition
are different, this defect must follow, as a natural con-
sequence, in very many cases but ;
found to occur frequently where
it is

we cannot Although we
detect any sufficient cause for the annoyance.
are acquainted with the proximate causes of the differences produced,
yet the ultimate ones are involved in doubt. It is a remarkable fact,
that the same irregular patches are formed in the dark on papers which
have been kept a long of time. Sir John Herschel has suggested, as a
means of preventing these troublesome occurrences, that the saline
wash used should, prior to its application, be made to dissolve as
much which it does to a considerable
as possible of the chloride of silver,
extent ;
and that the wash of the nitrate of silver should be diluted
last
with an equal quantity of water, and applied twice, instead of in one

application. There can be no doubt but this evil is almost entirely

overcome by operating in this way, but it is unfortunate that the process
is somewhat injurious to the sensibility of the paper.

It may be as well to mention in this place, that it is in all cases

necessary, where considerable sensitiveness is required, that there should
exist an excess of the nitrate of silver in combination, or more properly
speaking, mixed with the chloride. Mr. Cooper, with a view to the pro-
duction of an uniform paper, recommends that it be soaked for a consider-
able length of time in the saline wash, and after it is dried that the sheet
should by an assistant, be dipped into the silver solution; while the operator
moves over its surface a glass rod
Fig. 3.
held in two bent pieces of glass as
in fig. 3; the object of which is to
remove the small air-bubbles, that
form on the surface of the paper,
and protect it from the action of the
fluid. This process, however well
it may answer in preparing paper

for copying engravings, and the like,

 A. PREPARATION OF PAPER WITH SALTS OF SILVER. 15

will yield but poor paper for camera purposes, and it is objectionable on
the score of economy.
Papers prepared with the muriate of soda, have been more extensively
used than any others, owing to the ease with which this material is
always to be procured, and for most purposes it answers as well as
almost any other, but it does not produce the most sensitive photo-
graphic ground.
Muriate of strontia, used in the proportion of thirty-five grains to
two ounces of water, with a silver solution of one hundred grains to the
ounce, the metallic wash being applied twice, as before directed, forms a
beautiful and very sensitive paper. Muriate of baryta, in similar
proportions, produces a paper as much like it as possible, with this
difference, that the barytic paper always assumes a peculiar richness of
colour. The colorific action of the barytic salts will become the subject
of our remarks by and by.
It may not be entirely useless, or uninteresting, to state the more
striking peculiarities of a few of the mordant washes, on the study
of which depends the possibility of our ever producing photographs in
their natural colours, a problem of the highest interest. It will be found
that nearly every variety of paper exposed to the full action of the solar
beams, will pass through various shades of brown, and become at last of
a deep olive colour it must therefore be understood that the process of
;

darkening is in all cases stopped short of this point.

In order to prevent unnecessary divisions in the subject, under this
head will also be embraced a few other solutions, which are analogous
to the muriates. It should be understood, that unless the contrary
is distinctly stated, the proportion of silver to be used is as above
recommended for use, with the salts of strontia and baryta.
Muriate oe Lime not particularly sensitive, deepening to a brick
red in full sunshine, but is less liable to change in the fixing processes
than almost any other preparation.
Muriate of Potash, is scarcely in any respect different from the
muriate of soda. The nitrate of potash, however, which is formed in
the paper, is less liable to be affected by a humid atmosphere than the
nitrate of soda.
Muriate of Ammonia, used in the proportion of two scruples to four
ounces of water, and the silver solution in the proportion of sixty grains
of the nitrate to one ounce of water, forms a very beautiful paper, equall-
ing in sensibility, the best kind prepared with the muriate of soda, at
nearly one-half its expense. It darkens to a fine chocolate brown.
Muriate of Iron. A solution of this salt appears in the first instance
to answer remarkably well; but, unfortunately, the pictures formed
perish slowly, however carefully guarded from the influence of light.
Chlorate of Potash. Mr. Cooper recommends a solution of this salt,
and a silver wash of sixty grains to the ounce of water, as capable of
forming a good paper. Some of the specimens prepared with it are of
exceeding beauty, the ground being of a very pretty blue, or rather
1(3 NEGATIVE PHOTOGRAPHS.

lilac ; but these papers cannot be used where any considerable degree
of sensitiveness is desired.
Muriatic acid. A slightly acidulated solution of this acid produces
a very tolerable paper, but it is extremely difficult to hit the best pro-

portions for use. If too fails in sensibility, and a

weak, the paper
slight increase occasions a very injurious action on the paper, raising
the pile like a down over the sheet. This kind of paper looses its sen-
sitiveness with great rapidity in about six or seven days, however care-
;

fully kept, it is scarcely susceptible to luminous influence. By washing

the paper after it is prepared in pure water, it keeps much better, but
after being washed, light changes it to a rather disagreeable brick red,
prior to which the colour in general is a fine brown.
Dr. Schafhaeutl has proposed the use of the muriatic acid in a dif-
ferent way, and certainly his process has some advantages when : it is

carefully attended to, the liability to spots or patches appears to be less

than in any of the ordinary methods, and a very sensitive paper results,
but it will not keep. This process will be found at the end of the
negative silver ones.
Aqueous Solution of Chlorine gives rise to a paper possessing in
an eminent degree the merits of that prepared with muriatic acid, and
it has the advantage of retaining its sensibility much longer.
Solutions of Chlorides of Lime and Soda. Either of these solu-
tions may be used indiscriminately, provided the strength of the silver
solution is such as to employ all the chlorine they have in their combin-
ation. They give rise to pictures having a deep red ground.
Hydro-chloric ether. When the nitrate of silver is dissolved in
this ether, and applied without any preparation to the paper, it does not
at first prove very sensitive to light but after a little exposure, the
;

darkening process goes on with some rapidity, and at length passes into
a deep brown, verging on a black. It is certainly preferable to the
simple solution of the nitrate in water, but in no respect equal to the
chlorides.
It is necessary now to direct attention to the effects of organic matter
in accelerating the blackening John Herschel, whose
process. Sir
researches in this branch of science are marked with the same high
philosophic spirit which has distinguished his career, and which promise
to effect more in establishing the art of photography on a secure basis,
than those of any other individual, has given particular attention to this
matter. As it is impossible to convey the valuable information that
Sir John has published, more concisely than in his own clear and ele-
gant language, I shall take the liberty of extracting rather freely from
his memoir*
A great many experiments were made by precipitating organic
liquids, both vegetable and animal, with solutions of lead ; as also,

* On the chemical action of the rays of the solar spectrum on preparations of silver,
and other substances, both metallic and non-metallic, and on some photographic processes.
Philosophical Transactions ,
1840.


A. PREPARATION OF PAPER WITH SALTS OF SILVER. 17

after adding alum, with alkaline solutions. Both alumina and oxide of
lead are well known to have an affinity to many of these fugitive organic
compounds which cannot be concentrated by evaporation without injury,
an affinity sufficient to carry them down in combination, when pre-
cipitated, either as hydrates or as insoluble salts. Such precipitates,
when collected, were applied in the state of cream on paper, and when
dry were washed with the nitrate. It was here that the first promin-
ently successful result was obtained. The precipitate thrown down
from a liquid of by lead, was found to give a far higher
this description
degree of sensitiveness than any I had before obtained, receiving an
equal depth of impression, when exposed, in comparison with mere
nitrated paper, in less than a fifth of the time and, moreover, acquiring
;

a beautiful ruddy brown tint, almost amounting to crimson, with a

peculiarly rich and velvety effect.* Alumina, similarly precipitated
from the same liquid, gave no such result. Struck by this difference,
which manifestly referred itself to the precipitate, it now occurred to
me to omit the organic matter, (whose necessity I had never before
thought of questioning,) and to operate with an alkaline precipitant on
a mere aqueous solution of nitrate of lead, so as to produce simply a
hydrate of that metal. The result was instructive. cream of thisA
hydrate being applied and dried, acquired, when washed with nitrate of
silver, a considerable increase of sensitiveness over what the nitrate
alone would have given, though less than in the experiment where
organized matter was present. The rich crimson hue also acquired in
that case under the influence of light, was not now produced. Two
peculiarities of action were thus brought into view; the one that of the
oxide of lead as a mordant (if we may use a term borrowed from the
,

art of dyeing,) the other, that of organic matter as a colorific agent. 1

Paper washed with acetate of lead was impregnated with various
insoluble salts of that metal, such as the sulphate, phosphate, muriate,
hydriodate, borate, oxalate, and others, by washing with their appro-
priate neutral salts, and when dry, applying the nitrate of silver as
usual. The results, however, were in no way striking, as regards sen-

sitiveness, in any case but in that of the muriatic applications. In all

cases where such applications were used, a paper was produced infinitely
more sensitive than any I had at that time made. And I may here
observe, that in this respect the muriate of strontia appeared to have
decided advantage.
The paper with a basis of lead turns yellow by keeping in the dark,
and the tint goes on gradually deepening to a dark brown. But, what
is very singular, this change is not equally rapid on all kinds of paper,

a difference depending no doubt on the size employed, which, it may be

observed here once for all, is of the utmost influence on all photographic
processes. In one sort of paper, known by the name of blue wove post ,

* It has been found that this rich tint may he communicated by soaking the drawing
formed on many of the nitrated papers in a saturated solution of sugar of lead.
D
18 NEGATIVE PHOTOGRAPHS.

it is instantaneous, taking place the moment the nitrate, if abundant,

is applied. And yet I find this very paper to resist discolouration, by
keeping, better than any other, when the mordant base is silver in place
of lead. On the other hand, a paper of that kind called smooth demy ,

rendered sensitive by the process first described, was found to acquire,

by long keeping, a grey or slate colour, which increases to such a degree
as might be supposed to render it useless. Yet in this state, when it is

impressed with a photographic image, the process of fixing it with the

hyposulphite of soda destroys this colour completely, leaving the ground
as white as when fresh prepared. This fortunate restoration, however,
does not take place when the paper has been browned as above des-
cribed. Some of the muriatic salts are more apt to induce this discol-
ouration than others, especially those with earthy bases. But the
effects in this respect are so capricious, that it is in vain to attempt
giving any connected account of them.
In consequence of this spontaneous discolouration, I disused for
ordinary purposes this mode of preparation, and adopted the following
series of washes, on Mr. Talbots principle, viz., 1st, nitrate of silver,
'S. G. = 1.096, (say 1.1;) 2ndly, muriate of soda, 1 salt -f 19 water;
3rdly, nitrate of silver, S. G. 1.132, (say 1.15,) saturating the muriatic
and occasionally dividing the last appli-
solution with chloride of silver,
by dilution. This,
cation into two consecutive washes of equal strength
as an ordinary working paper, is easily prepared, and has sensibility
enough for most purposes. It gives very good camera pictures, and, if
that particular sort of paper above named is used, it retains its white-
some weeks.
ness well in the dark, at least for
From the description which Sir John Herschel has given of the
spontaneous browning of the paper, it may appear that little more need
be said on the subject, or that if any thing more is required, that it
should follow in this place ;
it has, however, been thought best to occupy
a future chapter with it, as some new matter somewhat distinct from
the subject of the present chapter will be introduced.
It would be tedious and useless to mention all the combinations of
alkaline and earthy muriates which have been devised to vary the effect,
or increase the sensitiveness of* the silver preparations; the very con-
siderable differences produced through the influence of these salts, will
afford peculiarly interesting results to any inquirer, and furnish him
with a curious collection of photographic specimens. As a general rule,
the solutions of the muriate, and indeed all other salts, and of the silver
washes, should be made in the combining proportions of the material
used; with a scale of chemical equivalents at hand, the photographic
experimentalist need not err far, taking care that a slight excess of pure
nitrate of silver prevails.

c. Iodidated Papers.
I distinguish by this name those papers which are impregnated with

the iodide of silver, either by applying the already formed iodide sus-
 A. TRETARATION OF TAPER WITH SALTS OF SILVER. 19

pemled in some viscid fluid, or by alternately washing with the nitrate

of silver and some liydriodic saline solution.
By these means papers may be prepared which are exquisitely sensi-
tive to luminous influence, provided the right proportions are hit but, ;

at the same time, nothing can be more insensible to the same agency,
than the iodide of silver in some forms of combination. These singular
differences in precipitates to all appearance the same, led to the belief
that more than one definite compound of these elements existed. Ex-
periment has, however, proved that the blackening of one variety of iodi-
dated paper, and the preservation of another, depends not on two definite
combinations, but on the simple admixture of a very minute excess of
the nitrate of silver. The papers prepared with the iodide of silver have
all the peculiarities of those prepared with the chloride, and although,

in some instances, they seem to exhibit a much higher order of sensi-

tiveness, they cannot be recommended for general purposes, with that
confidence which experience has given to the chloride. It may, how
ever, be proper to state the best proportions in which the iodidated
papers can be prepared, and the best method of applying the solutions.
The finest kind of paper being chosen, it should be pinned by its four
corners to a board, and carefully washed over with a solution of six
grains of the nitrate of silver to half an ounce of water ;
when this is
dry, it is washed with iodide of potassium, five grains in the same
to be
quantity of water, and dried by, but at some little distance from, the
fire
;
then, some short period before the paper is required for use, it
must be again washed with the silver solution, and quickly dried, with
the same precaution as before. If this paper is warmed too much in
drying, it changes from its delicate primrose colour to a bright pink or
a rosy brown, which, although still sensitive, is not so much so as the
parts which are not so altered. The peculiar property of this salt to
change thus readily by calorific influence, and some other very remark-
able effects produced on already darkened paper, when washed with a
liydriodic salt, and exposed to artificial heat, or the pure calorific rays
of the spectrum, which will be hereafter noticed, appears to promise a
process of drawing which may be called thermography. Opening as
this does a wide range of highly interesting and most important experi-
ments, it is to be hoped some one may pursue the subject, and endea-
vour to establish the peculiar phenomena which present themselves, on
some scientific basis.

d. Bromidated Papers.
In many of the Works on chemistry, it is stated that the chloride is

the most sensitive to light of all the salts of silver ; and when they are
exposed in a perfectly formed and pure state to solar influence, it will
be found that this is nearly correct. Modern discovery has, however*
shown that these salts may exist in peculiar conditions, in which the
affinities are so delicately balanced, as to be disturbed by the faintest
gleam ; and it is singular, that as it regards the chloride, iodide, and
20 NEGATIVE PHOTOGRAPHS.

bromide of silver, when in this condition, the order of sensibility is

reversed, and the most decided action is evident on the bromide, before
the eye can detect any change in the chloride. This fact early attracted
the notice of Mr. Fox Talbot, and if he has not entirely abandoned the
use of the chloride, he certainly prefers the bromide for all purposes
requiring highly sensitive papers.
The slight additional expense of the bromides is not worthy consider-
ation, particularly as their use may
be confined to papers for the camera
obscura, the pictures on which are of course of the negative character,
and the positive photographs can be formed by transfer on the clilorid-
ated papers of a highly sensitive kind.
It will be found that the bromide and iodide are much alike in the
singular want of sensibility, which they sometimes exhibit under cir-
cumstances which are not easy of explanation.
If a paper first washed with a solution of nitrate of silver, have
applied to it bromide of potassium in different proportions, say 20
grains, 15 grains, and 10 grains each, in two drachms of water, and,
when dry, be again washed over with the silver solution, it will be found,
unless, as is occasionally the case, some organic combination interferes,
that the order of sensitiveness will begin with the weakest solution, the
strongest being the least influenced by light.
Fig. 4.
The different degrees of darkness induced are
fairly represented in the margin. As the dif-
ferent bromides give to photographic paper
varieties which much resemble those enu-
merated under the muriates, I have thought it
unnecessary to give an account of any, except
that prepared with the bromide of potassium,
which is the kind I have adopted, after having
tried upwards of two hundred combinations
of silver, and the other bromides.
To prepare a highly sensitive paper of this kind, select some sheets
of very superior demy, and wash on one side only with bromide of
it

potassium forty grains to one ounce of distilled water, over which,

:

when dry, pass a solution of one hundred grains of nitrate of silver in

the same quantity of water. The paper must be dried as quickly as
possible, without exposing it to too much heat then again washed with
;

the silver solution, and, when dry, carefully preserved for use.
It will be perceived that I adopt a slightly different manipulation
from that recommended by Mr. Talbot. Instead of washing the paper
with the solution of silver first, and applying the bromide or the
muriate over this, and then the silver wash again, I use the alkaline
salt first, and apply the metallic washes one on the other. I have been
induced to this, from observing that the photographic preparation pene-
trates less deeply into the paper, than when laid on as originally pre-
scribed, and, consequently, the sensibility of it is increased. It will be
found that an addition of about one-twelftli of spirits of wine to the
 ;

A. PREPARATION OF PAPER WITII SALTS OF SILVER. 2L

solution of silver, will much increase the blackness of the paper when
solarised and I think we may safely say, that the sensibility is also
;

improved by it, at all events it is not at all impaired.

M. Biot has expressed his opinion, that it is not possible to find any
substance more sensitive to light than the bromide of silver.

e. Phosphated Papers.
Dr. Fyfe appears to have been the first to suggest the use of the

phosphate of silver as a photographic material, but I am obliged to con-

fess it has not, in my hands, proved any thing like so successful, as,
from Dr. Fyfes description, it was in his own. Indeed, he himself
observes, in speaking of its use in the camera obscura Though :

representations may be got in this way, yet, so far as I have found,
they have not the minute distinctness of those got by the method
already mentioned, (t. e. by application.) Owing to the interference of
the lens, the light does not act nearly so powerfully on the paper, as
when has to permeate merely a frame of glass.
it

For purposes, the method which Dr. Fyfe has given of

all practical

preparing these papers, is perhaps the best The paper is first soaked
:

in the phosphate of soda and then dried, after which the nitrate is spread
over one side by a brush ;
the paper again dried, and afterwards again
put through the salt, by which any excess of silver is converted to
phosphate. As thus prepared, it acquires a yellow tinge, which becomes
black by exposure to light. It will be evident from these directions,
that what was formerly said about the necessity of having the nitrate of
silver in excess, is here, according to Dr. Fyfe, objectionable. It cer-
tainly does not appear to be so essential in this preparation, that any
thing but pure phosphate of silver should be used, yet I cannot help
fancying, that a slight advantage is gained, even here, by allowing a
little excess of nitrate. Dr. Fyfe has given a process for applying the
phosphate of silver already formed as a paint, on metal, glass, or paper.
It, however, requires the skill of an artist to produce an even surface,

and unless a uniform ground given, the picture is deformed by waving

is

lines of different shades. A

method of precipitating argentine salts on
smooth surfaces, will be given in the following pages, by which means
the most uniform face is procured, and many beautiful effects produced.

f. Papers prepared with other Salts of Silver.

With the exception of the carbonate, tartrate, acetate, citrate,
oxalate, and one or two others, the salts of silver, besides those already
described, do not appear to be much influenced by light. Many have
been mentioned by authors as absolutely insensible to its influence
but recent experiments have produced modifications of these salts
which are delicately sensitive to the solar ray. Amongst others, the
chromate has been named, and certainly it has not yet been rendered
sensitive to an exposure of some hours to daylight; but one experiment
of mine has proved, that the solar beam will, in a few days, produce a
22 NEGATIVE PHOTOGRAPHS.

fine revival of metallic silver from its chromate ;

and another experi-

ment with has tho most pleasing result of bringing within the range
it

of probabilities, the production of photographic pictures in their natural

colours.
This mentioned to show, that in the present state of our knowledge,
is

we cannot venture to affirm that any salt of silver, or, indeed, of any of
the other metals, exists, having an absolute insensibility to light, or in
which the required unstable equilibrium may not be induced, so that
the suns beam might change the character of its combinations.
Papers washed with either of the alkaline carbonates, and then with a
solution of nitrate of silver, resemble in their character those prepared
with the muriates, but are not darkened so readily.
The tartrate of silver possesses some very extraordinary peculiarities.
Papers may be prepared, either by spreading the tartrate at once over
the surface, or better, by soaking the paper in a solution of Rochelle
salt, (the tartrate of potash and soda,) and then applying two washes
of the solution of nitrate of silver. The first action of light is very
feeble, but there gradually comes on a stronger discolouration, which
eventually proceeds with great rapidity, and at length blackens to an
extent beyond almost every other paper. This discolouration may be
wonderfully accelerated by washing over the tartrated paper with a
very dilute solution of the hydriodate of potash, during the process of
darkening. It is not easy to use this when copying any thing, but there
are cases in which the extreme degree of darkness which this preparation
acquires renders it valuable. The acetate of silver comports itself in
the same manner as the tartrate. The citrate, oxalate, &c., are only
interesting as forming part of the series of argentine preparations which
exhibit decisive changes when exposed to light. The methods of ren-
dering them available will be sufficiently understood from the foregoing
details, and it would only be an unnecessary waste of words to give
any more particular directions as it regards them.
It is proper to express my belief, that we are not yet arrived, at the
utmost point of sensitiveness, which it is in the province of chemistry to
impart to paper. I am persuaded, from effects I have observed, but
which I have not been able to reproduce, that it is quite as likely, we
may eventually produce a paper, giving an instantaneous effect, as it is
certain this has been accomplished by M. Daguerre on his metallic
tablets. One circumstance is well worthy of recording: Mr. John
Towson of Devonport, who pursued, conjointly with myself, a most ex-
tensive series of researches on photographic agents, was endeavouring-
to form a solution of which the elements should be so deli-
silver, in
cately balanced, as to be overturned by the action of the faintest light.
To do this, he dissolved some very pure silver in nitric acid, to which
spirits of wine was added somewhat suddenly, in proportions equal to
the acid used, and the precipitation of the fulminate prevented by a
quick effusion of cold water, sufficient to bring the specific gravity of
the solution to 1 17 , and to this a few drops of
. ammonia were added.
 A. PREPARATION OF PAPER WITH SALTS OF SILVER. 23

Pieces of bank post paper dipped in this solution became, tlie instant
they were presented to tlie declining light of an autumnal evening, a
beautiful black having a purple tinge. This effect did not seem to
come on gradually, but as by a sudden impulse, at once. Both this
^gentleman and myself have often endeavoured to repeat this, but
in no one instance have either of us succeeded in producing any thing
nearly so sensitive. It should be stated, that the solution prepared in
the evening, had become, by the following morning, only ordinarily
and that papers prepared with it were deliquescent and bad.
sensitive,
In repeating any modification of this experiment, the greatest care
should be taken, as explosions of considerable violence are otherwise
likely to occur.
Another scries of experiments on the fulminates of silver have pro-
duced very pleasing photographic results, but I am not enabled to
specify any particular method of preparing them, which may be certain
of reproducing the results to which I allude. Nothing can be more
capricious than they are the same salt darkening rapidly to-day, which
:

will to-morrow appear to be absolutely insensible to radiation, and which

will again, in a few days, recover its sensitiveness, to lose it as speedily
as before.
These notices will show the immense field of inquiry which photo-
graphy has opened up, as fertile as it is extensive, in which every
inquirer may be assured of the reward of discoveries of interest to
science, and of importance to the arts.

g. Br. Schafhaeutls Negative Process.

At the tenth meeting of the British Association for the Advancement
of Science, two new processes on paper, and one on metal, were brought
forward by Dr. Schafhaeutl. These processes involve some very deli-
cate manipulatory details, which render them very tedious, and, in the
hands of the inexperienced, uncertain. However, as they sometimes
give very perfect results, it would have been improper to have omitted

them.
Pennys improved patent metallic paper is recommended. This is
spread with a concentrated solution of the nitrate of silver, (140 grains to
2 1 drachms of fused nitrate, to 6 fluid drachms of distilled water,) by
merely drawing the paper over the surface of the solution contained in
a large dish. In order to convert this nitrate into a chloride, the
author exposed it to the vapours of boiling muriatic acid. A coating
of a chloride of silver, shining with a peculiar silky lustre, was by this
method generated on the surface of the paper, without penetrating into
its mass ;
and in order to give to this coating of chloride the highest
degree of sensibility, it was dried, and then drawn over the surface of
the solution of nitrate of silver again. After having been dried, the
paper was ready for use, and no repetition of this treatment was able to
improve its sensitiveness.

Even on the ordinary kinds of writing paper, I have found this

24 NEGATIVE PHOTOGRAPHS.

manipulation produce extreme sensitiveness, but much exact attention

is required to prevent any excess of muriatic acid, which, in the state of

vapour, is rapidly absorbed by the paper. The whole of the nitrate of

silver employed in the first instance, must be converted into a muriate,
and there the process should stop.
The Doctors method of fixing, which I give here to avoid confusion,
extremely
is also difficult. The drawing is to be steeped for five or ten
minutes in alcohol, and, after removing all superfluous moisture by
means of blotting paper, and drying it slightly before the fire, the paper
thus prepared is drawn through diluted muriatic acid, mixed with a
few drops of an acid nitrate of quicksilver, prepared by dissolving
quicksilver in pure nitric acid, and again dissolving the crystallised salt
to saturation in water acidulated with nitric acid. The addition of the
nitrate of mercury requires great caution, and its proper action must be
tried first on slips of paper, upon which have been produced different
tints and shadows by exposure to light because if added in too great a
;

quantity, the lightest shades entirely disappear. The paper having

been drawn through the above mentioned solution, is well washed in
water, and then dried in a degree of heat approaching to about 158
Fahr., or, in fact, till the white places assume a very slight tinge of
yellow. The appearance of this tint indicates that the drawing is fixed
permanently.
The author speaks of reversing these drawings by transfers, which I

do not understand, and have never succeeded in doing with any thing
like a good effect. The yellow tinge induced on the paper to give the
drawing permanence, most effectually prevents the permeation of those
rays of light which blacken the sensitive chloride of silver.

B. On the Methods of Using the Photographic Papers prepared

with the Salts of Silver. Negative kind.

a. On taking copies of Botanical Specimens , Engravings , fyc.

For the multiplication of photographic drawings, it is necessary to

be provided with a frame and glass, the most convenient size for
which is about that of a single leaf of quarto post writing paper. The
glass must be of such thickness as to resist some considerable pressure,
and it should be selected as colourless as possible, great care being
taken to avoid such as have a tint of yellow or red, these colours pre-
venting the permeation of the most efficient rays. Figures 5 and 6
represent the frame, the one showing it in front as in taking a copy of
leaves ;
and the other the back with its piece of stout tinned iron, which
presses on a cushion, securing the close contact of the paper with every
part of the object to be copied, and its brass bar, which, when pressed
into angular apertures in the sides of the frame, gives the required pres-
sure to the paper.


B. METHODS OF USING THE PHOTOGRAPHIC PAPERS. 25

Fig. 5. Fig. 6.

Having placed the frame face downwards, carefully lay out on the
glass the object to he copied, on which lay the photographic paper very
smoothly. Having placed on this the cushion, which may be either of
flannel or velvet, fix the metal back, and adjust it by the bar, until every
part of the object and paper are in the closest contact. The frame
might, for very particular purposes, be rendered more complete, by
having the back adjusted with binding screws but for all ordinary ;

uses, the bar answers every purpose.

In placing botanical specimens, the under surface of the leaves should
be next the glass, their upper and smooth surface in contact with the
paper. Although very beautiful copies may be taken of dried speci-
mens, they bear no comparison with those from fresh gathered leaves or
plants, in which, with the most delicate gradations of shades, the nerves
of the leaves, and the down clothing the stems, are exhibited with in-
comparable In the event of the plant having any thick roots
fidelity.

or buds, it be best to divide them with a sharp knife, for the pur-
will
pose of equalising the thickness in all parts, and ensuring close contact.
Engravings are to be placed with their faces to the prepared side of the
paper,and laid very smoothly on the glass, and then with the cushion and
back pressed into the closest contact possible the least difference in the
;

contact permitting the dispersion of light, occasions a cloudiness and want

of sharpness in the photograph. Of course, a copy of any thing taken
by means of the light which has passed through it, must present all the
defects as well as all the beauties of the article, whatever it may be. A
photographic copy of an engraving gives us, besides the lines of the
engraving, all the imperfections of the paper : this renders it necessary
that those engravings should be selected which are on tolerably perfect
paper. If the preservation of the engraving is not a matter of much
moment, by washing it over the back, with a varnish of Canada balsam
and spirits of turpentine, it is rendered highly transparent, and, of
course, the resulting impression is much Care must, how-
improved.
ever, be taken, in using the varnish very thin, that it may not impart
any yellow tinge to tlie paper. An exposure of a few minutes only, is
sufficient to produce strong and faithful copies, during sunshine in ;

diffused daylight a longer period is necessary. A method of producing

very beautiful positive photographs with the white papers, by making
an etching on glass, will be described in the division of the work appro-
priated to the positive variety of these drawings.
26 NEGATIVE PHOTOGRAPHS.

b. On using the Photographic paper in the Camera Obscura.

The most important object of the photographic art, is the securing

the shadowy images of the camera obscura the fixing of a shade,
and multiplying its likeness. As this is the most important, so
is it the department requiring the greatest care. It need scarcely
be mentioned, that a camera obscura is a darkened chamber or box, to
which light is admitted through a small hole in which a lens is fixed.
In the ordinary cameras used by artists for sketching, a mirror is con-
stantly used, which throws the image on a semitransparent table.
Fig. 7 is a section of such an instrument, a a represents the box, in

one end of which is fixed the lens b. The lenticular image falls on the
mirror c, placed at such an angle that it is reflected on the plate of ground

glass d. e is a screen to prevent the overpowering influence of daylight,

which would render the picture almost invisible. This form of the ap-
paratus, though very interesting as a philosophical toy, and extremely
useful to the artist, is by no means fitted for photographic purposes.
The light radiated from external objects, suffers considerable diminu-
tion of chemical power in penetrating the lens, and the reflection from
the mirror so far reduces its intensity, that its action on photographic
agents is infinitely slow. To obviate the objection of the reflected
image, it is only necessary to place the photographic paper in the place
of the mirror, but not in an angular position.
Fig. 8, represents the photographic camera of the common form ;

Fig. 8.

a a is the outer box, in which fixed the lens b and c c another box
is ,

sliding within it ;
end of which is placed the prepared
at the inner
paper d; by sliding this box forth and back, we are enabled to adjust
the paper to the correct focus of the lens, which can be observed through
a small hole at e.

The most sensitive pieces of paper being selected, by testing the

 B. METHODS OF USING THE PHOTOGRAPHIC PAPERS. 27

sheets in the manner suggested by Mr. Talbot, (page 12,) one of them
is carefully fastened by the four corners to the inner box ;
and with the
sensitive side towards the lens, is placed in the outer box, so that the most
defined images fall on its surface. In this position, it is left undisturbed
a sufficient length of time to receive the impression, which is, of course,
formed by the strong light of the sky, and all brilliantly illuminated
objects. These darken the paper to an extent corresponding with the
quantity of light they radiate ;
thus the darkest portion of the picture
is the sky, and the bright objects exhibit various gradations of darkness,
while the shadows producing no action, leave the paper still white.
The length of time required to produce the best effect, is, of course,
very variable, depending on the intensity of day light, and the sen-
sibility of the paper. It may, however, be stated, as a general guide,
that with highly sensitive paper, in the sunshine of a summer morning ,

a good picture should be produced within thirty minutes even with ;

paper which is ordinarily sensitive, one hour is sufficient. I have pur-

posely given the most simple method of procuring photographs with the
camera obscura, considering that many, by producing tolerable effects
with a very inexpensive apparatus, and with little trouble, may be in-
duced to take the additional pains requisite, to furnish them with the
gems of the art who, if annoyed with tedious processes in the first
;

place, might abandon the pursuit in displeasure.

A camera of a very simple kind may be constructed out of a cigar
box a hole being pierced in one end of it, and fitted with a lens, the
;

photographic paper may be pinned upon a stiff piece of card-board the

size of the box, and placed in the focus of the lens. It is necessary that
the box be painted on the inside with a mixture of lamp black and stiff
size, to prevent the reflection of the dispersed light. Fig. 9, gives this
arrangement.
Fig. 9.

Some of the most important results, relative to the chemical action

of the different rays, have been arrived at with an apparatus of this
kind; and Dr. Draper, of New-York, the first who succeeded in taking
portraits by the Daguerreotype, used no other. Daguerres apparatus
is sold at twenty guineasand upwards here we find one of the most
;

delicate of the photographic processes, accomplished with an instrument,

the cost of which is only two or three shillings.
A description of a camera obscura of a superior kind, adapted for
every photographic purpose, and comparatively inexpensive, will be found
in another part of this treatise.
 .

28 NEGATIVE PHOTOGRAPHS.

I would now direct particular attention to a few points of great im-

portance, bj following which, pictures of a very superior character may
be produced. It is necessary that we should, in the first place, consider
the character of the element with which we have to work Light.
Every beam of light which flows from its solar source is a bundle of
rays, having each a very distinct character as to colour and its chemical
functions. These rays are easily shown by allowing a pencil of sunlight
to fall on the edge of a prism, by which an elongated image is obtained
in the various colours of
which it is constituted red, orange, yellow.

Violet.

Indigo.
Blue.
Green.
Yellow.
Orange.
Red.

green, blue, indigo, and violet. This coloured image is called the solar or
the prismatic spectrum. The red ray, being the least refracted, is found
at the beginning, and the violet, being the most so, at the extremity of
the spectrum. Below the ordinarily visible red ray, another fay of a
deeper red may be detected, by examining the rays through a deep blue
glass; and by means of very delicate thermometers, it has been ascer-
tained, that rays which do not affect our organs of vision, exist beyond
these rays whilst chemical compounds sensitive to light prove the ex-
;

istence of another class of rays far beyond the violet.

If we place a piece of sensitive paper in such a position that the
spectrum falls upon it, it will be found to be very unequally impressed
by the various rays. Some very extraordinary peculiarities have been

Picture produced.

Fig. 11.

Visible Spectrum.

Violet,...

Indigo,..

Blue,
Green, ..
Yellow,
Orange,.
Red,
 ;

B. METHODS OF USING THE PHOTOGRAFIIIC PAPERS. 29

observed by Sir John Herschel and myself; but it will be sufficient for
our present purpose to state the general features of the impression.
Some distance below the visible red ray, the paper will be found quite
uncoloured on the part where the red ray fell, a tinting of red or pink
;

will be evident. The orange and yellow rays leave no stain, and the
green in general but a faint one. In the place occupied by the blue
ray, the first decided darkening is evident, which increases through the
indigo and violet rays, and extends some distance beyond them. The
shaded wood-engraving, figure 11, will serve to assist this description.
I shall have occasion again to recur to this subject in my concluding
summary.
It will be evident from what I have stated, that the maximum of
chemical action exists between the blue, indigo, and violet rays and it ;

must be plain upon consideration, that the refrangibility of these rays

being different, they must also have different focal distances, or in plainer
terms, that there are differences in the distance from the lens, at which
each dissevered ray has its maximum of action. For photographic
purposes the indigo or violet rays are the ones with which we work
with the best John Herschel insists on the necessity of using
effect. Sir
perfectly achromatic glasses, by which we unite all the rays into one
focus. I have however found that the several reflecting and refracting
surfaces of an achromatic lens retard the darkening action to some ex-
tent, and by simply adjusting the paper to the focus of the violet rays,
I have produced pictures more speedily with a common double convex
lens, than when I have used an achromatic one, and as well defined in
all their parts. This plan was first suggested by Mr. John Towson of
Devonport, before mentioned, and a paper on the subject was published
by that gentleman in the London and Edinburgh Philosophical Magazine.
It has since appeared, that Professor Draper is in the habit of using the
same adjustment in taking portraits from the life by the Daguerreotype.
A few experiments will prove the advantage of using, what may be called
for want of better terms, the chemical instead of the luminous focus.
Adjust the camera, so that the most perfect picture falls on the paper
note the time required to get a fair impression. Then having placed
equally sensitive paper in the camera, bring nearer the lensit a little

than before under the same circumstances of light a better picture will
;

be produced in a shorter period: by repeating this, a point will be

arrived at, where the picture possesses greater sharpness of outline, and
altogether exhibits a more decided effect. This is the focus required for
photographic purposes. It will be found, in general, at about one fortieth
of the whole focal distance, nearer the lens, than the true visible focus.
I have before mentioned, that on some papers, plates of glass have the
property of deepening the tints ; we may avail ourselves of this in using
the camera. Experiment will also show, that the photographic
paper
darkens more readily when its sensitive coating is exposed to light still
wet, than when it is allowed to dry before exposure therefore a great ;

improvement is, to keep papers for camera purposes prepared with the
 ;

30 NEGATIVE PHOTOGRAPHS.

firstwashes only, applying the last sensitive wash, the moment before
it isexposed to luminous influence. If, when wet, the paper is placed
very carefully on a piece of perfectly clear plate glass, the wet side in
contact with the glass, and then placed in the camera, the glass being
between the paper and the lens, we avail ourselves of both the above
advantages at the same time. The paper must lie so close to the glass
that perfect reflection is everywhere obtained the minutest film of air
;

between them admits of the dispersion of the light, and gives a cloudi-
ness to the photograph. Both Mr. Fox Talbot and Sir John Herschel
are in the habit of adopting a similar manipulation.
It is worthy of notice that the morning sun, between the hours of
eight and twelve, produces much better effects, than can be obtained
after the hour of noon. For drawings by application, this is but slightly,
if at all felt, but with the camera it is of some consequence to attend to

this fact. We are not yet in a position to record more than the fact, the
cause of the difference is not yet detected probably it may be found to
;

exist in a greater absorptive action of the atmosphere, caused by the ele-

vation of aqueous vapour from the earth. But the experiments of M. Ma-
laguti seem to imply the contrary, this philosopher having found that the
chemical rays permeate water more readily than they do air some ex- ;

periments of my own, are not, however, in accordance with M. Malagutis

results. In the neighbourhood of large towns it might be accounted for,
by the circumstance of the air becoming, during the day, more and more
impregnated with coal smoke, &c., which offers very powerful inter-
ruption to the free passage of chemical light. This will, however,
scarcely account for the same being found to exist in the open country,
some miles from any town. Until our meteorological observers are
in the habit of registering the variations of light, by means of some well
devised instrument, we cannot expect to arrive at any very definite
results. The subject involves some matters of the first importance in
photometry and meteorology, and it is to be desired that our public
observatories should be furnished with the required instruments.

C. On Fixing the Negative Photographs.

The power of destroying the susceptibility of a photographic agent to
the further action of light, when the picture completed by its influence,
is

is absolutely necessary for the perfection of the art. Various plans have
been suggested for accomplishing this, which have been attended with
very different results ;
few if any of the materials used, producing the
effect, and, at the same time, leaving the picture unimpaired. The
hyposulphite of soda is decidedly superior to every other fixing material
but it will be interesting to name a few others which may be used with
advantage.
The pictures formed on papers prepared with the nitrate of silver
 c. ON FIXING THE NEGATIVE PHOTOGRAPHS. 31

only, may be rendered quite insusceptible of change, by washing them

in very pure water. The water must be quite free from any muriate,
as these salts attack the picture with considerable energy, and soon
destroy it.

Photographs on the muriated papers are not however so easily fixed.

Well soaking these in water, dissolves out the excess of nitrate of silver,
and thus the sensibility is somewhat diminished indeed, they may be ;

considered as half-fixed, and may in this state be kept for any conve-
nient opportunity of completing the operation.*
Muriate of soda (common salt) was recommended by Mr. Talbot as a
seldom is perfectly successful; as a cheap and
fixing material, but it
easy method, it may be occasionally adopted, when the picture to be
preserved is not of any particular consequence.
It may appear strange to many that the same material which is used
to give sensitiveness to the paper should be applied to destroy it. This
may be easily explained : in the first instance, it assists in the formation
of the chloride of silver, in the other, it dissolves out a large portion of
that salt from the paper, the chloride being soluble in a strong solution
of muriate of soda. When common salt is used, the solution of it

should be tolerably strong. The washed in water, is

picture being first

to be placed in the brine, and allowed to remain in it for some little

time then, being taken out, is to be well washed in water, and slowly
;

dried. If the brine is used in a saturated state, the white parts of the
photograph are changed to a pale blue a tint which is not, in some
cases, at all unpleasant.
The ammonia and some
chloride of silver being soluble in solution of
been recommended for fixing photographs. The
of its salts, they have
ammonia, however, attacks the oxide, which forms the darkened parts, so
rapidly, that there is great risk of its destroying the picture, or, at
least, of greatly impairing it. It matters not whether the solution of
ammonia or its carbonate be used, but it must be considerably diluted.
The only photographs on which I have used it with any success, are
those prepared with the phosphate of silver, and to these it imparts a
red tinge, which is fatal to their use for transfers.
The ferrocyanate of potash, or, as it is more commonly called, the
prussiate of potash, converts the chloride into a cyanide of silver, which
is not susceptible of change by light, consequently this cheap salt has

been employed as a fixing agent, but most unfortunately, photographs

which have been subjected to this preparation are slowly, but surely, ob-
literated in the dark.
The iodide of silver, which is readily formed by washing the photo-
graph with a solution of the iodide of potassium, is scarcely sensitive to
light and this salt, used in the proportions of five or six grains to four
;

* I have found that the chloride of silver spread

on paper, after being washed, slowly lost
its sensibility to light.have by me at this time some pictures prepared two years since,
I
tvhich have had no other fixing, but which are now unchanged, by many days exposure to
full sunshine.

32 POSITIVE PHOTOGRAPHS.

or five ounces of water, answers tolerably well where transfers are not
required. It tinges the white lights of the picture of a pale yellow, a
colour which is extremely active in absorbing the chemical rays of light,
and is any copies of the original pho-
therefore quite inapplicable where
tograph are required, and in describing the hydriodated photographs,
other objections will be noticed.
To use the hyposulphite of soda with effect, there are several precau-
tions necessary. In the first place, all the free nitrate of silver must
be dissolved out of the paper by well washing the photograph is then ;

to be dried, and being spread on a plane surface, is to be washed over

on both sides with a saturated solution of the hyposulphite of soda. The
picture must then be washed, by allowing a small stream of water to
flow over it, at the same time dabbing it with a piece of soft sponge,
until the water passes off perfectly tasteless. This operation should be
repeated twice, or, in particular cases, even three times. The hyposul-
phite of soda has the property of dissolving a large quantity of several
of the salts of silver, but particularly of the chloride, with which it

combines, forming a triple salt of an exceedingly sweet taste. This

salt is liable to spontaneous decomposition, accompanied with separation
of silver in the state of sulphuret; hence the necessity of freeing the
paper, by washing, of every trace of it, the sulphuret of silver being of a
dirty brown. It might appear that the use of warm water would more
effectually cleanse the paper so far from it, it occasions the immediate
;

formation of the sulphuret.

Where the colour is not an objection, the chromate of silver may be
formed in the light parts, by washing the photograph with a solution of the
bichromate of potash, by which we have a red picture on a dark ground.
In the repeated washings required to fix the photographic drawings,
the paper is considerably injured, and much care is necessary to pre-
vent it becoming torn in the process. An earthenware slab is at all
times very convenient, on which to spread the paper during the different
washings, and it is always the best plan to place the picture between
folds of blotting paper to dry it.
The fixing materials all act to some extent on the darkened portions
of the picture, but the more intense Ah e light by which the colour was
effected, the less are the shadows injured by their application.

3. POSITIVE PHOTOGRAPHS.
A. On the Production of Photographs with correct Lights and
Shadows by means of Transfers.

The negative photographs being, in their representation of lights

and shadows, the reverse of nature, the paper being rendered, by dark-
ening, opaque in those parts which have been acted on by the light, and
 A.-PHOTOGRAPHS WITH CORRECT LIGHTS AND SHADOWS. 33

remaining transparent over the spaces occupied by shadows, it must be

evident that a copy taken by application on the white paper, from such
a photograph, must be the opposite of the original photograph, that is, it
will exhibit shadows, demi-tints, and lights, in their correct order.

be found that a negative copy from an engraving, provided it

It will
be carefully taken, possesses all the sharpness of the original, however
highly it is finished, but this is not the case with the second, or positive
copy ;
this will be fainter in its shadows, and will want that definedness
of outline which is the great beauty of a picture.
The want of perfect opacity in the
principal causes of this are, the
darkened which the picture is traced, the great difficulty of re-
silver in
moving every portion of the silver from the transparent parts, and the
imperfections of the paper, which are in general much increased by the
processes to which it is subjected in the preparation of the ground and
the fixing of the photographs.
Of course, if a negative photograph is intended to be used for multiply-
ing an original design, it is essential that the utmost caution be observed
in every part of the process. The shadows should be very deep, and
of great sharpness, and the any stains. Having
lights perfectly free of
procured a negative photograph of the required excellence, we may pro-
ceed to take a copy of it in the same manner as I have directed engrav-
ings should be copied. This will, however, rarely give a photograph
equalling in any respect the sharpness of the one of which
it is a transfer.

Had been done, the great end of the photographic art would have
this
been attained, and this treatise might have been illustrated by speci-
mens of the art it attempts to describe.
There is another mode of proceeding which requires some care, but
which produces a much better effect. Two negative photographs are
taken from an engraving, and carefully fixed; they are then to bo
delicately adjusted, face to back, so that all their lines exactly corres-
pond; being fastened in this position with fine needles, they are to be
cemented together at the edges with a little gum, and kept under a slight
pressure until quite dry. This double photograph may now be used to
produce positive drawings from in the same manner as if single. I have
found it advantageous to damp the paper in some cases, which increases
its transparency, but it renders it liable to injury by dissolving out the
nitrate from the paper with which it is put in contact. A plan of var-
nishing might, I have no doubt, be devised, which would prove highly
advantageous, in the way of photographic transfers. It need scarcely
be stated that these positive drawings require the same methods for
fixing them as have already been described.
Owing to the faintness of the light which acts on the paper in the
camera, the depth of shadow in the resulting photograph, is much less
than in drawings procured by the direct rays of the sun consequently, ;

the transfer from a camera picture is still more imperfect than one from
the other kinds of photographs. I have tried various plans to increase
the effect, .but none have been attended with very good results. It must
F
 ;

34 B. POSITIVE PHOTOGRAPHS FROM ETCHINGS ON GLASS PLATES.

be evident that there are difficulties, almost insurmountable, in the

way camera pictures in the manner above described.
of adjusting two
There are few objects on which the shadows would not vary in the time
required for taking two pictures; and even where this objection is not
much felt, it will be found extremely difficult to maintain the camera in
exactly the same position during the removal of one, and the adjusting
of another piece of sensitive paper.
Means must be sought for increasing the opacity of the shadows of
the picture, without impairing the transparency of the brighter parts
in this way alone can we expect to arrive at the desired point with the
delicate photographs of the camera obscura. It must be confessed
that some of the specimens recently circulated by Mr. Fox Talbot,
evidently produced by transfer from camera views, possess in a very
high degree, many of the excellencies of those photographs taken by
direct application from an original engraving.
It may not be amiss to mention two or three plans which I have tried
for darkening the shadows, and which have been attended with some suc-
cess ;
indeed, they appear to promise, with perseverance, all that we desire.
If, when the photographic drawing is properly fixed, we wash it over
with a very dilute solution of hydriodate of potash, and expose it to the
sun, a considerable degree of darkness is induced over the shadows of
the picture. By well washing the photograph in warm salt and water,
or a solution of the hyposulphite of soda, the iodine is removed, and if

the first fixing has been properly managed, the lights are left uninjured.
I have, in a few instances, succeeded in reviving metallic silver from the
oxide,by exposing the drawing, moistened with water, to sulphuretted
hydrogen. In this way, the most perfect opacity is produced, the sha-
dows being formed by a coating of metalliferous sulphuret of silver.
By exposing the fixed photograph to iodine, and then to the action of
light, I have occasionally succeeded in covering the dark parts with
the vapour of mercury; but this process, though certainly practicable,
requires further experiments to perfect it. Those who are provided
with the apparatus for the Daguerreotype, will find the repetition of this
process repay them. A few failures must be expected, but sometimes
the labour will be rewarded by a singularly beautiful result.

B. Positive Photographs from Etchings on Glass Plates.

A very easy method of producing any number of positive photographs

from an original design, is in the power of every one having some slight
artistic talent. The merit of having suggested the process I am about
to describe, has been claimed by Messrs. Havell * and Wellmore, and also

* While these pages have been passing through the press, the death of this gentleman
has been announced. He appears to have fallen a victim to his enthusiastic endeavours to
apply photography and electrography to purposes of utility in his own art, that of an en-
graver.
 C. POSITIVE PHOTOGRAPHS BY MEANS OF HYDRIODIC SALTS. 35

by Mr. Talbot indeed, there appears no reason to doubt the originality

;

of either of these gentlemen, Mr. Havell having prosecuted his experiment

in ignorance of the fact that Mr. Talbot had used the same means to
diversify his photographic specimens. Mr. Talbot proposes that a plate
of warmed glass be evenly covered with a common etching ground,
and blackened by the smoke of a candle. The design is then to be made,
by carefully removing from the glass all those parts which should re-
present the lines and shadows and shading out the middle tints.
, It
through the uncovered parts of the
will be evident that the light passing
glass, and being obstructed by the covered
portions, will impress on
the white photographic papers a correct picture, having the appearance
of a spirited ink drawing.
Mr. Havells method was to place a thin plate of glass on the subject
to be copied, upon which the high lights were painted with a mixture
of white lead and copal varnish, the proportion of varnish being
increased for the darker shading of the picture. The next day Mr.
Havell removed, with the point of a pen-knife, the white ground, to re-
present the dark etched lines of the original. A sheet of prepared
paper having been placed behind the glass, and thus exposed to light, a
tolerable impression was produced the half tints had, however, absorbed
;

too much an imperfection which was remedied by

of the violet rays,
painting the parts over with black on the other side of the glass if ;

allowed to remain too long exposed to the suns rays, the middle tints
became too dark, and destroyed the effect of the sketch. Another
method employed by Mr. Havell was to spread a ground composed of
white lead, sugar of lead, and copal varnish, over a plate of glass, and
having transferred a pencil drawing in the usual manner, to work it out
with the etching point.
Various modifications of these processes have been introduced by
different artists, and it evidently admits of many very beautiful appli-
cations. When the etching is executed by an engraver, the photograph
has all the finish of a delicate copper plate engraving. The only thing
which detracts from this method of photography is, that the great merit
of self acting power is lost.

C. On the Production of Positive Photographs by the use of the

Hydriodic Salts.

A very short time after the publication of Mr. Talbots processes,

which I anxiously repeated with various modifications, I discovered a
singular property in the hydriodate of potash of again whitening the
paper darkened by exposure, and also, that the bleaching process was
very much accelerated by the influence of light. Early in the year
1839, Lassaigne, Mr. Talbot, Sir John Herschel, and Dr. Fyfe, appear
to have fallen on the same discovery.
36 c. POSITIVE PHOTOGRAPHS BY MEANS OF HYDRIODIC SALTS.

As by one operation pictures with their lights

this process, giving
correct, promised to be of much
interest, I gave it for a very consider-

able time my undivided attention. The most extraordinary character

of the hydriodic salts is, that a very slight difference in the strength of

the solutions, in the composition of the photographic paper, or in the

character of the incident light, produces totally opposite effects ; in one
case the paper is rapidly whitened, in the other a deep blackness is
produced almost as rapidly. Sometimes these opposing actions are in
equilibrium, and then the paper continues for a long time perfectly in-
sensible.
The uncertainty attending the application of these salts, arising from
the above cause, has greatly circumscribed their use as photographic
agents. However, I am inclined to hope, that my 'researches have re-
duced to certainty their somewhat inconstant effects, and rendered this
method of producing photographs one of the most easy, as it is the most
beautiful. That the various positions I wish to establish may bo
completely understood, and to ensure the same results in other hands,
it will be necessary to enter into a somewhat detailed account of the

various kinds of paper used, and to give tolerably full directions for
successfully using them, either in the camera, or for drawings by ap-
plication,
examine attentively the effects of different organic and
to
inorganic preparations on the paper, and to analyse the influence of the
different rays upon it.
These particulars will be copied chiefly from my paper On the Use
of the Hydriodic Salts as Photographic Agents, published in the Lon-
don and Edinburgh Philosophical Magazine, for September and Octo-
ber, 1840, to which will be added, the results of my experience since
that time.
The variable texture of the finest kinds of paper occasioning irregu-
a constant source of annoyance, deforming the
larities of imbibition, is
drawings with dark patches, which are very difficult to remove conse- ;

quently my first endeavours were directed to the formation of a surface,

on which the photographic preparations might be spread with perfect
uniformity.
A variety of sizes were used wijli very variable results. Nearly all

the animal glutens appear to possess a colorific property, which may

render them available in many of the negative processes, but they all
seem to protect the darkened from the action of the hydriodic
silver
solutions. The gums are acted on by the nitrate of silver and browned,
independent of light, which browning considerably mars the effect of the
finished picture. It is a singular fact, that the tragacanth and acacia

gums render the drawings much less permanent. I therefore found it

necessary for general practice to abandon the use of all sizes, except
such as enter into the composition of the paper in the manufacture. It
occurred to me that it might be possible to saturate the paper with a
metallic solution, which should be of itself entirely uninfluenced by light,
on which the silver coating might be spread without suffering any


C. rOSITIYE' PIIOTOGRArnS BY MEANS OF HYDRIODIC SALTS. 37

material chemical change. The results being curious, and illustrative

of some of the peculiarities of the hydriodic salts, it will be interesting
to study a few of them.
Sulphate and Muriate of Iron. These salts, when used in small pro-
portions, appeared to overcome many of the first difficulties, but all the
drawings on papers thus prepared faded out in the dark. If after these
photographs have faded entirely out, they are soaked for a short time
in a solution of the ferrocyanate of potash, and then are exposed to the
light, the picture is revived, but with reversed lights and shadows.
Acetate and Nitrate of Lead. These salts have been much used by
Sir John Herschel, both in the negative and positive processes, and, it
appears, with considerable success. I found a tolerably good result
when used a saturated solution but papers* thus prepared required a
I ;

stronger light than other kinds. When I used weaker solutions, the
drawings were covered with black patches. On these a little further
explanation is required. When the strong solution has been used, the
hydriodic acid which has not been expended in forming the iodide of
silver which forms the lights of the picture goes to form the iodide
of lead. This iodide is soluble in boiling water, and is easily removed
from the paper. When the weaker solution of lead has been used, in-
stead of the formation of an iodide, the liydriodate exerts one of its
peculiar functions in producing an oxide of the metal.
Muriate and Nitrate of Copper. These salts, in any quantities, ren-
der the action of the hydriodates very quick, and, when used in moderate
proportions, they appeared to promise at first much assistance in quick-
ening the process. I have obtained, with papers into the preparation of
which nitrate of copper has entered, perfect camera views in ten
minutes, but experience has proved their inapplicability, the edges of
the parts in shadow being destroyed by chemical action.
Chlorides of Gold and Platina act similarly to each other. They
remain inactive until the picture is formed, then a rapid oxidation of
these metals takes place, and all the bright parts of the picture are
darkened.
A very extensive variety of preparations, metallic and non-metallic,
were used with like effects; and I am convinced that the only plan of ob-
taining a perfectly equal surface, without impairing the sensitiveness of
the paper, is careful manipulation with the muriated and silver solutions.
By attention to the following directions, simple in their character,
but arrived at by a long series of inquiries, any one may prepare photo-
graphic papers on which the hydriodic solutions shall act with perfect
uniformity :

Soak the paper for a few minutes in a muriated wash, removing with
a soft brush any air-bubbles which may form on it. The superfluous
moisture must be wiped off with very clean cotton cloths, and the
papers dried at common temperatures. When dry, the paper must
be pinned out on a board, and the silver solution spread over
it boldly but lightly, with a very soft sponge brush. It is to be
38 c. POSITIVE PHOTOGRAPHS BY MEANS OF HYDRIODIC SALTS.
instantly exposed to sunshine, and, if practicable, carried into the open
air, more speedily evaporation proceeds, the less does the silver
as the
penetrate the paper, and the more delicate it is. The first surface is
very irregular, being as before described, and represented in figure 2.
As soon as the surface appears dry, the silver solution must be again
applied as before, and the exposure repeated. It must now be exposed

until a fine chocolate-brown colour is produced equally on all parts of

the surface, and then, until required for use, be carefully preserved
from the further influence of light. If the paper is to be kept long,
the darkening must not be allowed to proceed so far as when it is t o
be speedily made use of.
In darkening these papers, the greatest possible attention must be
paid to the quantity of light to which they are submitted, every thing
depending on the rapidity of the blackening process. The morning sun
should be chosen, for the reasons before stated. A perfectly cloudless
sky is of great advantage. The injurious consequence of a cloud ob-
scuring the sun during the last darkening process, is the formation of a
surface which has the appearance of being washed with a dirty brush.
This is with difficulty removed by the hydriodates, and the resulting
pictures want that clearness which constitute their beauty. Papers
darkened by the diffused light of a cloudy day, are scarcely, if at all,
acted on by these salts. Great care must be taken to prevent the silver
solution from flowing over the edges of the paper, as thereby an extra
quantity of darkened silver is formed on both sides, which requires a
long- continued action of the hydriodates and light to bleach.
The kind of paper on which the silver is spread, is an object of much
importance. A paper known to stationers as satin post, double-glazed,
bearing the mark Whatman, Turkey Mill, is decidedly superior to
of J.
every other kind I have tried. The dark specks which abound in some
sorts of paper must be avoided, and the spots made by flies very care-
fully guarded against. These are of small consequence during the
darkening process, but when the hydriodic wash is applied, they form
centres of chemical action, and the bleaching process goes on around
them, independently of light, deforming the drawing with small rings,
which are continually extending their diameters.
The saline washes may be considerably varied, and combined to an
indefinite extent, with a continued change of effect, which is singularly
interesting. In their application we should be guided, as in the nega-
tive process, by their combining proportions. The following list of the
salts which will give the best effects, selected from upwards of seven
hundred combinations, will show the variety of colours produced. They
are placed in the order of the sensitiveness they appear to maintain,
when used as nearly as possible under the same circumstances.
Colour of Picture.
Muriate of Ammonia, Red, changing to black in the sunshine.

Chloride of Sodium, Ditto. ditto.

Muriate of Strontia, ..A fine broim.

 C. POSITIVE PHOTOGRAPHS BY MEANS OF IIYDRIODIC SALTS. 30

Colour of Picture.
Muriate of Baryta,..., ...A rich brown inclining
,
to purple.

Sol. Chloride of Lime, . . . Very red.

Sol. Chloride of Soda, ...A brick red.
Iodide of Potassium,... ... Yellowish brown.
Variable , sometimes yellowish , often of a
Chlorate of Potash,...
{ steel blue.

Phosphate of Soda,... ...Mouse colour.

Tartrate of Soda, ...Dark brown.
Urate of Soda, . . . Yellowish brown.
Muriate of Iron, ...Deep brown, which blackens.
Bromide of Sodium, .... ...Red brown of a peculiarly rich
,
tint.

The change mentioned in the colour of the finished picture is that

which from a fresh exposure to the solar rajs where no change
arises ;

is mentioned, it is too slight to be worth notice. This phenomenon will

presently occupy our attention.
When papers prepared with any of the above, except the phosphates,
are soaked for a little time in water, and dried in the sunshine, the
picture produced, it matters not what hydriodate is used, is rendered
peculiarly red, and does not change by re-exposure. By washing some
of the papers with weak solution of ammonia, this peculiarity is pro-
duced in a very striking manner.
The Solution of Silver. Take of crystallized nitrate of silver 120
grains, distilled water 12 fluid drachms, when the salt is dissolved, add
of alcohol 4 fluid drachms, which renders the solution opaque after a ;

few hours, a minute quantity of a dark powder, which appears to be an

oxide of silver, is deposited, and must be separated by the filter. The
addition of the alcohol to the solution was adopted from an observation
I made of its influence in retarding the chemical action of the hydrio-
dates on the salt of silver, which goes on in the shade. Its use is
therefore to make the action depend more on luminous influence than
would be the case without it.
Nitric Ether. The sweet spirits of nitre not only checks the bleaching
process in the shade, but acts with the hydriodic salts to exalt the oxid-
ation of the silver, or increase the blackness of it. In copying lace or
any fine linear object, it is a very valuable agent, but it is useless for
any other purposes, as all the faintly lighted parts are of the same tint.
Hydrochloric Ether used as the solvent of the silver, and applied
,

without any saline wash, has a similar property to the nitric ether, but
as it is readily acted on by faint light, it is of greater value. However,
papers prepared with it must be used within twenty-four hours, as after
that they quickly lose their sensitiveness, and soon become nearly
useless.
To fixwith any degree of certainty the strength of the solution of the
hydriodic salts, which will in all cases produce the best effects, appears

to me impossible every variety of light to which it has been exposed

;

to darken, requiring a solution of different specific gravity.

 ;

40 C. POSITIVE FHOTOG11APIIS BY MEANS OF HYDRIODIC SAXTS.

Hydriodates of Potash and Soda The former of these

. salts being
more easily procured than any other of the hydriodates, is the one
generally employed. The strength of the solution of these salts best
adapted for the general kinds of paper, is an ounce of
thirty grains to
water. The following results will exhibit the different energies mani-
festedby these solutions at several strengths, as tried on the same paper
by the same light:

120 grains of the salt to an ounce of water took "I ^ minutes

to whiten the paper,
100 do. do. to do. 10 do.

80 do. do. to do. 9 do.

60 do. do. to do. 7 do.

40 do. do. to do. 6 do.

30 do. do. to do. 4 do.

20 do. do. to do. 6 do.

10 do. do. to do. 12 do.

The other hydriodic salts correspond nearly with these in their action
a certain point of dilution being necessary with all.
Hydriodate of Ammonia if used on unsized paper, has some advan-
,

tage as to quickness over either the salts of potash or soda. This pre-
paration is, however, so readily decomposed, that the size of the paper
occasions a liberation of iodine, and the consequent formation of yellow-
brown spots.
Hydriodate of Iron. This metallic hydriodate acts with avidity on
the darkened paper but even in the shade its chemical energy is too
;

great, destroying the sharpness of outline, and impairing the middle

tints of the drawing. It also renders the paper very yellow.
Hydriodate of Manganese answers remarkably well when it can be
procured absolutely free of iron. When the manganesic solution con-
tains iron, even in the smallest quantities, light and dark spots are formed
over the picture, which give it a curious speckled appearance.
Hydriodate of Baryta possesses advantages over every other simple
hydriodic solution, both as regards quickness of action and the sharp-
ness of outline. A solution may, however, be made still superior to it,
by combining a portion of iron with it. Forty grains of the hydriodate
of baryta being dissolved in one ounce of distilled water, five grains of
very pure sulphate of iron should be added to it and allowed to dissolve
slowly. Sulphate of baryta is precipitated, which should be separated
by filtration, when is composed of hydriodate of baryta and
the solution
iron. By now adding a drop or two of diluted sulphuric acid, more
baryta is precipitated, and a portion of hydriodic acid set free. The
solution must be allowed to stand until it is clear, and then carefully
decanted off from the sediment, as filtering paper decomposes the acid,
and free iodine is liberated. By this means we procure a photographic
solution of very active character. It should be prepared in small
 D. DIRECTIONS FOR TAKING FHOTOGRAFHS. 41

quantities, as it suffers decomposition under the influences of the atmos-

phere and light.
Hydriodic Acid, if used on paper which will not decompose its aque-
ous solution, which is rather difficult to find, acts very readily on the
darkened silver. A portion of this acid free in any of the solutions,
most materially quickens the action. From the barytic solution it is
always easy to set free the required portion, by precipitating the barytes
by sulphuric acid. As the hydriodate of barytes is rarely kept by the
retail chemist, it may be useful to give an easy method of preparing the
solution of the required strength.
Put into a Florence flask one ounce of iodine, and cover it with one
fluid ounce and half of distilled water to this add half a drachm of
;

phosphorus cut into small pieces apply a very gentle heat until they
;

unite, and the liquid becomes colourless; then add another fluid ounce
and a half of water. It is now a solution of hydriodic acid and phos-
phoric acid. By adding carbonate of barytes to it, a phosphate of
barytes is formed, which, being insoluble, falls to the bottom, whilst
the soluble hydriodate of barytes remains dissolved. Make up the
quantity of the solution to nine ounces with distilled water, and care-
fully preserve it in a green glass stoppered bottle.

D. Directions for taking Photographs.

For drawings by application, less care is required than for the
camera obscura. With a very soft flat brush apply the hydriodic solu-
tion on both sides of the prepared paper, until it appears equally ab-
sorbed; place it in close contact with the object to be copied, and ex-
pose it to sunshine. The exposure should continue until the parts of
the paper exposed to uninterrupted light, which first change to a pale
yellow, are seen to brown a little. The observance of this simple rule
will be found of very great advantage in practice. Immersion for a
short time in soft water removes the brown hue, and renders the
bright parts of the picture clearer than they would otherwise have been.

Engravings to be copied by this process,- which they are most beauti-
fully, should be soaked in water and superimposed on the photographic
papers, quite wet. If the paper is intended to be used in the camera,
it is best to soak it in the hydriodic solution until a slight change is
apparent, from chemical action on the silver it is then to be stretched
;

on a frame of wood, which is made to fit the camera, and not

slight
allowed to touch in any part but at the edges; placed in the dark
chamber of the camera at the proper focus, and pointed to the object of
which a copy is required, which, with good sunshine, is effected in about
twenty minutes, varying of course with the degree of sensibility which is
manifested by the paper. If the wetted paper is placed upon any
G
42 D. DIRECTIONS FOR TAKING PHOTOGRAPHS.

porous body, it will be found, owing to the capillary communication esta-

blished between different points, that the solution is removed from some
parts to others, and different states of sensitiveness induced. Another
advantage of the frame is, the paper being by the moisture rendered
semi-transparent, the light penetrates and acts to a greater depth, thus
cutting out fine lines which would otherwise be lost. However, if the
camera is large, there is an objection to the frame; the solution is apt
to gather into drops, and act intensely on small spots to the injury of
the general effect. When using a large sheet, the safest course is to
spread it out when wetted upon a piece of very clean wet glass, great
care being taken that the paper and glass are in close contact. The
picture is not formed so quickly when the glass is used, as when the
paper extended on a frame, owing to the evaporation being slightly
is

retarded. The additional time required, about one-sixth longer, is,

however, in most cases, of little consequence.
The picture being formed by the influence of light, it is required, to
render it unchangeable by any further action of the luminous fluid, not
only that the liydriodic salt be entirely removed from the paper, but
that the iodide of silver which is formed, be also dissolved out of the
drawing.
By well washing the drawing in warm water, the hydriodate is re-
moved, and the pictures thus prepared have been stated to be perma-
nent; and if they are kept in a portfolio, and only occasionally exposed,
they are really so for I shall show presently, that they have the pro-
;

perty of being restored in the dark to the state in which they were prior
,

of light. A drawing which I executed in June,

to the destructive action

1839, which has often been exposed for days successively to the action
of sunshine, and has altogether been very little cared for, continues to
this date (March, 1841,) as perfect as at first. These photographs
will not, however, bear long -continued exposure without injury about
three months in summer, or six weeks in winter, being sufficient to
destroy them. As this gradual decay involves some very curious and
interesting chemical phenomena, I shall make no excuse for dwelling
on the subject a little.
The drawing fades first in the dark parts, and as they are perceived
to lose their definedness, the lights are seen to darken, until at last the
contrast between light and shadow is very weak.
If a dark paperwashed with an hydriodate and exposed to sunshine,
is

it is first bleached, becoming yellow, then the light again darkens it.

If, when quite dry, it is carefully kept from the light, it will be found

in a few days to be again restored to its original yellow colour, which

may be again darkened by exposure, and the yellow colour be again
restored in the dark. The sensitiveness to the influence of light
diminishes after each exposure, but I have not been enabled to arrive
at the point at which this entirely ceases. If a dark paper, bleached
by an hydriodate and light, be again darkened, and then placed in a
bottle of water, the yellow is much more quickly restored, and bubbles
 D. DIRECTIONS FOR TAKING PHOTOGRAPHS. 43

of gas will escape freely, which will he found to he oxygen. By en-

closing pieces of liydriodated paper in a tube to darken, we discover,
as might have been expected, some hydrogen is set free. If the paper
is then well dried, and carefully shut up in a warm dry tube, it remains
dark ; moisten the tube or the paper, and the yellowness is speedily
restored.
Take a photograph thus formed, and place it in a vessel of water, in
a few days it will fade out, and bubbles of oxygen will gather around
the sides. If the water is examined, there will be found no trace of
either silver or iodine thus it is evident the action has been confined
;

to the paper.
We power of separating hydrogen
see that the iodide of silver has the
from its cannot regard this singular salt of silver as a
combinations. I

definite compound it appears to me to combine with iodine in uncertain

:

proportions. In the process of darkening, the liberation of hydrogen is

certain but I have not in any one instance been enabled to detect free
;

iodine of course it must exist, either in the darkened surface, or in

;

combination with the unaffected under layer possibly this may be the :

iodide of silver, with iodine in simple mixture, which, when light acts
no longer on the preparation, is liberated, combines with the hydrogen
of that portion of moisture which the hygrometric nature of the paper
is sure to furnish, and as an hydriodate again attacks the darkened sur-

face, restoring thus the iodide of silver. This is strikingly illustrative

of the fading of the photograph.
The picture is formed of iodide of silver in its light parts, and oxide
of silver in its shadows. As the yellow salt darkens under the influence
of light, it parts with its iodine, which immediately attacks the dark

oxide, and gradually converts it into an iodide. The modus operandi

of the restoration which takes place in the dark is not quite so apparent.
It is possible that the active agent light being quiescent, the play of
comes undisturbed into operation that the dark parts of the
affinities
picture absorb oxygen from the atmosphere, and restore to the lighter
*
portions the iodine it has before robbed them of. A series of experi-
ments on the iodide of silver, in its pure state, will still more strik-

ingly exhibit this very remarkable peculiarity.

Precipitate with any hydriodate, silver, from its nitrate in solution,
and expose the vessel containing and all, to sunshine, the ex-
it, liquid
posed surfaces of the iodide will blacken remove the vessel into the ;

dark, and after a few hours, all the blackness will have disappeared.
We may thus continually restore and remove the blackness at pleasure.
If we wash and then well dry the precipitate, it blackens with difficulty,
and if kept quite dry, it continues dark, but moisten it, and the yellow
is restored after a little time. In a watch-glass, or any capsule, place a
little solution of silver, in another, some solution of any hydriodic salt,

connect the two with a filament of cotton, and make up an electric cir-
cuit with a piece of platina wire, expose this little arrangement to the
light, and it will be seen, in a very short time, that iodine is liberated
44 D. DIRECTIONS FOR TAKING PHOTOGRAPHS.
in one vessel, and the yellow iodide of silver formed in the other, which
blackens as quickly as it is formed.
Place a similar arrangement in the dark, iodine is slowly liberated.
No iodide of silver is formed, but around the wire a beautiful crystal-
lization of metallic silver. Seal a piece of platina wire into two small
glass tubes, these, when filled, the one with hydriodate of potash in solu-
tion, and the other with a solution of the nitrate of silver, reverse into
two watch-glasses containing the same solutions, the
Fig. 12.
glasses being connected with a piece of cotton.
An exposure during a few hours to daylight, will
occasion the hydriodic solution in the tube to be-
come quite brown with liberated iodine, a small por-
tion of the iodide of silver will form along the cotton,
and at the end dipping in the salt of silver. During
the night the hydriodic liquid will become again
colourless and transparent, and the dark salt along
the cotton will resume its native yellow hue.
From this it is evident that absolute permanence will not be given to
these photographs until we succeed in removing from the paper all the
iodide of silver formed. The hyposulphites dissolve iodide of silver,

therefore it might have been expected, a priori, they would have been
successful on these drawings. If they are washed over with the hypo-
sulphite of soda, and then quickly rinsed in plenty of cold water, the
drawing is improved, but no better fixed than with cold water alone.
If we persevere in using the hyposulphite, the iodide is darkened by
combining with a portion of sulphur, and the lights become of a dingy
yellow, which is not at all pleasant.
No plan of fixing will be found more efficacious with this variety of
photographic drawings, than soaking them for some hours in cold water,,
and then well washing them in hot water.
It often happens that a picture, when taken from the camera, is less
distinct than could be desired: it should not however be rejected on that
account. All the details exist, although not visible. In many cases the
soaking is sufficient to call them into sight if they cannot be so evoked,
:

a wash of hartshorn, or muriatic acid, seldom fails to bring them up.

Care, however, must be taken not to use them too strong, and the
picture must be washed on the instant, to remove the acid or alkali.
One very singular property of these photographs is, that when first
prepared, and after the washing, they are not fixed or otherwise but ;

when exposed to sunshine, they change in their dark parts from a red
to a black. This peculiarity will be found by experiment to be entirely
dependent on the influence of the red light, or that portion of the sun-
beam which appears to have the greatest heating power hence called
the calorific rays.
have before mentioned the peculiar state of equilibrium in which
I
the paper is when wetted with the hydriodate, and that a slight differ-

ence in the incident light will either bleach or blacken the same sheet.
 :

D. DIRECTIONS FOR TAKING PIIOT OG RAPES. 45

If four glasses, or coloured fluids be prepared, which admit respectively

the blue, green, yellow and red rays, and we place them over an hydrio-
dated paper, having an engraving superposed, it will be bleached under the
influence of the blue light, and a perfect picture produced; while under
the rays transmitted by the green glass, the drawing will be a negative
one, the paper having assumed, in the parts which represent the lights,
a very defined blackness. The yellow light, if pure, will produce the
same effect, and the red light not only induces a like change, but occa-
sions the dark parts of the engraving to be represented in strong lights
dependent on the heating rays, and opens a wide
this last peculiarity is
field for inquiry. My
point now, however, is only to show that the
darkening of the finished photograph is occasioned by the least re-
frangible rays of light whereas, its preparation is effected by the most
;

refrangible.
I know not of any other process which shows, in a way at once so de-
cided and beautiful, the wonderful constitution of every beam of light
which reaches us yet this is but one of numerous results of an analo-
;

gous character, produced by these opposite powers, both necessary to

the constitution of the solar beam, which is poured over the earth, and
effects those various changes which give to it diversified beauty, and
renders conducive to the wellbeing of animated creatures.
it

Before quitting this branch of the art, it will be interesting to ex-

amine the modifications which have been introduced by some conti-
nental inquirers.
M. Lassaigne, who has claimed priority in the use of the iodide of
potassium, saturated his paper with a sub-chloride of silver, which was

allowed to assume a violet-brown colour, and it was then impregnated

with the iodidated solution.
M. Bayard simply allowed ordinary letter paper, prepared according
to Mr. Talbots method, to blacken by light. He then steeped it for
some seconds in a solution of iodide of potassium, and laying it on a
slate, he placed it in the camera.
M. Yerignon introduced a somewhat more complicated process. His
directions are,
White paper should first be washed with water acidu-
lated by hydrochloric (muriatic) acid, then, after being well dried,
steeped in the following solution:
Water fourteen parts, with one part
of a compound formed of two parts of muriate of ammonia, two parts of
bromide of sodium, and one of chloride of strontium. The paper dried
again is passed into a very weak solution of nitrate of silver. There is

thus formed, by double decomposition, a chloride and bromide of silver,

which is made to turn black by exposing the paper to the light for
about half-an-hour. To use this paper, it is steeped in a very weak so-
lution of the iodide of sodium, and placed, quite wet, into the camera
obscura, at the proper focus. In fine weather, M. Yerignon states, the
effect is produced in twelve minutes. I have, however, never produced
a good picture by this process in less than thirty minutes. A great
objection to this mode of preparation is the very rapid deterioration of
46 D. DIRECTIONS FOR TAKING PHOTOGRAPHS.
the paper ;
every day it will become less and less sensitive to light, and
at the end of a fortnight it is useless.

The papers recommended for use in the former pages, have the ad-
vantage of keeping well, provided ordinary care is taken with them.
It is necessary to exclude them from the light to keep them very dry
and, as much as possible, they should be protected from the action of
the air. I have kept papers, prepared with the muriate of ammonia,
baryta, and strontia, for twelve months, and have found them but very
little impaired.
Dr. Schafliaeutl allows paper prepared in the way mentioned at a
former page, to darken in a bright sun light. It is then macerated
for at least half-an-hour, in a liquid prepared by mixing one part of
the already described acid nitrate of mercury, with nine or ten parts
of alcohol. A bright lemon yellow precipitate of basic hyponitrate
of the protoxide of quicksilver falls, and the clear liquor is preserved
for use.The macerated paper is removed from the alcoholic solution,
and quickly drawn over the surface of diluted muriatic acid, (one
part strong acid to seven or ten of water,) then quickly washed in
water, and slightly and carefully dried at a heat not exceeding 212 of
Fahr. The paper is now ready for being bleached by the rays of the
sun ;
and, in order to fix the drawing, nothing more is required than
to steep the paper a few minutes in alcohol, which dissolves the free
bichloride of mercury. I must confess, however, that in my hands the
process has not been so successful as it is described to have been by
the author of it.

It is perhaps necessary to remark, that we cannot multiply designs

from an original hydriodated photograph. The yellow colour of the
paper is of itself fatal to transfers, and independently of this, the wet
hydriodic solution would immediately destroy any superposed photo-
graph.
We have seen in a former chapter that the white photographic papers
are darkened by the blue, indigo, and violet rays. On the dark papers

Impressed Spectrum.

Fig. 13.
 D. DIRECTIONS FOR TAKING TIIOTOGRArilS. 47

washed with the liydriodic salts in solution, the bleaching is effected most
energetically by the violet rays it proceeds with lessening intensity to
;

the blue, while all the rays below the yellow have a darkening influence
on the paper. This effect will be best illustrated by figure 13.
The remarkable manner in which the point of greatest intensity is
shifted from the blue to the violet, when papers have but a very slight
difference in their composition or mode of preparation, is an extremely
curious point of philosophical inquiry. It will be evident from what
has been said, that it is necessary the focus of the violet rays should be
always chosen in using the liydriodated papers in the camera.
 PROCESSES ON METALLIC AND GLASS
TABLETS.

L HELIOGRAPH Y.
M. Niepce was the first inquirer who appears to have produced per-
manent pictures by the influence of the suns rays. This process

Heliography is in many respects peculiar, which renders it necessary,
although his preparation was only acted on by an exposure of many
hours to full sunshine, to give a particular account of it the more so, ;

as some points of considerable interest require further elucidation.

The substance employed by M. Niepce was asphaltum or bitumen of
Judea. He thus directs preparation:
about half fill a wine-
its
I ,

glass with this pulverised bitumen, I pour upon it, drop by drop, the
essential oil of lavender,* until the bitumen is completely saturated. I
afterwards add as much more of the essential oil as causes the whole to
stand about three lines above the mixture, which is then covered and
submitted to a gentle heat until the essential oil is fully impregnated
with the colouring matter of the bitumen. If this varnish is not of the
required consistency, be allowed to evaporate slowly, without
it is to
heat, in a shallow dish, care being taken to protect it from moisture, by
which it is injured, and at last decomposed. In winter, or during rainy
weather, the precaution is doubly necessary. A tablet of plated silver
is to be highly polished, on which a thin coating of the varnish is to be

applied cold, with a light roll of very soft skin this will impart to it a ;

fine vermilion colour, and cover with a very thin and equal coating.
it

The plate is then placed upon heated iron, which is wrapped round with
several folds of paper, from which by this method all moisture had been
previously expelled. When the varnish has ceased to simmer, the plate
iswithdrawn from the heat, and left to cool and dry in a gentle tempera-
ture, and protected from a damp atmosphere. In this part of the
operation a light disc of metal, with a handle in the centre, should be
held before the mouth, in order to condense the moisture of the breath.
The plate thus prepared is now in a fit state for use, and may be
immediately fixed in the correct focus of the camera. After it has
been exposed a sufficient length of time for receiving the impression, a
very faint outline alone is visible. The next operation is to bring out
the hidden picture, which is accomplished by a solvent.

* The English oil of lavender is too expensive for this purpose. An article sold as the
French oil of lavender, redrawn, is very much cheaper, and answers in every respect as
well, if not better.
 ;

HELIOGRAPH Y. 49

This solvent must be carefully adapted to the purposes for which it

is designed; it is difficult to fix with certainty the proportions of its
components; but in all cases it is better that it be too weak than too
strong, in the former case the image does not come out strongly, in
the latter it is completely destroyed. The solution' is prepared of one
part not
by weight, but volume of the essential oil of lavender,

poured upon ten parts by measure also of oil of white petroleum.
The mixture, which is first milky, becomes clear in two or three days.
This compound will act until it becomes saturated with the asphaltum,
which state is readily distinguished by an opaque appearance, and dark
brown colour. A tin vessel somewhat larger than the photographic
tablet, and one inch deep, must be provided. This is to have as much
of the solvent in it as will cover the plate. The tablet is plunged into
the solution, and the operator, observing it by reflected light, begins to
see the images of the objects, to which it has been exposed, slowly un-
folding their forms, though still veiled by the gradually darkening
supernatant fluid. The plate is then lifted out, and held in a vertical
position, till as much as possible of the solvent has been allowed to drop
away. When the dropping has ceased, we proceed to the last, and not
the least important operation, of washing the plate.

Fig. 14.

This is performed by carefully placing the tablet upon a long board,

fixed at a large angle, the supports being joined to it by hinges, to
admit of the necessary changes of inclination, under different circum-
stances; two small blocks, not thicker than the tablet, are fixed on the
board, on which the plate rests. Water must now be slowly poured upon
the upper part of the board, and allowed to flow evenly over the surface
of the picture. The descending stream clears away all the solvent that
may yet adhere to the varnish. The plate is now to be dried with great
care by a gentle evaporation to preserve the picture, it is requisite to
:

cover it up from the action of light, and protect it from humidity.

The varnish may be applied indifferently to metals, stone, or glass
but M. Niepce prefers copper plated with silver. To take copies of en-
gravings, a small quantity of wax is dissolved in essential oil of laven-
der, and added to the varnish already described
the engraving, first
varnished over the back, is placed on the surface of the prepared tablet,
face towards it, and then exposed to the action of the light. In the
camera obscura an exposure of from six to eight hours, varying wjth
the intensity of light, is required; while, from four to six hours is
H
50 PROCESSES ON METALLIC AND GLASS TABLETS.

necessary to produce a copy of an engraving. The picture, in the first

instance,is represented by the contrast between the polished silver and

the varnish coating. The discoverer afterwards adopted a plan of

darkening the silver by iodine, which appears to have led the way to
Daguerres beautiful process. To darken the tablet, it was placed in
a box in which some iodine was strewed, and watched until the best
effect was produced. The varnish was afterwards removed by spirit of
wine.
Of the use of glass plates, M. Niepce thus speaks Two experi-
:

ments in landscape upon glass, by means of the camera, gave me re-
sults which, although imperfect, appear deserving of notice, because
this variety of application may be brought more easily to perfection,
and in the end become a most interesting department of Heliography.
In one of these trials the light acted in such a way that the varnish
was removed in proportion to the intensity with which the light had
acted, and the picture exhibited a more marked gradation of tone, so
that, viewed by transmitted light, the landscape produced, to a certain
extent, the well known effects of the diorama.
In the second trial, on the contrary, the action of the luminous fluid
having been more intense, the parts acted upon by the strongest lights,
not having been attacked by the solvent, remained transparent the ;

difference of tone resulted from the relative thickness of the coatings of

varnish.
If this landscape is viewed by reflection in a mirror, on the var-
nished side, and at a certain angle, the effect is remarkably striking;
while, seen by transmitted light, it is confused and shapeless: but,
what is equally surprising, in this position the mimic tracery seems to
affect the local colour of the objects.
A statement that M. Niepce was enabled to engrave by light, went
the round of the press but this does not appear to have been the case.
;

All that the author of Heliography effected, was the etching of the plate,
after it had undergone its various processes, and the drawing was
completed, by the action of nitric acid in the usual manner ; the parts
of the copperplate protected by the varnish remained, of course, un-
acted on, whilst the other parts were rapidly attacked by the acid.
The author remarks that his process cannot be used during the
winter season, as the cold and moisture renders the varnish brittle, and
detaches it from the glass or metal.

M. Niepce afterwards used a more unctuous varnish, composed of

bitumen from Judea dissolved in animal oil of Dippel, an article which
,

it is This composition is of much

rather difficult to obtain in England.
greater tenacity and higher colour than the former, and, after being
applied, it can immediately be submitted to the action of light, which
appears to render it solid more quickly, from the greater volatility of the
animal oil. M. Daguerre remarks, that this very property diminishes
still further the resources of the process as respects the lights of the
drawings thus obtained. These processes of M. Niepce were much

IIELIOGHArilY. 51

improved by M. Daguerre, who makes the following remarks on the

subject.
The substance which should be used in preference to bitumen, is the
residuum obtained by evaporating the essential oil of lavender, which is
to be dissolved in alcohol, and applied in an extremely thin wash. Al-
though all bituminous and resinous substances are, without any excep-
tion, endowed with the same property
that of being affected by light
the preference ought to be given to those which are the most unctuous,
because they give greater firmness to the drawings. Several essential
oils lose this character when they are exposed to too strong a heat.
It is not, however,from the ease with which it is decomposed, that
we are to prefer the essential oil of lavender. There are, for instance,
the resins, which, being dissolved in alcohol, and spread upon glass or
metal, leave, by the evaporation of the spirit, a very white and infinitely
sensitive coating. But this greater sensibility to light, caused by a
quicker evaporation, (?) renders also the images obtained, much more
liable to injury from the agent by which they were created. They grow
faint, and disappear altogether, when exposed but for a few months to
the sun. The residuum of the essential oil of lavender is more effec-
tually fixed, but even this is not altogether uninfluenced by the erod-
ing effects of a direct exposure to the suns light.
The essence is evaporated in a shallow dish by heat, till the resinous
residuum acquires such a consistency, that when cold it rings on being
struck with the point of a knife, and flies off in pieces when separated
from the dish. A small quantity of this material, is afterwards to be
dissolved in alcohol or ether; the solution formed should be transparent,
and of a lemon-yellow colour. The clearer the solution, the more deli-

cate will be the coating on the plate ;

it must not, however, be too thin,
because it could not thicken or spread out into a white coat ;
indispen-
sable requisites for obtaining good effects in photographic designs.
The use of the alcohol or ether, is to facilitate the application of the
resin under a very attenuated form, the spirit being entirely evapor-
ated before the light effects its delineations on the tablet. In order to
obtain greater vigour, the metal ought to have an exquisite polish.
There is more charm about sketches taken on glass plates, and above all,

much greater delicacy.

Before commencing operations, the experimenter must carefully
clean his glass or metal plate.For this purpose, emery, reduced to an
impalpable powder, mixed with alcohol, may be used applying it by
;

means of cotton-wool: but this part of the process must always be con-
cluded by dry-polishing, that no trace of moisture may remain on the
tablet. The plate of metal or glass being thus prepared, in order to
supply the wash or coating, it is held in one hand, and with the
other, the solution is to from a flask or bottle having
be poured over it

a wide mouth, so that it may and cover the whole surface.

flow rapidly
It is at first necessary to hold the plate a little inclined; but as soon
as the solution is poured on, and has ceased to flow freely, it is raised
52 FROCESSES ON METALLIC AND GLASS TABLETS.

perpendicularly. The finger is then passed behind and below the

plate, in order to draw off a portion of the liquid, which, tending
always to ascend, would double the thickness of the covering; the
finger must be wiped each time, and be passed very rapidly along the
whole length of the plate from below, and on the side opposite the coat-
ing. When the liquid has ceased to run, the plate is dried in the
dark. The coating being well dried, it is to be placed in the camera
obscura. The time required to procure a photographic copy of a land-
scape is from seven to eight hours; but single monuments strongly
illuminated by the sun, or very bright in themselves, are copied in
about three hours.
When operating on glass, it is necessary, in order to increase the
light, to place the plate upon a piece of paper, with great care, that the
connection is perfect over every part, as, otherwise, confusion is pro-
duced in the design by imperfect reflection.
It frequently happens that when the plate is removed from the

camera, there is no trace of any image upon its surface it is therefore
necessary to use another process to bring out the hidden design.
To do this, provide a tin vessel, larger than the tablet, having all
round a ledge or border 50 millimeters (2 English inches) in depth.
Let this be three quarters full of the oil of petroleum fix your tablet
;

by the back to a piece of wood which completely covers the vessel, and
place it so that the tablet, face downwards, is over but not touching the
oil. The vapour of the petroleum penetrates the coating of the plate
in those parts on which the light has acted feebly
that is, in the por-
tions which correspond to the shadows, imparting to them a transparency,
as if nothing were there. On the contrary, the points of the resinous
coating, on which light has acted, having been rendered impervious to
the vapour, remain unchanged.
The design must be examined from time to time, and withdrawn as
soon as a vigorous effect is obtained. By urging the action too far,
even the strongest lights will be attacked by the vapour, and disappear,
to the destruction of the piece. The picture, when finished, is to be
protected from the dust, by being kept covered with a glass, which also
protects the silver plate from tarnishing.
It may perhaps appear to some that I have needlessly given the par-
ticulars of a process, now entirely superseded by others, possessing the

most infinite sensibility producing in a few minutes a better effect
than was given by the Heliographic process in several hours. There
are, however, so many
curious facts connected with the action of light
on these no treatise on Photography could be considered
resins, that
complete without some description of them.
M. Daguerre makes the remark, that numerous experiments tried by
him prove that light cannot fall upon a body without leaving traces of
decomposition and they also demonstrate that these bodies possess the
;

power of renewing in darkness, what has been lost by luminous action,

provided total decomposition has not been effected.

DAGUERREOTYPE. 53

Iii my description of the Hydriodic processes, I have shown that^

restoration is effected in the dark on a metallic oxide in a way which
somewhat resembles that observed by M. Daguerre.
That light, the element which gives beauty to our planet, and sheds
gladness over all things, by the touch of its Ithuriel wand, should be so
active a destroyer, is a strange, a startling fact to support which we
have, independently of the discoveries of the photologist, abundant evi-
dence in the physiology of the vegetable and the animal kingdoms.

2. DAGUERREOTYPE.

A. Original Process of Daguerre.

From the primary importance of this very beautiful branch of the

Photographic art, I shall devote a considerable space to a description
of the original process,and add thereto some account of each improve-
ment which has been published, having any practical advantage, either
by lessening the labour required, or reducing the expense.
The pictures of the Daguerreotype are executed upon thin sheets of
silver plated on copper. Although the copper serves principally to
support the silver foil, the combination of the two metals appears to tend
to the perfection of the effect. It is essential that the silver be very
pure. The thickness of the copper should be sufficient to maintain
perfect flatness, and a smooth surface so that the images may not be
;

distorted by any warping or unevenness. Unnecessary thickness is to

be avoided, on account of the weight.
The process is divided into five operations. The first consists in
cleaning and polishing the plate, to fit it for receiving the sensitive
coating on which light forms the picture. The second is the formation
of the sensitive ioduret of silver over the face of the tablet. The third
is the adjusting of the plate in the camera obscura, for the purpose of

receiving the impression. The fourth is the bringing out of the Photo-
graphic picture, which is. invisible when the plate is taken from the
camera. The fifth and last operation is to remove the sensitive coating,
and thus prevent that susceptibility of change under luminous influence,
which would otherwise exist, and quickly destroy the picture.

First Operation.
A
small phial of olive oil some finely carded cotton a muslin bag
of finely levigated
pumice a phial of nitric acid, diluted in the pro-
portion of one part of acid to sixteen parts of water, are required for
this operation. The operator must also provide himself with a small
spirit lamp, and an iron wire frame, upon which the plate is to be placed
whilst being heated over the lamp. The following figures represent this
frame. The first view is as seen from above. The second is a sec-
 ;

54 DAGUERREOTYPE.

tion and elevation, showing the man-

ner in which it is fixed.

The plate being first powdered

over with pumice, by shaking the
bag, a piece of cotton, dipped into
the olive oil, is then carefully rubbed
over it with a continuous circular
motion, commencing from the cen-
tre. When the plate is well polished,
it must be cleaned by powdering it
all over with pumice, and then rub-

bing it with dry cotton, always round-

ing and crossing the strokes, it being
impossible to obtain a true surface
by any other motion of the hand.
The surface of the plate is now rubbed all over with a pledget of cot-
ton, slightly wetted with the diluted nitric acid. Frequently change
the cotton, and keep rubbing briskly, that the acid may be equally
diffused over the silver, as, if it is permitted to run into drops, it stains
the tablet. It will be seen when the acid has been properly diffused,
from the appearance of a thin film equally spread over the surface. It
is then to be cleaned off with a little pumice and dry cotton.

The plate is now placed on the wire frame the silver upwards, and
the spirit lamp held in the hand, and moved about below it, so that the
flame plays upon the copper. This is continued for five minutes, when
a white coating is formed all over the surface of the silver the lamp is ;

then withdrawn. A charcoal fire may

be used instead of the lamp.
The plate is now cooled suddenly by placing it on a mass of metal, or
,

a stone floor. When perfectly cold, it is again polished with dry cotton
and pumice. It is necessary that acid be again applied two or three
times, in the manner before directed, the dry pumice being powdered
over the plate each time, and polished off gently with dry cotton. Care
must be taken not to breathe upon the plate, or touch it with the fingers,
for the slightest stain upon the surface will be a defect in the drawing.
It is indispensable that the last operation with the acid be performed
immediately before it isintended for use. Let
Fig. 16.
every particle of dust be removed, by cleaning
- B
all theedges and the back also with cotton. After
r "til the first polishing, the plate is fixed on a board
B C B by means of four fillets, BBBB, of plated copper.
To each two small project-
of these is soldered
I, B ing pieces, which hold the tablet near the corners
and the whole is retained in a proper position by
D D r D means of screws, as represented at DDDD.
Second Operation.
It is necessary for this operation, which is really the most important
 A. ORIGINAL PROCESS OF DAGUERRE. 00

of all, that a box, similar to figs. 17 and 18 be provided. Figure 17

represents a section, supposed to pass down the middle of the appar-
atus by the line A B, in fig. 18, which represents the box as seen
from above. C is a small lid which accurately fits the interior, and

divides the box into two chambers. It is kept constantly in its place
when the box is not in use the purpose of it being to concentrate
the vapour of the iodine, that it may act more readily upon the plate
when it is exposed to it. I) is the little capsule in which the iodine is

placed, which is covered with the ring, J, upon which is stretched a

piece of fine gauze, by which the particles of iodine are prevented from
rising and staining the plate, while the vapour, of course, passes freely
through it. E is the board with the plate attached, which rests on the
four small projecting pieces, F fig. 18. G is the lid of the box, which
is kept closed, except when the plate is removed or inserted. H repre-
sents the supports for the cover C. K, tapering sides all round,
forming a funnel-shaped box within.
To prepare the plate :
The cover, C, being taken out, the cup, D, is
charged with a sufficient quantity of iodine, broken into small pieces,
and covered with the gauze, J. The board, E, is now, with the plate
attached, placed, face downwards, in its proper position, and the box
carefully closed.
In this position the plate remains until the vapour of the iodine
has produced a definite golden yellow colour, nothing more nor less.* If
the operation is prolonged beyond the point at which this effect is pro-
duced, a violet colour is assumed, which is much less sensitive to light;
and if the yellow coating is too pale, the picture produced will prove very
faint in all its parts. The time for this cannot be fixed, as it depends en-
tirelyon the temperature of the surrounding air. No artificial heat must
be applied, unless in the case of elevating the temperature of an apartment

* If a piece of iodine is placed on a silver tablet, it will speedily be surrounded with

coloured rings: two yellow rings will be remarked, one without and the other within the
circle. The outside yellow ring alone is sensitive to light. This experiment will show the
necessity of stopping the process of iodidation as soon as the first yellow is formed over the
surface of the silver.
 5G DAGUERREOTYPE.

in which the operation may be going on. It is also important that the

temperature of the inside of the box should be the same as it is with-

out, as otherwise a deposition of moisture is liable to take place over
the surface of the plate. It is well to leave a portion of iodine always

in the box; for, as it is slowly vaporized, it is absorbed by the wood,

and when required it is given out over the more extended surface more
equally, and with greater rapidity.
As, according to the season of the year, the time for producing the
required effect may vary from five minutes, to half an hour or more, it

is necessary, from time to time, to inspect the plate. This is also

necessary, to see if the iodine is acting equally on every part of the

silver, as itsometimes happens that the colour is sooner produced on

one side than on the other, and the plate, when such is the case, must
be turned one quarter round. The plate must be inspected in a dark-
ened room, to which a faint light is admitted in some indirect way, as
by a door a little open. The board being lifted from the box with both
hands, the operator turning the plate towards him rapidly, observes the
colour. If too pale, it must be returned to the box but if it has as-
;

sumed the violet colour it is useless, and the whole process must be
again gone through.
From description, this operation may appear very difficult ; but with
a little practice 'the precise interval necessary to produce the best effect
is pretty easily guessed at. When the proper yellow colour is produced,
the plate must be put into a frame, which fits the camera obscura, and

Fig. 19. Fig. 20.

the doors are instantly closed upon it, to prevent the access of light. The
figures represent this frame, fig. 19, with the doors, B B, closed on the
plate ;
and fig. 20, with the doors opened by the half circles, A A. D D,
are stops by which the doors are fastened until the moment when the
plate is required for use. The third operation should, if possible, imme-
diately succeed the second: the longest interval between them should
not exceed an hour, as the iodine and silver lose their requisite photo-
genic properties* It is necessary to observe, that the iodine ought
never to be touched with the fingers, as we are very liable to injure the
plateby touching it with the hands thus stained.

* This is contrary to the experience of the author of this volume; and Dr. Draper of
New York he has found the plates improve by keeping a few hours before they
states, that
are used.
 A. ORIGINAL PROCESS OF DAGUERRE. 57

Third Operation.
The third operation is the fixing of the plate at the proper focal dis-
tance from the lens of the camera obscura, and placing the camera
itself in the right position for taking the view we desire. Fig. 21 is

Fig. 21.

a perpendicular section, lengthwise, of Daguerres camera. A is a

ground glass by which the focus is adjusted; it is then removed, and
the photographic plate substituted, as in C, fig. 22. B is a mirror
for observing the effects of objects, and selecting the best points of
view. It is inclined at an angle of 45, by means of the support, L.
To adjust the focus, the mirror is lowered, and the piece of ground
glass, A, used. The focus is easily adjusted by sliding the box, D,
out or in, as represented in the plate. When the focus is adjusted,
it is retained in its place by means of the screw, H. The object glass,
J, is achromatic and periscopic its diameter is about one inch, and its
;

focal distance rather more than fourteen inches. is a stop a short M

distance from the lens, the object of
Fig. 22.
which is to cut off all those rays of
lightwhich do not come directly from
the object to which the camera is di-
rected. This instrument reverses the
objects that which is to the right in
nature being to the in the pho- left
tograph. This can be remedied by
using a mirror outside, as J, in K
figure 22. This arrangement, however,
reduces the quantity of light, and in-
creases the time of the operation one-
third. It will, of course, be adopted
only when there is time
After to spare.
having placed the camera in front of
the landscape, or any object of which
we desire the representation, our first
attention must be to adjust the plate
at such a distance from the lens, that
a neat and sharply defined picture is

i
58 DAGUERREOTYPE.

produced. This is, by the obscured glass. The adjust-

of course, done
ment being made, the glass is removed, and its place sup-
satisfactorily
plied by the frame containing the prepared plate, and the whole secured
by the screws. The doors are now opened by means of the half circles,
and the plate exposed to receive the picture. The length of time neces-
sary for the production of the best effect, varying with the quantity
of light, is a matter which requires the exercise of considerable judg-
ment, particularly as no impression is visible upon the tablet when it is
withdrawn from the camera. At Paris this varies from three to thirty
minutes. The most favourable time is from seven to three oclock. A
drawing which, in the months of June and July, may be taken in three
or four minutes, will require five or six in May or August, seven or
eight in April and September, and so on, according to the season.
Objects in shadow, even during the brightest weather, will require
twenty minutes to be correctly delineated. From what has been stated,
it will be evident that it is impossible to fix, with any precision, the

exact length of time necessary to obtain photographic designs but by ;

practice we soon learn to calculate the required time with considerable

correctness. The latitude is, of course, a fixed element in this calcula-
tion. In the sunny climes of Italy and southern France, these designs
may be obtained much more promptly than in the uncertain clime of
Great Britain. It is very important that the time necessary is not ex-
ceeded, prolonged solarization has the effect of blackening the plate,
and this destroys the clearness of the design. If the operator has
failed in his first experiment, let him immediately commence with an-
other plate ;
correcting the second trial by the first, he will seldom fail

to produce a good photograph.

Fourth Operation.
The apparatus required in this opera-
tion is represented by A, is the
fig. 23.
lid of the box; B, a black board with
grooves to receive the plate ; C, cup
containing a mercury, J D, spirit
little ;

lamp F, thermometer G, glass through

; ;

which to inspect the operation H, tablet ;

as removed from the camera I, stand for ;

the spirit lamp. All the interior of this

apparatus should be covered with hard
black varnish. The board and the affixed
plate being withdrawn from the camera,
are placed at an angle of about 45 within
this box
the tablet with the picture
downwards, so that it may be seen through
the glass G. The box being carefully
closed, the spirit lamp is to be lighted
and placed under the cup containing the
 A. ORIGINAL PROCESS OF DAGUERRE. 59

mercury. The heat is to be applied until the thermometer, the bulb of

which is covered with the mercury, indicates a temperature of 60 centi-
grade, (140 Fahr.) The lamp is then withdrawn, and if the thermometer
has risen rapidly, it without the aid of the lamp but
will continue to rise ;

the elevation ought not to be allowed to exceed 75 cent. (167 Fahr.)

After a few minutes, the image of nature impressed, but till now
invisible,on the plate, begins to appear the operator assures himself of
;

the progress of this development by examining the picture through the

glass,G, by a taper, taking care that the rays do not fall too strongly
on the plate, and injure the nascent images. The operation is con-
tinued till the thermometer sinks to 45 cent. (113 Fahr.) When the
objects have been strongly illuminated, or when the plate has been kept
in the camera too long, it will be found that this operation is completed
before the thermometer has fallen to 55 Cent. (131
Fahr.) This is, however, always known by observing
the sketch through the glass.
After each operation the apparatus is carefully cleaned
in every part,and in particular the strips of metal which
hold the plate are well rubbed with pumice and water,
to remove, the adhering mercury and iodine. The plate
may now be deposited in the grooved box, (figure 24,)
in which it may be kept, excluded from the light, until
it is convenient to perform the last fixing operation.

Fifth Operation.
This process has for its object the removal of the iodine from the
plate of silver, which prevents the further action of the light.
A saturated solution of common salt may be used for this purpose,
but it does not answer near so well as a weak solution of the hyposul-
phite of soda. In the the plate
is to be placed in a trough
first place,
#

of water, plunging and withdrawing

immediately it is then to be
it ;

plunged into one of the above saline solutions, which would act upon
the drawing if it was not previously hardened by washing in water.
To assist the effect of the saline washes, the plate must be moved to
and fro, which is best done by passing a wire beneath the plate. When
the yellow colour has quite disappeared, the plate is lifted out, great
care being taken that the impression i& not touched, and it is again
plunged into water. A
vessel of warm distilled water, or very pure rain
water boiled and cooled, being provided, the plate is fixed on an inclined
plane, and the water is poured in a continuous stream over the picture.
The drops of water which may remain upon the plate must be removed
by forcibly blowing upon it, for otherwise, in drying, they would leave
stains on the drawings. This finishes the drawing, and it only remains
to preserve the silver from tarnishing and from dust.
The shadows in the Daguerreotype pictures are represented by the
polished surface of the silver, and the lights by the adhering mercury,
which will not bear the slightest rubbing. To preserve these sketches,
60 .
DAGUERREOTYPE.

tliey must be placed in cases of pasteboard, with a glass over them, and
then framed in wood. They are now unalterable by the suns light.
The same plate may be employed for many successive trials, provided
the silver be not polished through to the copper. It is very important,

after each trial, that the mercury be removed immediately, by polishing

with pumice powder and oil. If this be neglected, the mercury finally
adheres to the silver, and good drawings cannot be obtained if this
amalgam is present.

B. Improvements in Daguerreotype.

The above constitute the substance of the directions given by M.

Daguerre, in his pamphlet and patent specification. The process has,
however, been much simplified and shortened the enormous expense of :

the original apparatus having been found quite unnecessary. A few

pages may therefore with propriety be devoted to the improvements
of the Daguerreotype.

a. Improved method of Iodizing the Silver, by M. Daguerre.

The inventor has given some very decisive experiments, showing the
necessity of using metal strips of the same kind as the tablet, or of
cutting a deep line round it. He has shown that in using strips of
copper, of glass, of gum lac, of card-board, or of platina, the edges of
the tablet are surcharged with iodine. M. Daguerre then states that,
but for the difficulty of fixing them, the bands might be very much
reduced in size for it is sufficient for them to produce their effect that
;

there be a solution of continuity between them, and this is proved

by the fact that nearly^ the same result is obtained by engraving at
the &th of an inch from the edge of the plate a line deep enough to
reach the copper. The objections to this are, that during the polish-
ing process the engraving is filled with dust, and it retains water,
which sometimes occasions He
then proposes as a very great
stains.
simplification of this process, that the plate be laid flat in a shallow box
containing two grooves, one to receive the plate and the other a board
saturated with iodine. Around the plate he places a border of either
powdered starch or lime, and the iodine descends from the board to
the tablet. The starch or lime absorbs the iodine with avidity, and
thus prevents its attacking the edges of the silver, and the vapour is
diffused with perfect evenness over it. Another advantage is, that the
saturated board may be used for several days in succession, without
being at all renovated.
M. Seguier somewhat modifies even this process. A box of hard
wood, varnished internally with gum lac, contains a lump of soft wood
furnished with a card of cotton sprinkled with iodine. Upon this is
placed a plate covered with card-board on each of its faces. One of
 ;

B. IMPROVEMENTS IN DAGUERREOTYPE. 61

these card-boards furnishes, by radiation, to the metal the vapour of

iodine, while the other returns to the cotton that which it had lost. It

suffices to turn the plate from time to time, in order that the operation
may go on with equal rapidity. A plate of glass is placed upon the
upper card-board, where it is not operated on. The plate is sustained
a little above the charged cotton, by frames of hard wood, varnished
with gum lac. By increasing the distance between the cotton and the
plate, or the contrary, we are enabled to suit the arrangement to the
temperature of the season, and thus always operate with facility and
promptitude. M. Seguier also states that a single scouring with tripoli,
moistened with acidulated water, is sufficient to cleanse the plates
thoroughly, and does away with the tedious process of scouring with
oil, and afterwards the operation of heating the tablet over a spirit

lamp. M. Soliel has proposed the use of the chloride of silver to de-
termine the time required to produce a good impression on the iodated
plate in the camera. His method is to- fix at the bottom of a tube,
blackened within, a piece of card on which chloride of silver mixed
with gum or dextrine* is spread. The tube thus disposed is turned
from the side of the object of which we wish to take the image, and
the time that the chloride of silver takes to become of a greyish slate
colour, will be the time required for the light of the camera to produce
a good effect on the iodated silver.

b, Methods offixing the Daguerreotype Pictures.

Various methods have been tried for more perfectly fixing the Da-
guerreotype pictures, but most of the proposed plans impair the beauti-
ful delicacy of the design. The object desired, is to occasion a more
perfect adhesion of the mercury and silver, and this is said to be
effectually done by M. H. Fizeau, whose method is as follows :
About
fifteen grains of chloride of gold is dissolved in a pint of pure water
thrice that quantity of the hyposulphite of soda is dissolved in a like
quantity of water: the former solution is then poured into the latter,

stirring all the while. The mixed liquor, at first slightly yellow, soon
becomes perfectly limpid. It appears to be a double hyposulphite of
soda and gold rather than, a chloride of sodium, which appears to act
no part in the operation.
After the plate has undergone the usual photographic processes, it is
washed in alcohol and water. It is then placed upon an iron frame,
and covered with some of the solution of the salt of gold and soda.
Heat is applied by means of a powerful lamp, and the impression be-
comes clear, and acquires in a few minutes great force. When this is
produced, the liquid must be poured off, and the plate washed and
dried. It appears that in this operation silver is dissolved, and gold is
precipitated on the silver and on the mercury. The silver is turned
slightly brown by the thin layer of gold which covers it, by which the

A kind of gum procured from starch and other similar substances.

62 DAGUERREOTYPE.

shades are rendered more powerful ;

the mercury, on the contrary, is

increased in solidity and lustre by its amalgamation with gold. The

picture, when this operation is well performed, will bear rubbing with
the finger.
M. Preschot proposes the use of the hydrosulphate of ammonia, and
M. Choiselat a solution of the iodide of silver in the hyposulphite of
soda ;
but neither of these preparations appear to effect the desired ob-
ject. Various gums have been tried, but they all of them slowly injure
the fine effect of these delicate designs.
by Mr. F. Kratochwila, has succeeded
Dr. Berres of Vienna, assisted
by another some analogy to that of M. Fizeau, in fix-
process, bearing
ing the Daguerreotype designs. He takes the photograph produced in
the usual manner by the process of Daguerre, holds it for a few minutes
over a moderately warmed nitric acid vapour, and then lays it in nitric
acid of 13 or 14 Reaumur, (61! or 63| Fahrenheit) in which a con-
siderable quantity of copper or silver, or both together, has been pre-
viously dissolved. Shortly after being placed therein, a precipitate of
metal is formed, and can be changed to any degree of intensity. The
photographic picture coated with metal is now removed, washed in
water, cleaned and dried ;
it is then polished with chalk or magnesia,
and a dry soft cloth or leather after which the coating will become
clean, clear, and transparent, so that the picture with all its properties
can again be seen.

C. Engraving the Daguerreotype designs.

The announcement of a means of engraving the Daguerreotype

naturally excited a great deal of attention, but it was soon found that
the extreme uncertainty, even with the most careful manipulation,
which constantly attended the process, together with the imperfect
etching which was produced under the most favourable circumstances,
rendered the announced discovery of but little value. The process fol-
lowed by Dr. Berres was the following
The greatest care is necessary in preparing the Daguerreotype design
from which it is intended to print. The picture must be prepared upon
the most chemically pure silver, and carefully freed from iodine. Dr.
Berres first varnishes the plate by holding it over a weak warm vapour
of nitric acid, 25 to 30 Reaumur, (77 to 86 Fahr.) for two or three
minutes. There must then be poured over it a solution of gum arabic,
of the consistence of honey, and it must be placed in a horizontal posi-
tion for some minutes, with the impression uppermost. It is then
plunged, by means of a double pincette, whose ends are protected by a
coating of asphaltum or hard-wood, in nitric acid, at 12 or 13 Rea-
mur (59 to 61! Fahr.) Let the coating of gum slowly melt off, or dis-
appear, and commence now to add, though carefully and gradually, and
 D. TAKING PORTRAITS FROM LIFE BY DAGUERREOTYPE. G3

at a distance from the picture, a solution of nitric acid, of from 25 to

30, for the purpose of deepening or increasing the etching power of the
solution. After the acid has arrived at 16 or 17 Reaumur, (68 to 70|
Fahr.) and gives off a peculiarly biting vapour, which powerfully affects
the sense of smelling, the metal becomes softened, and then, generally
at this point, the process commences of changing the shadow upon the
plate into a deep engraving or etching. This is the decisive moment,
and upon it must be bestowed the deepest attention. The best method
of proving if the acid be strong enough, is to apply a drop from that in
which the plate now lies to another plate : if the acid makes no impres-
sion, it is of course necessary to continue adding nitric acid ;
if, how-
ever, it corrode too deeply, then it is necessary to add water, the acid
being too strong. If the potency of the acid has been carried too far,
a fermentation and white froth will cover the whole picture, and then
not only the surface of the picture, but the whole surface of the plate
will be corroded.
When by a proper strength of the etching powers of the acid, a soft
and expressive outline of the picture may hope to
is produced, we
finish the undertaking favourably. We have
guard againstnow only to
an ill-measured division of the acid, and the avoidance of a pre-
cipitate. To attain this end, the plate is frequently lifted out of the
fluid, taking care that the etching power of the acid shall be induced
to whatever part it may appear to act weakly, and seek to avoid the
bubbles and precipitate by a gentle movement of the liquid. In this
manner the process can be continually applied to the proper points of
strength required upon the plates from which it is proposed to print.
Dr. Donne has also employed nitric acid to etch these designs, but,
owing to his process being conducted less carefully than Dr. Berres
appears to have done, his designs were less delicately executed. I have

made a great many experiments on this point the most successful were
:

some with aqueous chlorine, and a strong solution of the chloruret of

lime. I am, however, quite convinced that any etching process will

very materially impair the beauty of the minute details and to produce ;

an engraving, having still preserved the rich effects of aerial perspective,

by such means, is, I believe, a very remote hope.
By depositing on a Daguerreotype picture a metallic plate, by means
of the process of the electrotype, the deposited plate has a very faithful,
though faint delineation of the original on its face. To improve this
impression, is, I think, within the range of probabilities.

D. Application of the Daguerreotype to taking Portraits from

Life.

This very interesting application of Daguerres discovery has been

perfected by Dr. Draper, Professor of Chemistry in the University of
 ,

04 DAGUERREOTYPE.

New York, who has published his process in the London and Edinburgh
Philosophical Magazine, for September, 1840, from which paper I shall
take the liberty of making copious extracts. It was first stated, that it

was necessary, to procure any impression of human features on the

Daguerreotype with a white
plate, to paint the face white, or dust it over
powder, it being thought that the light reflected from the flesh would not

have sufficient power to change the iodated surface. This has been
shown to be an error, for even when the sun shines but dimly, there is
no difficulty in delineating the features.
When the sun, the sitter, and the .camera, are situated in the same
vertical plane, if a double convex non-achromatic lens of four inches
diameter, and fourteen inches focus be employed, perfect miniatures
can be procured in the open air in a period varying with the character
of the light from 20 to 90 seconds. The dress also is admirably given,
even if it should be black the slight differences of illumination are suffi-
;

cient to characterise it, as well as to show each button and button-hole,

and every fold. Partly owing to the intensity of such light, which
cannot be endured without a distortion of the features, but chiefly owing
to the circumstance that the rays descend at too great an angle, such
pictures have the disadvantage of not exhibiting the eyes with distinct-
ness, the shadow from the eyebrows and forehead encroaching on them.
To procure fine proofs, the best position is to have the line joining the
head of the sitter and the camera so arranged, as to make an angle with
the incident rays, of less than ten degrees, so that all the space
beneath the eyebrows shall be illuminated, and a slight shadow cast
from the nose. This involves, obviously, the use of reflecting mirrors
to direct the ray. A
single mirror would answer, and would economise
time, but in practice it is often convenient to employ two one placed, ;

with a suitable mechanism, to direct the rays in vertical and the

lines,
second above it, to direct them in an invariable course towards the
sitter.
On a bright day, and with a sensitive plate, portraits can be ob-
tained in the course of five or seven minutes, in the diffused daylight.
The advantages, however, which might be supposed to accrue from the
features being more composed, and of a natural aspect, are more than
counterbalanced by the difficulty of retaining them so long in one con-
stant mode of expression. But in the reflected sunshine, the eye cannot
bear the effulgence of the rays. It is therefore absolutely necessary
to pass them through some blue medium, which shall abstract from them
their heat, and take away their offensive brilliancy. I have used for'
this purpose blue glass, and also ammoniaco-sulphate of copper, con-
tained in a large trough of plate glass, the interstice being about an
inch thick, and the fluid diluted to such a point, as to permit the eye
to bear the light, and yet to intercept no more than was necessary. It
is not requisite, when coloured glass is employed, to make use of a large
surface ;
for if the camera operation be carried on until the proof
almost solarizes, no traces can be seen in the portrait of its edges and
 D. TAKING PORTRAITS FROM LIFE BY DAGUERREOTYPE. G5

boundaries ;
but if the process is stopped at an earlier interval, there
will commonly be found a stain corresponding to the figure of the glass.
The chair in which the sitter is placed has a staff at its back, ter-
minating in an iron ring, that supports the head, so arranged as to have
motion in directions to suit any stature and any attitude. By simply
resting the back or side of the head against this ring, it may be kept
sufficiently still to allow the minutest marks on the face to be copied.
The hands should never rest upon the chest, for the motion of respira-
tion disturbs them so much as to bring them out of a thick and clumsy
appearance, destroying also the representation of the veins on the back,
which, if they are held motionless, are copied with surprising beauty.
It has already been stated, that certain pictorial advantages attend
an arrangement in which the light is thrown upon the face at a small
angle. This also allows us to get rid entirely of the shadow from the
back-ground, or to compose it more gracefully in the picture for this, ;

it is well that the chair should be brought forward from the back-ground,

from three to six feet.

Those who undertake Daguerreotype portraitures, will of course
arrange the back-grounds of their pictures according to their own
tastes. When one that is quite uniform is required, a blanket, or a
cloth of a drab colour, properly suspended, will be found to answer very
well.
Attention must be paid to the tint, white, reflecting too much
light,would solarize upon the proof before the face had time to come
out, and, owing to its reflecting all the rays, a blur or irradiation would
appear on all edges, due to chromatic aberration.
It will readily be understood, that if it be desired to introduce a
vase,an urn, or other ornament, it must not be arranged against the
back-ground, but brought forward until it appears perfectly distinct upon
the obscured glass of the camera.
Different parts of the dress, for the same reason, require intervals,
differing considerably, to be fairly copied; the white parts of a costume
passing on to solarization before the yellow or black parts have made
any decisive representation. We
have therefore to make use of tem-
porary expedients. A person dressed in a black coat and open waistcoat
of the same colour, must put on a temporary front of a drab or flesh
colour, or, by the time that his face and the fine shadows of his woollen
clothing are evolved, his shirt will be solarized, and be blue, or even
black, with a white halo around it. Where, however, the white parts of
the dress do not expose much surface, or expose it obliquely, these pre-
cautions are not essential, the white collar will scarcely solarize until
the face is passing into the same condition.
Precautions of the same kind are necessary in ladies dresses, which
should not be of tints contrasting strongly.
It will now be feadily understood, that the whole art of taking Da-
guerreotype miniatures consists in directing an almost horizontal beam of
light, through a blue coloured medium, upon the face of the sitter, who
is retained in an unconstrained posture by an appropriate but simple

K
 ;

66 DAGUERREOTYPE.

mechanism, at such a distance from the back-ground, or so arranged

with respect to the camera, that his shadow shall not be copied as a part
of his body.
Professor Draper uses a camera, having for its objective two double
convex lenses, the united focus of which, for parallel rays, is only eight
inches ; they are four inches in diameter in the clear, and are mounted
in a barrel, in front of narrowed down to three
which the aperture is

and a half inches, after the manner of Daguerres. He also has adopted
the principle of bringing the plate forward out of the best visible focus,
into the focus of the violet rays, as was first suggested by Mr. Towson
of Devonport, in 1839, who also made many experiments, about the
same period, with cameras having mirrors instead of lenses. patent A
has since been taken out by Mr. Woolcott, a philosophical instrument
maker of New York, for a camera for portraiture, with an elliptical
mirror: which form of apparatus has also been patented by a Mr.
Beard, in England, who having somewhat modified Dr. Drapers arrange-
ments as to light, has recently been astonishing the public by the
rapidity with which he is enabled to copy the human face divine.
A camera obscura of this very easily constructed.
description is

Fig. 25 is a sectional view of the apparatus. At one end of a box,

Fiar. 25.

shaped as in the figure, and having an opening at D, is placed an ellip-

tical mirror, A. The prepared plate B is fixed to the sliding frame C,

by which it is adjusted to the best focus. The rays of light, radiating
from a figure placed at F, will, it must be ^evident, pass through the
opening at D, and fall on the mirror, as represented by the dotted lines,
and will be thence reflected to the plate B.
The mirror has certainly the advantage of throwing a greater quan-
tity of light upon the plate, but it has the great disadvantage of limiting
the size of the picture. With a mirror
of seven inches diameter, we
only procure pictures which will be perfect over two square inches
whereas, with a lens of three inches diameter and fourteen inches focal
length, pictures of a foot square may be worked. From this it will be
seen, that the mirror is only applicable where single objects are to be
copied.

DAGUERREOTYPE. 67

E. Simplification of the Daguerreotype Processes.

The extreme expense of the apparatus and plates, as supplied by the t

patentee, induced me, in the very first stage of my experiments, to
endeavour to construct for myself, a set which should be equally as
effective, and less expensive.
Iwas soon satisfied that all the arrangements might' be much simpli-
fied, and any one may have constructed for himself, for less than twenty

shillings, a set of apparatus, by which he shall be enabled to produce

pictures equalling, in every respect, those procured with the set sold at
twenty pounds.
My apparatus consists of a deal box the size of my plates, and three
inches deep, with a thin loose board in the bottom. This board is well
saturated with the tincture of iodine, the spirit is allowed partially to
evaporate, and then, being put in its place, the plate
is adjusted at a

proper height above varying the height according to the temperature,

it,

the box being closed, the operation is completed in about three

minutes. Another deal box, having a glass in one side, and a bottom
of sheet iron, which is slightly concaved to contain mercury, with
grooves upon which the plate may rest at the proper angles, serves to
mercurialize the plates. My camera, which I use for every photographic
process, is described in a future chapter. It is sometimes convenient,
particularly when travelling, to use a piece of amalgamated copper,
which may be prepared, when wanted, by rubbing it with some nitrate of
mercury. The expense of the plates may be very much reduced: in-
stead of using Copper plated with silver, I would recommend the use of
silvered copper, which every one can prepare for himself, at a very
small expense. The following is the best method of proceeding:
Procure a well planished copper plate of the required size, and well
polish it, first with pumice stone and water, then with snake stone, and
bring it up to a mirror surface, with either rotten-stone, or jewellers
rouge. Plates can be purchased in a high state of preparation from
the engravers. Having prepared the copper plate, well rub it with salt
and water, and then with the silvering powder. No kind answers better
than that used by clock-makers, to silver their dial plates. It is com-
posed of one part of well washed chloride of silver, five parts of cream
of tartar, and four parts of table salt. This powder must be kept in
a dark vessel, and in a dry place. For a plate six inches by five, as
much of this composition as can be taken up on a shilling is sufficient.
It is to be laid in the centre of the copper, and the fingers being
wetted, to be quickly rubbed over every part of the plate, adding
occasionally a little damp salt. The copper being covered with the
silvering, it is to be speedily well washed in water, in which a little
soda is dissolved, and as soon as the surface is of a fine silvery white-
ness, it is to be dried with a very clean warm cloth. In this state the
plates may be kept for use. The first process is to expose the plate to
 68 DAGUERREOTYPE.

the heat of a spirit flame, until the silvered surface becomes of a well
defined golden-yellow colour ;
then, when the plate is cold, take a piece
of cotton, dipped in very dilute nitric acid, and rub lightly over it

until the white hue is restored, and dry it with very soft clean cloths.
A weak solution of the hydriodate of potash, in which a small portion
of iodine is dissolved, is now passed over the plate with a wide camels
hair brush. The an io-
silver is thus converted, over its surface, into
duret of silver ;
and in this state it which blackens
is exposed to light,
it. When dry, it is to be again polished, either with dilute acid, or a
solution of carbonate of soda, and afterwards with dry cotton, and the
smallest possible portion of prepared chalk; by this means a surface of
the highest polish is produced. The rationale of this process is, in the
first place, the heat applied drives off any adhering acid, and effects
more perfect union between the copper and silver, so as to enable it to
bear the subsequent processes. The first yellow surface appears to be
an oxide of silver, with, possibly, a minute quantity of copper in com-
bination, which being removed, leave a surface chemically pure. Cop-
per plates may also be very beautifully silvered by galvanic agency, by
which we are enabled to increase the thickness of the silver to any
extent, and the necessity for the heating process is removed, the silver
being absolutely pure. The best and simplest mode with which I am
acquainted, is to divide an earthenware vessel with a diaphragm one ;

side should be filled with a very dilute solution of sulphuric acid, and
the other with either a solution of ferroprussiate of potash, or muri-
ate of soda, saturated with chloride of silver. The copper plate, var-
nished on one side, is united, by means of a copper wire, with a plate of
zinc. The zinc plate being immersed in the acid, and the copper in
the salt, a weak electric current is generated, which precipitates the
silver in a very uniform manner over the entire surface.
At a very early stage of my inquiries I found that the influence of
all the rays, excepting the yellow, was to loosen the adhesion of the
iodidated surface, and the under layer of unaffected silver. When this
changed film was removed by rubbing, the silver beneath always ex-
hibited the most perfect lustre, and I have hence invariably adopted
this mode of polishing my. Dauguerreotype plates. The required sur-
face is thus produced with one-third the labour, and a very great saving
of time ; besides which, the silver is in a much more susceptible state
for receiving the vapour of the iodine. The plate being thus prepared,
we proceed in the manner before directed.
It is somewhat singular, that on the first notice of Daguerres
pictures, long before the publication of his process, when I learnt that
they were on hard polished tablets, I entertained the idea that
plates of copper thus silvered were oxidized, and then acted on by
iodine. I applied the iodine, both in solution and vapour; but, of

course, as the mercury was not used, I failed to effect any perfect pic-
tures. It is, however, worthy of remark, that on one occasion, having
placed a piece of silvered copper in a trough containing a weak solution

E. SIMPLIFICATION OF THE DAGUERREOTYPE PROCESSES. 69

of iodine, with some leaves of hemlock superimposed, these being kept

close by means of a piece of glass, over all the exposed portions the
silver was completely removed, and the copper abraded to a considerable
extent, while beneath the leaves the silver was scarcely affected. I thus

procured a very beautiful etching, the figures being in high relief.

This was frequently repeated with success but other inquires having
;

drawn off my attention, the process has been long neglected, although,
I am convinced, it is capable of being turned to much useful account.
The only other improvement which has been published, is one by
Mr. Backhoffner, who appears to have substituted bromine for iodine
with some advantage.
In November, 1839, I pursued a series of experiments with bromine,
but no very definite advantage was obtained. Some curious effects
which I noticed at that time, are worthy of notice. I copy the remarks
made in my memorandum-book at the time.
4.Exposed a plate to the vapour of bromine, it assumed a leaden-
grey colour, which blackened by light very readily. Exposed this to
mercury without much improving the effect, or altering the lights.
Upon immersing this plate in a solution of the muriate of soda, the
parts unacted on by light, became a jet black, whilst the parts on which
light had acted were dissolved off, leaving a clean coating of silver.
The effect was most decisive a black 'picture on a white ground.
8. Allowed three plates to assume, the first a straw-yellow, the

second a steel-blue, and the third a dull blue, and examined their sensi-
tiveness; the- plate which had arrived at the dull blue colour appeared
to be the most sensitive.
These experiments, which were then pursued with a view to produce

more permanent pictures to fix the mercury or to engrave the plate,
were, however, abandoned, and have not yet been resumed, although I
hope in a little time to turn my attention again to this point. On one
occasion, after having prepared a picture according to the process pre-
scribed by Daguerre, I placed it, without removing the iodine, in a
vessel of chlorine; the picture was obliterated, and very speedily
blackened. On exposing this black plate to light, it almost instan-
taneously whitened. mentioned to show the extent of curious
This is

subjects which photography is opening for inquiry, in the hope they

may induce some person to pursue the subject.
It has been recently announced that the inventor of the Daguerreotype
has succeeded in improving the sensibility of his plates to such an ex-
tent, as to render an instantaneous exposure sufficient for the produc-
tion of the best effects; consequently securing faithful impressions of
moving objects. In a communication with which I have been favoured

from M. Daguerre, he says, Though the principle of my new dis-
covery is certain, I am
determined not to publish it before I have suc-
ceeded in making the execution of it as easy to every body as it is to
myself. I have announced it immediately at the Royal Academy of

Paris, merely to take date, and to ascertain my right to the priority of

70 DAGUERREOTYPE.

the invention. of that new process, it shall be possible to fix

By means
the images of motion
objects in such as public ceremonies market places

, ,

covered with people cattle fyc

,
the effect being instantaneous .
,

The beauty of such representations, furnishing, as they will, objects

of great historical interest, and the most truthful evidence, must render,
them of the highest value.

F. On the Manner in which the Light operates to produce the

Daguerreotype Designs.

Numerous speculations having been ventured, as to the peculiar

chemical changes which light produces on the iodidated silver tablets, all
of which, it appears to me, are very wide of the truth, I shall make no
apology for introducing a few remarks on this very interesting subject.
Numerous experiments on plated copper, pure silver plates, and on
silvered glass and paper, have convinced me, that the first operations
of polishing with nitric acid, &c., are essential to the production of the
most sensitive surface. All who will take the trouble to examine the
subject, will soon be convinced, that the acid softens the silver, bringing
it to a state in which it is extremely susceptible of being either oxidized
or iodized, according as the circumstance may occur, of its exposure to
the atmosphere or to iodine.
I have discovered that all the rays of the prismatic spectrum act on
the Daguerreotype plate, except the yellow, and a circle of light of a
peculiar and mysterious character, which surrounds the visible spec-
trum. The light acting on a prepared tablet, decomposes the film of
ioduret of silver to different depths, according to the order of refrangi-
bility of the rays : the violet ray effecting perfect decomposition, whilst
the red acts to a depth inappreciably slight. Thus it is, that the spec-
trum impressed on a Daguerreotype plate reflects the natural colours,
in the same manner as Sir Isaac Newton has shown thin films act
under other circumstances the thickness of each film of reduced silver
;

on the plate being in exact proportion to the chemical agency of the

coloured ray by which it was decomposed.
On photographic papers, the decomposed argentine salt exists in a
state of oxide, mixed, in all probability, with some revived metal but ;

on the silver tablet the iodine is liberated from all the parts on which
the light acts, and pure silver in a state of extreme division results.
The depth to which the decomposition has been effected, being in exact
relation to the intensity and colour of the light radiated from the object
which we desire to copy, the mercurial vapour unites with different
proportions of silver, and thus are formed the lights and middle tints of
the picture. The shadows are produced by the unchanged silver from
which the ioduret is removed by the hyposulphite of soda.
Daguerre himself laid much stress upon the necessity of exposing the
 herschels process on glass plates. 71

plate to the mercury at an angle of about 45. This, perhaps, is the

most convenient position, as it enables the operator to view the plate
distinctly, and watch the development of the design but beyond this, I ;

am satisfied there exists no real necessity for the angular position.

Both horizontally and vertically, I have often produced equally effective
Daguerreotypes. Looking at a Daguerreotype picture in such a posi-
tion that the light is incident and reflected at a large angle, the draw-
ing
appears of the negative character the silver in such a position
appearing white, and the amalgam of mercury and silver a pale grey.
View the plate in any position which admits of but a small angle of
reflection, and we then see the design in all its exquisite beauty, correct
in the
arrangement of its lights and shades, the silver appearing black,
while the amalgam, by contrast in part, and partly in reality, appears
nearly white. A very ingenious idea has been promulgated, that the
light crystallizes the ioduret of silver, and that the mercury adheres to
one of the facets of each minute crystal. If this was the case, the pic-
ture could be seen distinctly in one position only, whereas in many
different positions it is equally clear. There does not appear to be any
more difficulty in explaining why the mercurial amalgam should vary
in its tint, with change of position, than in explaining why a common
mirror, or a polished metal plate, should appear white when viewed at
one angle, and black in another.

3. PROCESS ON GLASS PLATES, BY SIR JOHN

HERSCHEL.
A new and pretty variety of the photographic art, to use Sir
John Herschels own words, has resulted from experiments con-
ducted with a view to ascertain how far organic matter is indispensable
to the rapid discolouration of argentine compounds/
At the bottom of a rather deep vessel, place a very clean plate of
glass. Pour into this a solution of salt much diluted, and of nitrate of
silver so dilute, that themixture is only slightly milky. Let this stand
undisturbed for a day or two then, with a syphon tube, draw off most
;

of the liquid, and drain slowly away the last portions, drop by drop, by
a few fibres of hemp laid parallel and moistened, without twisting.
Leave the glass quite undisturbed till it is dry. Upon this plate of
glass, now covered with a beautifully delicate and even film of chloride
of silver, pour a solution of the nitrate of silver, and move the plate
to and fro, until it is accurately diffused over the surface. It is

now highly sensitive, and exposed in this state to the focus of a camera,
with the glass towards the incident light, it will soon become impressed
with a well defined negative picture, which is direct or reversed accor-
ding as looked at from the front or the back. On pouring over this
cautiously, by means of a pipette, a solution of hyposulphite of soda,
 ;

72 DAGUERREOTYPE.

the picture disappears, but this is only while wet, for on washing it with
pure water and drying, it is and assumes, when laid on a black
restored,
ground, much the air of a Daguerreotype, and still more so when
smoked at the back, the silvered portions reflecting most light, so that
its character is changed from a negative to a positive drawing. To
obtain delicate pictures, the plate must be exposed wet, and when with-
drawn must immediately be plunged in water, that the nitrate, which is
liable to crystallize, may be abstracted.
Sir John Herschel has made some experiments on thickening the
film of silver, by connecting it, under a weak solution of that metal,
with the reducing pole of a voltaic pile.* The attempt afforded dis-
tinct indications of its practicability, with patience and perseverance, as
here and there, over some small portions of the surface, the lights had
assumed a full metallic brilliancy under this process. Glass coated
with the iodide of silver, and treated as above, is more sensitive than
the chloride.
When the glass is coated with bromide of silver, the action, per se ,

is very slow, and the discolouration ultimately produced far short of

blackness but when moistened with nitrate of silver, sp. gr. 1.1, it is
;

still more rapid than with the iodide, turning quite black in the course of
a very few seconds exposure to sunshine. Plates of glass thus coated,
may be easily preserved for the use of the camera, and have the advan-
tage of being ready at a moments notice, requiring nothing but a wash
over with the nitrate of silver, which may be delayed until the image is
actually thrown on the plate, and adjusted to the correct focus with all
deliberation. The sensitive wash being then applied with a soft flat
camel-hair brush, the box may be closed and the picture impressed, after
which it only requires to be thrown into water, and dried in the dark, to
be rendered comparatively insensible, and may be finally fixed with
hyposulphite of soda, which must be applied hot, its solvent power on
the bromide being even less than on the iodide.
Sir John Herschel suggests a trial of the fluoride of silver upon
glass, which, if proved to be decomposable by light, might possibly
effect an etching on the glass, by the corroding property of the hydro-
fluoric acid.
Frequent trials of these and other methods, have not enabled me to
add any thing to the above directions. The bromide of silver used in
this way is capable of producing pictures of the most extreme delicacy
and as we are enabled to take a number of positive copies from an
original negative photograph on glass, it is a means which promises to
be exceedingly valuable in forwarding the most important branch of
the photographic art, namely, publication.

See Spencers Electrography.

 MISCELLANEOUS PROCESSES.

1. On the Application of the Daguerreotype to Paper.

The expense and inconvenience of metallic tablets rendered it in the
highest degree desirable that paper might be employed in their place.
A very extensive series of experiments at length led to the pleasing
which answered in every
conclusion, of being enabled to prepare a paper,
and in many much better.
respect as well as the silver plates,
This discovery formed the subject of a communication to the Royal
Society, which that learned body did me the honour to print in their
Transactions. My memoir is entitled,

On the Influence of Iodine in

rendering several Argentine Compoundsspread on Paper sensitive to
, ,

Light and on a new method of producing with greater distinctness the

, , ,

Photographic Image This paper contains the substance of the follow-

ing remarks ;
but since the publication of the Transactions, I have been
successful in simplifying the process of preparation.
My experiments established, in the most satisfactory manner, that
even on the silver tablets a semi-oxidized surface was presented to the
iodine. They also proved that perfectly pure untarnished silver was by
no means readily acted on by the iodine. From this I was led to pre-
pare oxides of silver in many different ways, which enabled me to
spread them over paper, and the result was instructive. Any of the
ordinary photographic papers allowed to darken to a full brown, which
is a stage of induced oxidation, become, by long exposure to iodine,
of a steel-blue or violet colour. If exposed in this state to sunshine for

a long period, their colour changes from grey to a clear olive. Now,
exposure to sunshine for. a minute, or to diffused day light for five
minutes, produces no apparent change but mercurial vapour speedily
;

attacks the portions which have been exposed to light, and a faithful
picture is given of whatever may have been superposed. There is,
however, a want of sufficient contrast between the lights and shadows.
By allowing the first darkening to proceed until the paper acquires the
olive colour which indicates the formation of a true oxide of silver, it
will be found, although it is not more speedily acted on by the iodine,
that it is more sensitive, and that a better picture is formed. The
kind of photographic preparations used appears to have but little influ-

ence on the results, a chloride, iodide, or bromide of silver, allowed
to darken, answers equally well.
There are many things, unfortunately, which prevent our availing
L
74 MISCELLANEOUS PROCESSES.

ourselves of this easy method of producing a tolerably sensitive Da-

guerreotype paper. These are, certain irregular formations of oxides

in different states, and the revival of metallic silver in some parts of

the surface.
next spread papers with the pure oxide formed by chemical means,
I
and also the protoxide, and many of its salts. These papers were not
very readily affected by iodine, or influenced by light during short ex-
posures.
Silver is revived from its solutions by hydrogen gas; consequently,
nothing is more easy than by washing a paper with nitrate of silver in
solution, to procure a fine silver paper, by passing a current of hydrogen
gas over it.

A picture of a peculiarly delicate character may be produced on this

kind of paper; hut it has not the required sensibility, and there is a
great want of contrast in the lights and shadows. It may be interest-

ing to state, that the yellow-brown phosphate of silver is as readily

acted on by iodine as the oxides, and is quite as sensitive to luminous
influence. Phosphuretted hydrogen gas effects the revival of metallic
silver, and the surface produced by means of this gas, used as the
hydrogen was in the former case, is of a fine steel-blue, which colour
arises from a portion of phosphorus having entered into combination
with the silver. These kinds of paper comported themselves in every
respect as the metallic tablets were equally sensitive, and produced
pictures as delicately beautiful. Unfortunately, however, owing to the
spontaneously inflammable nature of the phosphuretted hydrogen gas,
not safe to operate with it.
it is After various ineffectual contrivances
to overcome this difficulty, I was obliged to abandon the use of this gas
entirely
warned of the danger I incurred, by several violent, but for-
tunately, harmless explosions. The vapour of phosphorus and of sul-
phur was also tried, and many very beautiful effects were produced. At
length, however, I stopped at sulphuretted hydrogen, which answers in
every respect. *
To prepare this paper, soak a paper of very firm texture, not too
much weak solution of the muriate of ammonia. It must
glazed, in a
then be wiped with clean cloths, and carefully dried. The paper is
then dipped into a weak solution of the nitrate of silver, and the small
bubbles which form on its surface are carefully removed with a camels
hair pencil. When the paper is nearly, but not quite dry, it must be
exposed in a closed vessel to sulphuretted hydrogen gas, slowly formed
from the sulphuret of antimony and hydrochloric acid in a few minutes ;

it will become of an iron-brown colour, having a fine metallic lustre.

It is again to be passed through a solution of silver, somewhat
stronger
than the first, and dried, taking care that no shadow falls on the paper
whilst it is drying. It is then a second time submitted to sulphuration,

* A
very interesting account of the revival of gold and silver from their solutions,
by
these gases, will be found in a tract on Combustion, published by Mrs. Fulhame.
 THE DAGUERREOTYPE APPLIED TO PAPER. 75

and, by careful management, the process is now generally completed.

If, however, the papernot considered to be sufficiently dark, it must

is

be once more washed in the solution of silver, and again subjected to

the action of sulphuretted hydrogen.
If the above paper be allowed to remain in the sulphuretted hydrogen
gas after the maximum blackness is produced, it is again whitened with
some quickness. This may be accounted for in two ways the gas may ;

be mixed with a portion of muriatic acid vapour, or, a quantity of chlo-

rine sufficient to produce this effect may be liberated from the pre-
paration on the paper, to react on the sulphuret of silver.
The perfection of these papers consists in having a deep black ground
to contrast with the mercurial deposit, by which means the pictures have
the advantage of being seen equally well in all positions, whereas Da-
guerres pictures on the metal plates, can only be seen to advantage at
certain angles.
The sulphuretted paper may be rendered sensitive, in the same
manner as the plates, by exposure to the vapour of iodine. I, however,
prefer drawing the paper over a solution thus formed: >A saturated
solution of any hydriodic salt is made to dissolve as much iodine as
possible, and of this liquid two drachms are mingled with four ounces
of water. Care is required that one side only of the paper is wetted,
which is by no means difficult to effect, the fluid is so greedily absorbed
by it all that is necessary being a broad shallow vessel to allow of the
;

paper touching the fluid to its full width, and that it be drawn over it
with a slow steady movement. When thus wetted, it is to be quickly
dried by a warm, but not too bright fire of course daylight must be
;

carefully excluded. Papers thus iodidated do not lose their sensitiveness

for many days, if carefully kept from light.
On examining the sheet, after the Daguerreotype processes in the
camera, and of mercurialization have been completed, a very perfect
picture is found upon it: but it is still capable of vast improvement,
which is, by the following simple plan, accomplished in a way which is
at once magical and beautiful.
Dip one of the Daguerreotype pictures, formed on the sulphuretted
paper, into a solution of corrosive sublimate the drawing instantly
:

disappears, but, after a few minutes, it is seen unfolding itself, and

gradually becoming far more distinct than it was before delicate;

lines, before invisible, or barely seen, are now distinctly marked,

and a rare and singular perfection of detail given to the drawing. It
may appear, at first sight, that the bichloride of mercury dissolves off
the metal, and again deposits it in the form of chloride (calomel). But
this does not account for the fact, that if the paper has been prepared
with the nitrate of silver, the mercury disappears, and the drawing
vanishes, the deposit taking place only on those parts upon which light
has acted but feebly as, for instance, on the venations of leaves, leaving
;

those portions of surface which were exposed to full luminous influence,

without a particle of quicksilver. When the paper has been either a


76 MISCELLANEOUS PROCESSES.

chloride or iodide, the effect and the thickness of the deposit

is as above,
been consequently, the semi-tints are
is as the intensity of the light has ;

beautifully preserved. If the drawing remains too long, in the solution,

the precipitate adheres to the dark parts and destroys the effect. The
singularity of this operation will be more striking if the picture has
been soaked some time in a solution of the hyposulphite of soda, and
then dipped into the bichloride of mercury. As the drawing disappears,
a series of circles, formed of a white powder, appear to arise from the
paper, generally commencing at the centre, and slowly extending over
the whole surface : the powder is afterwards deposited, and the sheet is

buried in the precipitate but on taking the paper from the liquid, and
;

passing a stream of water over it, the precipitate is entirely removed

from all the parts, except the lights of the picture. I have also found
the invisible photographic image becomes evident, without the aid of
mercurial vapour, by simply soaking for some time in a solution of
corrosive sublimate.
When these papers are prepared with due care, they are extremely
sensitive, and if used for copying engravings during bright sunshine,
the effect is instantaneous The great difficulty is to present the paper
.

to the sun,and withdraw it with sufficient celerity. In the weak light

of the camera a few minutes during sunshine, is quite sufficient for the
production of the best effects. One great advantage of these pictures
over those procured on the plated copper is, that the mercury does not
lie loosely as on the tablets, but is firmly fixed, being absorbed by the
paper ;
therefore these pictures may be kept without injury in a port-
folio.

If, instead of immersing the paper in a vessel full of sulphuretted

hydrogen gas, a stream of the gas is made to play upon it, it assumes
a most richly irridescent surface the various colours are of different
;

degrees of sensibility but for surface drawings, they may be used
and in copying of leaves or flowers, beautiful pictures, which appear
to glow with the natural colours, are procured.

2. Photographic Processes without any Metallic Preparation.

There are many preparations, which are effected by light in a similar
manner to the salts of silver. Several have been tried as photographic
materials, but as yet without much success, with the exception of the
bichromate of potash, which was first announced as a useful photographic
agent, by Mr. Mungo Ponton, in the Edinburgh New Philosophical
Journal, from which I quote Mr. Pontons own account.
When paper is immersed in the bichromate of potash, it is power-
fully, and rapidly acted on by the suns rays. When an object is laid in

the usual way on this paper, the portion exposed to the light speedily
becomes tawny, passing more or less into a deep orange, according to
 PHOTOGRAPHS WITHOUT ANY METALLIC PREPARATION. 77

the strength of the light. The portion covered by the object retains
the original bright yellow tint which it had before exposure, and the
object is thus represented yellow upon an orange ground, there being
several gradations of shade, or tint, according to the greater or less de-
gree of transparency in the different parts of the object.
In this state, or course, the drawing, though very beautiful, is evanes-
cent. To fix it, all that is required is careful immersion in water, when
it will be found that those portions of thewhich have not salt been acted
on by the light are readily dissolved out, while those which have been
exposed to the light are completely fixed on the paper. By the second
process the object is obtained white upon an orange ground, and quite
permanent. If exposed for many hours together to strong sunshine, the
colour of the ground is apt to lose in depth, but not more so than most
other colouring matters. This action of light on the bichromate of
potash differs from that upon the salts of silver. Those of the latter
which are blackened by light, are of themselves insoluble in water, and
it is difficult to impregnate paper with them, in a uniform manner.

The blackening seems to be caused by the formation of oxide of silver.

In the case of the bichromate of potash, again, that salt is exceed-
ingly soluble, and paper can be easily saturated with it. The agency
of light not only changes its colour, but deprives it of solubility, thus
rendering it fixed in the paper. This action appears to consist in the
disengagement of free chromic acid, which is of a deep red colour, and
which seems to combine with the paper. This is rendered more prob-
able from. the circumstance, that the neutral chromate exhibits no similar
change. The best mode of preparing paper with bichromate of potash,
is to use a saturated solution of that salt soak the paper well in it, and
;

then dry it rapidly at a brisk fire, excluding it from daylight. Paper

thus prepared, acquires a deep orange tint on exposure to the sun. If
the solution be less strong, or the drying less rapid, the colour will not
be so deep. A pleasing variety may be made by using sulphate of
indigo, along with the bichromate of potash, the colour of the object
and of the paper being then different shades of green. In this way
also, the object may be represented of a darker shade than the ground.
Paper prepared with the bichromate of potash, though as sensitive
as some of the papers prepared with the salts of silver, is much inferior
to most of them, and is not sufficiently sensitive for the camera obscura.
This paper, however, answers quite well for taking drawings from dried
plants, or for copying prints. Its great recommendation is its cheap-
ness, and the facility with which it can be prepared. The price of the
bichromate of potash, is about two shillings per pound, whilst the nitrate
of silver is five shillings the ounce.
As the deep orange ground of these pictures prevents the permeation
is very easy to procure any number of
of the chemical rays of light,, it
an engraving, by transfer from the first negative photo-
fac-similes of
graph. The correct copies have a beautiful sharpness, and, if carefully
managed, but little of the minute detail of the original engraving is lost.
 ,

78 MISCELLANEOUS PROCESSES.

The colour of these photographs may be very agreeably varied, by

soaking the finished drawing in a weak solution of the nitrate of silver,
by which the chromate of silver is formed, a salt of a bright red col-
our orn a solution of the bichloride of mercury, by which a chromate
i

of mercury is formed, which is of a rich purple colour. When the

drawings are again dry, they must be washed in water having a very
small portion of common salt in it, to remove the silver or mercury
from the white parts of the paper.
The most interesting variety of photographic paper, prepared with
the bichromate of potash, is a kind described by M. E. Becquerel. He
states,
It is sufficient to steep a paper prepared in Mr. Pontons man
ner, and upon which there exists a faint copy of a drawing, in a solution
of iodine in alcohol, to wash this paper in alcohol, and then dry it then ;

the parts which were white become blue, and those which were yellow
remain more or less clear.
M. E. Becquerel has pursued his investigations into the action of the
chromic acid on organic compounds, and has shown that the mode of
sizing the papers influences their colouration by light, and that with
unsized paper, colouration is effected only after a long time. Per-
ceiving that the principal reaction resulted from the chromic acid con-
tained in the bichromate of potash, on the starch in the size of the
paper, it occurred to M. E. Becquerel, that, as starch has the property
of forming with iodine a combination of a very fine blue colour, it

should produce deep shades of that tint, whilst the lights still remained
an orange-yellow.
His method of proceeding is to spread a size of starch, very uniformly
over the surface of the paper. It is then steeped in a weak alcoholic
solution of iodine, and afterwards washed in a great quantity of water.
By this immersion it should take a very fine blue tint. If this is uni-
form, the paper is considered fit for the experiment: in the contrary
case it is sized again. It is then steeped in a concentrated solution of
bichromate of potash, and pressed between folds of blotting paper, arid
dried near the fire. To be effective, it should be very dry.
It is now fit for use. When the copy is effected, which requires in sun-
shine about five minutes, the photograph is washed and dried. When
dry, it is steeped in a weak alcoholic solution of iodine, and afterwards,
when it has remained in it some time, it is washed in water, and care-
but not at the fire, for at a
fully dried in blotting paper, little below
100 Fah. the combination of iodine and starch discolours.
If it be considered that the drawing is not sufficiently distinct, this
immersion may be repeated several times ; by this means may be ob-
tained the intensity of tone that is desired, which intensity cannot be
changed at will by employing a more concentrated solution of iodine.
When the paper is damp, the shades are of a very fine blue, but when

it is dry, the colour becomes deep violet. If while the drawing is still
wet it be covered with a layer of gum arabic, the colour of the drawing
is greatly preserved, and more beautiful when it is dry. When a paper
 ;

DR. SCHAFHAETJTLS PROCESS ON CARBONISED PLATES. 79

is thus prepared, at first it loses a little of its tone, but it afterwards

preserves its violet tint.

An interesting variety of photographic drawingsmay be formed by

purely vegetable preparations. These are not equal in point of beauty
or delicacy to any of those varieties before mentioned, but they form a
very satisfactory series of examples of the well known influence of solar
light upon some of our beautiful dies and colours. The subject is re-
plete with interest to the dyer and the artist, and is certain of being
useful to many of our most refined processes of manufacture.
Amongst the vegetable colours which are readily affected by light,
may be named the alkaline tincture of many of the lichens, particularly
of the Lichen Rocellus the tincture of gum guaiacum, and of the
common hearts-ease, Viola Tricolor together with several of the alco-
holic solutions of the colouring matter of many of the dahlias. It will
be found in most instances that the vegetable colour is bleached out
consequently the object is of the original colour, and darker than the
ground. No means of fixing these drawings have yet been discovered.
A very speedy way of taking a copy of any object, when we have no
ordinary photographic paper at hand, is to take a piece of the best blue

demy paper, and dip it in either a weak solution of muriatic acid, or of

any of the hydriodic salts the object being placed upon it, it is then
exposed wet to sunshine, and the uncovered parts are soon completely
whitened. With some kinds of demy the effect is very rapid. Simple
washing in a large quantity of cold water is all that is required to ren-
der the drawing secure.

3. Dr. Schafhaeutls Process on Carbonised Plates.

Metallic plates are covered with a layer of hydruret of carbon, pre-

pared by dissolving pitch in alcohol, and collecting the residuum on a
filter. This, when well washed, is spread as equally as possible over a
heated even plate of copper. The plate is then carbonised in a closed
box of cast iron, and, after cooling, passed betwixt two polished steel
rollers, resembling a common copperplate printing press. The plate,
after this process, is dipped into a strong solution of nitrate of silver,
and instantly exposed to the action of the camera. The silver is, by
the action of the rays of the sun, reduced into a perfect metallic state,
and the lights are expressed by the different density of the milk-white
deadened silver the shadows by the black carbonized plate. In a few
;

seconds the picture is finished, and the plate is so sensitive, that the
reduction of the silver begins even by the light of a candle. For fixing
the image, nothing more is required than to dip the plate in alcohol
mixed with a small quantity of the hyposulphite of soda, or of pure
ammonia.
This process, from its. description, might be considered easy of ac-
80 MISCELLANEOUS PROCESSES.

complishment ;
and from its extreme sensibility, complete in all the
details of picturesque effect. It is neither the one nor the other. The
preparation of the plate requires the skill of an artist, combined with
the knowledge of a chemist ;
and even these are not always sufficient
to ensure a perfect surface. The revival of the silver is not to be
depended on : sometimes it does form a continuous sheet over the parts
acted on by the light, but often it is only spangles ;
and frequently a
metallic arborescence will commence in the light parts, and run rapidly
into the portions in shadow. The fact is, that light has the property of
effecting the revival of the silver spread upon any carbonaceous body,
but caloric having the same effect, and being indeed rather more active
in the operation than light is, any slight increase of temperature pro-
duces a revival of the metal over the parts in shadow.
Reference to the early volumes of Nicholsons Journal will afford
ample evidence of these facts, which I have also recently proved. These
volumes contain some papers by Count Rumford on the revival of gold
and silver from their solutions, by light, when spread upon charcoal or
carbonaceous earth. This philosopher has conclusively shown, that this
revival is more dependent on the action of heat than light, which
accounts, in some measure, for the apparent effect of candle light. It
is, however, possible, that this process may, with some modifications,

become of importance.

4. A New Construction of the Photographic Camera Obscura.

Aphotographic camera should possess, according to Sir John Her-

schel, the three qualitiesof a flat field a sharp focus at great inclina-
,

tions of the visual ray and a perfect achromaticity .

, There can be no

doubt but these qualifications are very essential, the two first particu-
larly are indispensable, and there is but one objection to the latter. We
can only produce perfect achromaticity by a combination of glasses,
and my experiments go to prove that by increasing the thickness of the
object-glass, and the number of reflecting and refracting surfaces, we
interrupt a considerable portion of light, and consequently weaken the
action on the photographic material, whatever it may be. It is with
considerable reluctance that I express myself somewhat at variance with
so high an authority as Sir John Herschel, gifted as he is with the
highest power of physical research I am however satisfied, that we may
;

to a considerable extent get rid of the difficulties of chromatic disper-

sion, without having recourse to a combination of glasses of different
refracting powers. I have long used myself, and constructed for others,
a camera obscura, which appears to answer remarkably well. It is but
right I should acknowledge that I am indebted to the suggestions of
Dr. Wollaston, for part of my lenticular arrangement. , Figure 26,
represents the aperture of the lens ;
i i', a box sliding into an outer
 NEW CONSTRUCTION OF TIIE PHOTOGRAPHIC CAMERA OBSCURA. 81

Fig. 26.

case, h h k k, a third division, containing a ground glass at the back,

'
;

and a door which can be raised or lowered by the screw g, the whole
frame h h'.
fitting into the
Figure 27 is a section of the camera, a, is a lens of a periscopic
form, whose radii of curvature are in the proportion of 2 to 1. This

Fig. 27.

meniscus is placed with its convex surface towards the plane of repre-
sentation, and with its concavity towards the object.
The aperture of the lens itself is made large, but the pencil of rays
admitted is by a diaphragm, or stop, constructed as in the
limited
figure at b, between it and the plane of representation, at about one
tenth of the focal length from the lens. By this arrangement objects
are represented with considerable distinctness over
every part of the field, but little difference being Fig. 28.

observable between the edges and the centre, c is

the plate of ground glass at the back, which serves
to adjust the focus,and also to lay the photographic
paper on, when we desire to copy any object; d, a
door to shut off the light from the paper or plate,
until the moment we desire to expose it to lumin-
ous agency. Figure 28 represents this screen or
door more perfectly, in the act of falling; e is a

door at the back, through which the picture formed

on the opaque glass is examined; f a pin, keeping the door, d, in its
place.
M
82 MISCELLANEOUS PROCESSES.

Withthe kind of lens here recommended, and the light thus stopped
off, and adjusting the camera to the focus of the violet ray,
it will be

found that most of the advantages of the achromatic lens are obtained,

and we get rid of some of its defects. A

camera of this description,
capable of forming a picture 12 inches by 10, may be constructed for
from thirty to forty shillings, which is about the expense of a good
achromatic lens.

5. On the possibility of producing Photographs in their Natural

Colours.

Few speculations are more replete with interest, than that of the pro-
bability of our succeeding in the production of photographic images in
their local colours. M. Biot, a great authority, says,
substances of
the same tint may present, in the quantity, or the nature of the radia-
tions which they reflect, as many diversities, or diversities of the same
order, as substances of a different tint ;
inversely, they may be similar
in their property of reflecting chemical radiations, when they are dis-
similar to the eye ;
which they present to
so that the difference of tint
the eye may entirely disappear in the chemical picture. These are the
difficulties inherent in the formation of photographic pictures, and they
show, I think, evidently, the illusion of the experimenters who hope to
reconcile not only the intensity, but the tints of the chemical impres-
sions produced by radiation, with the colours of the objects from which
these rays emanate. It may
be remembered that two years since, Sir
John Herschel succeeded upon photographic paper a col-
in procuring
oured image of the solar spectrum and that eminent enquirer has com-
;

municated to me a recent discovery of great interest, which I have his

permission to publish. I have got specimens of paper, says Sir John
Herschel, long kept which give a considerably better representation
,

of the spectrum in its natural colours, than Ihad obtained at the date of
my paper, (February, 1840,) and that
on a dark ground; but at
light
present I am not prepared to say that this will prove an available pro-
cess for coloured photographs, though it brings the hope nearer Here
we have the speculations of one philosopher representing the production
of such pictures as hopeless, while the experiments of another prove
these to be within the range of probabilities.
My own experiments have in many instances given me coloured pic-
tures of the prismatic spectrum, dark upon a light ground but the most ,

beautiful I have yet obtained, has been upon the Daguerreotype iodidated
tablets, on which the colours have, at the same time, had a peculiar
softness and brilliancy. Daguerre himself has remarked, that when he
has been copying any red, brick or painted, building, the photograph
has assumed a tint of that character. I have often observed the same
thing in each variety of photographic material, i. e., where a salt of
 POSSIBILITY OF PRODUCING NATURAL COLOURED PHOTOGRAPHS. 83

been used. Magazine

silver lias
will be found a paper,
In Experiments
the Philosophical for April,
1840,
and Observations on Light which
has permeated Coloured Media, which
in describe some curious
I

results,on some of those photographs which are prepared with the

hydriodic salts, exposed to luminous influence with coloured fluids super-
imposed permitting, as distinctly isolated as possible, the permeation
;

and blue, the green, the yellow, and the red rays, under
of the violet
each of which a complementary colour was induced. During January
of the present year, I prepared some papers with the bichromate of
potash, and a very weak solution of nitrate of silver a piece of this ;

paper was exposed behind four coloured glasses, which admitted the
passage respectively of, 1st, the violet, indigo, and blue rays 2d, the ;

blue, the green, and a portion of the yellow rays 3d, the green, yellow,
;

and orange rays and, 4th, the orange and red rays. The weather being
;

extremely foggy, the arrangement was unattended to for two days, being
allowed to lie upon a table opposite a window having a southern aspect.
On examining it, it had under the respective colours become tinted of ,

a blue, a green, and a red

beneath the yellow glass the change was
;

uncertain, from the peculiar colour of the paper, and this without a
solitary gleam of sunshine. My numerous engagements have prevented
my repeating the observations I desire on this salt, which has hitherto
been considered absolutely insensible to light.
The barytic salts have nearly all of them a peculiar colourific effect;
the muriate, in particular, gives rise to some most rich and beautiful
crimsons, particularly under the influence of light which has permeated
the more delicate green leaves; and also in copying the more highly
coloured flowers, a variety of tintings have been observed. We may
always depend on producing a photographic copy of a leaf of a green
colour by the following arrangement; Having silvered a copperplate,
place it in a shallow vessel, and lay thereon the leaf of which a copy is
desired, maintaining it in its position by means of a piece of glass;

pour upon it, so that the plate beneath the glass may be covered, a solu-
tion of the hydriodate of potash, containing a little free iodine then
expose the whole to sunshine. In about half an hour one of the most
beautiful photographic designs which can be conceived is produced, of
a fine green colour. The fluid is yellow, and cuts off nearly all the
chemical rays, allowing only of the free passage of the less re-

frangible rays 'the most abundant being the yellow. This retards the
process of solarization but it produces its complementary colour on the
;

plate.
These facts will, I think, prove that the possibility of our being
enabled to produce coloured photographs and that the pro-
is decided,
bability of it is brought infinitely nearer, particularly by Sir John Her-
schels very important discovery, than it was supposed to be.
 ;
;

84 MISCELLANEOUS PROCESSES.

6.' Invisible Photographs, and their Reproduction.

It was first noticed by Sir John Herschel, that any of the ordinary
photographic drawings were completely obliterated by being immersed
in, or washed over with, a solution of corrosive sublimate, and the paper

restored to its original whiteness, in which state it might be kept any

length of time ;
but the drawing is to be reproduced at pleasure, by
washing it in a solution of the hyposulphite of soda.
About the same time, and being then perfectly unacquainted with
what Sir John Herschel had done, I fell upon the same phenomenon,
but on the hydriodated papers, instead of the simple muriated. These
are changed yellow by the corrosive sublimate, but present no trace of
the original picture, which exists, but is and may be restored
invisible,
by the same means as before mentioned. Either of these photographs
may thus be obliterated, and rendered again visible as frequently as we
please, affording an extremely curious illustration of the action of
chemical reagents.
After we have completed a picture on a Daguerreotype plate, by a
little brisk rubbing with the hand or a leather, we entirely obliterate it

place it again in the mercurial vapour, and the design will be reproduced
or plunge it into a solution of iodine, and the picture again appears
very defined, but with reversed lights and shadows.
The effect of these solutions of bichloride of mercury and the hypo-
sulphite of soda, may
be very strikingly shown on one of the papers
which, after having been darkened by light, are exposed to the Da-
guerreotype processes. The effect of the bichloride of mercury is to
whiten the dark parts of the picture, and, of course, produce a negative
drawing, which is rapidly rendered positive by immersion in the solu-
We have it thus in our power to pro-
tion of hyposulphite of soda.
duce upon the same sheet the two distinguishing varieties of photo-
graphic drawing.
The corrosive sublimate may be employed for painting on the
darkened photographic paper, by drawing in the lights with it. The
processes named above may also be used for secret correspondence.

7. On the Spontaneous Darkening of the White Photographic

Papers.

Great annoyance often arises from the rapid discolouration of the

more sensitive kinds of photographic drawing paper, independent of the
action of light, which appears to arise from the action of the nitrate
of silver on the organic matters of the size. Unsized paper is less liable
to this change. If we spread a perfect chloride of silver over the paper,
it may be kept for any length of time without a;iy change of its white-
 SALTS OF GOLD AS PHOTOGRAPHIC AGENTS. 85

ness taking place in the dark. Wash it over with a very weak solution
of nitrate of silver, and, particularly if the paper a very
is much sized,
rapid change of colour will take place, however carefully we may screen
it from the light. From this it is evident that the organic matter of
the size is the principal cause of the spontaneous darkening of photo-
graphic papers prepared with the salts of silver.
The most curious part of the whole matter is, that in many cases
this change is carried on to such an extent, that a revival of metallic
appearance in opposition to the usual force of
silver takes place, to all
the affinities.have now some packets of paper prepared two years
I
since, which have been carefully kept in the dark. Over many of these
there is a perfect revival of the metal. This is very difficult to deal
with. Chemistry has not yet made us acquainted with any organic
body, which would separate either chlorine or nitric acid, from their
metallic combinations. I can only view it in this light: the nitric
acid liberates a quantity of carbonaceous matter, which, acting by
a function peculiarly its own, will at certain temperatures effect the
revival of gold and silver, as we have seen in the case of Dr. Schaf-
haeutls process and Count Rumfords experiments.
Having been informed that the paper-makers are in the habit of
bleaching their sizes with sulphur and the sulphites, I have recently
submitted a considerable quantity of the browned papers which I hap-
pened to have by me, to analysis. In all cases where there has been a
revival of the silver, or where the paper has blackened, I have detected
the presence of sulphur. Consequently, when the darkening goes on
rapidly, we may, I think, correctly attribute it to the formation of a
sulphuret of silver, rather than to the causes above named. Where the
darkening process is slow, these will, however, be found to be tolerably
near to the truth.

8. On the Use of the Salts of Gold as Photographic Agents.

It is well known that gold is revived from its etherous solution by
the action of light, and that the same effect takes place when the nitro-
muriate of gold is spread on charcoal.
Considering it probable that the required unstable equilibrium might
be induced in some of the salts of gold, I was induced to pursue a
great many experiments on this point. In some cases, where the paper
was impregnated with a mordant salt, the salt of gold was darkened
.

rapidly, without the assistance of light; in others, the effect of light

was very slow and uncertain. By washing paper with muriate of bary-
tes, and then with a solution of the chloride of gold, a paper, having a
slight pinky tint, is procured; by exposing this paper to sunshine it
is at first whitened and then, but very slowly, a darkening action is
,

induced. If, however, we remove the paper from the light, after an
 ;

86 MISCELLANEOUS PROCESSES.

exposure of a few minutes, when a very faint impression, and oftentimes

not any,is apparent, and hold it in the steam of boiling water, or im-

merse it**in cold water, all the parts which were exposed to the light are
rapidly darkened to a full purple brown, leaving the covered portions on
which the light has not acted, a pure white, producing thus a fine negative
drawing. If, while such a paper, or any other paper prepared with the

chloride of gold, is exposed to the sun, we wash it with a weak solution

of the hydriodate of potash, the oxidation is very rapidly brought on,
and the darkness produced is much greater than by the other method

but this plan is not often applicable. I have not yet been enabled to
produce with the salts of gold, any paper which should be sufficiently
sensitive for use in the camera obscura.

9. On the Action of Heat on the Hydriodic Photographic Papers.

I have before alluded to some remarkable effects on these papers,
produced by the calorific rays. It is therefore necessary to notice
the analogous action produced by artificial heat, under similar circum-
stances. If a piece of darkened photographic paper, washed with an
hydriodic solution, be pressed into close contact with a dark engraving,
by means of a piece of metal, which is kept moder-
or a printed page,
atelywarm, a very faithful copy is in general obtained but not always.
;

There are some circumstances, not yet detected, which sometimes pre-
vent a change. All the dark parts of the engraving are copied in
lights, i. e we have a negative picture.
., Much appears to depend upon
the composition of the ink used in printing; with some kinds I have
never failed
with others I have seldom succeeded in producing this
kind of drawing.

10 . On Cofying Letter- Press, &c., on the Photographic Papers,

by means of Juxtaposition.

There are numerous instances in which copies are effected by mere

juxtaposition, in a very remarkable manner: Allow a piece of white
muriated photographic paper to lie between the leaves of a book for a
few weeks, nothing will be observed upon the paper if we then remove
it but if we plunge it into sulphuretted hydrogen gas, the letters are
;

all brought out in metallic silver, the other parts of the sheet becoming
the black sulphuret of silver. If a sulphuretted paper is placed in the
same way in a book, in a few days the printing is faintly copied. By
passing the paper then through a solution of iodine, it becomes much
more visible, the letters being, if viewed in one position, the darkest parts
of the paper, while in another they appear the lightest. Many kinds

PHOTOGRAPHIC PAPERS FOR METEOROLOGICAL SELF-REGISTRATION. 87

of pencil marks are readily copied on photographic papers, and gold

printing soon leaves its impression on the chloride of silver. Sir John
Herschel states, this effect is not produced by all pencils on the same
paper as a preparation of the paper, nitrate of silver over borax seemed
;

to succeed best; this possibly arises from the sulphur in the pencil.
The gold leaf may act on the silver, in all probability, from its con-
taining a small alloy of copper. These facts are curious, and may
eventually be turned to some important uses.

11. On the Use of Photographic Paper for Registering the

Indications of Meteorological Instruments.

There are so many advantages attendant on self-registration, as to

make the perfection of it a matter of much interest to every scientific

enquirer. The first who suggested the use of photographic paper for
thispurpose was Mr. T, B. Jordan, who brought the subject before a
committee of the Royal Cornwall Polytechnic Society, on the 18th of
February, 1839, and exhibited some photographic registers on the 21st
ofMarch of the same year. The plan this gentleman adopted was to
furnish each instrument with one or two cylinders containing scrolls of
photographic paper. These cylinders are made to revolve slowly by a
very simple connection with a clock, so as to give the paper a progres-
sive movement behind the index of the instrument, the place of which
is registered by the representation of its own image.

The application of this principle to the barometer or thermometer is

most simple ;
the scale of either of these instruments being perforated,
the paper is made to revolve as close as possible to the glass, in order
to obtain a well defined image. The cylinder being made to revolve on
its axis once in forty-eight hours, the paper is divided into forty-eight
parts by vertical lines, which are figured in correspondence with the
hour at which they respectively arrive at the tubes of the instruments.
The graduations on the paper correspond to those on the dial of the bar-
ometer or scale of the thermometer, and may be printed on the paper
from a copperplate, or, 'what is much better, may be printed by the
light at the same time from opaque lines on the tube, which would
of course leave a light impression on the paper; by this means we
should have all that part of the paper above the mercury darkened,
which would at the same time be graduated with white lines, distinctly
marking the fluctuations in its height for every minute during day-
light, and noting the time of every passing cloud.
Mr. Jordan has also published an account of his very ingenious plan
of applying the same kind of paper to the magnetometer or diurnal
variation needle,* and several other philosophical instruments but as ;

See the Sixth Annual Report of the Royal Cornwall Polytechnic Society.
88 MISCELLANEOUS PROCESSES.

these applications have not been entirely successful, owing principally

to the difficulty of finding a suitable situation for so delicate an instru-
ment, it is thought unnecessary to occupy these pages with any particu-
lar description of the arrangements adopted, the more so, as this is a
subject which can scarcely be said to come within the meaning 'of a
popular treatise.
One subject, however, which, at the same time that it is highly philo-
sophical, is of a more popular character, must not pass unnoticed. The
registration of the ever varying intensity of the light is so important a
subject, that it has occupied the attention of several eminent scientific
observers. Sir John Herschel and Dr. Daubeny have applied their well
known talents to the inquiry, and have, both of them, devised instru-
ments of great ingenuity- for the purpose. The instrument constructed
by Sir John Herschel, which he has named an ctctinograph, not only
registers the direct effect of solar radiation, but also the amount of
general illumination in the visible hemisphere, which constitutes day-
light. One portion of the apparatus being so arranged that a sheet of
sensitive paper is slowly moved in such a direction, that the direct rays
of the sun, when unobscured, may fall upon it through a small slit made
in an outer cylinder or case :

while the other is screened from the inci-
dent beam, the paper being fixed on a disc of brass, made to revolve by
watch work, is affected only by the light which emanates from that
definite circumpolar region of the sky to which it may be considered
desirable to limit the observation, and which is admitted, as in the
other case, through a fine slit in the cover of the instrument.
Mr. Jordan has devised an instrument for numerically registering
the intensity of the incident beam, which appears to have some peculiar
advantages, a description of which I shall take the liberty of transcrib-
ing. Figure 29 is an elevation of the instrument; it consists of two

Fig. 29.

copper cylinders supported on a metal frame, the interior one is fixed

to the axisand does not revolve, being merely the support of the pre-
pared paper; the exterior cylinder is made to revolve about this once
in twenty-four hours by a clock movement. It has a triangular aper-
ture cut down its whole length, as shown in the figure, and it carries
the scale of the instrument, which is made to spring closely against the
 INFLUENCE OF CHLORINE AND IODINE ON SOME KINDS OF WOOD. 89

prepared paper. This scale or screen is composed of a sheet of metal

foilbetween two sheets of varnished paper, and is divided into one hun-
dred parts longitudinally, every other part being cut out, so as to admit
the light to the prepared paper without any transparent medium inter-
vening. The lengths of the extreme divisions, measuring round the
cylinder, are proportioned to each other as one to one hundred, conse-
quently the lower division will be one hundred times longer passing
over its own length, than the upper one over its own length, and the
lines of prepared paper upon these divisions will, of course, be exposed
to the light for times bearing the same proportion to each other.
Now, as the sensitiveness of the paper can readily be adjusted, so
that the most intense light will only just tint it through the upper

division during passage under the opening, and the most feeble light
its

will produce a similar tint through the lower division during its passage ,

the number of lines marked on the paper at any given time, will furnish
a comparative measure of the intensity of solar light at that time, and
may be registered as so many degrees of the Heliograph the name Mr.
,

Jordan has given his instrument, just as we now register the degrees of
the thermometer.
Of course, it is essential for these registrations, that the photographic
paper should be always of the same kind. The manufacture of such
paper is not so difficult as it may, in the first instance, appear to be.

Provided a perfectly uniform paper, which shall be invariable in its

composition, can be procured from the manufacturers, by attending
strictly to the rules prescribed in the former part of this treatise, there
will be no difficulty in producing sheets of any length, and in any num-
ber, which shall act in all respects similarly under the influence of
radiation v

12. The Influence of Chlorine and Iodine in rendering some

kinds of Wood sensitive to Light.

Having on many occasions subjected the simply nitrated photographic

paper to the influence of chlorine and iodine in close wooden boxes, I
was often struck with the sudden change which light produced on the wood
of the box, particularly when it was of deal, changing it in a few minutes

from a pale yellow a deep green. This curious effect frequently occur-
to
ring, led me to observe the change somewhat more closely, and to pursue
some experiments on the subject. These produced no very satisfactory
result. They proved the change to depend much on the formation of
hydrochloric, and hydriodic acids, and the decomposition of water in
the pores of the wood. I found well baked wood quite insusceptible of
thisvery curious phenomenon. The woods of a soft kind, as the deal
and willow, were much sooner influenced than the harder varieties,
but all the light-coloured woods appeared more or less capable of
N


90 MISCELLANEOUS PROCESSES.

undergoing this change. All that is necessary is, to place at the bot-
tom of an air-tight box, a vessel containing a mixture of manganese and
muriatic acid, and fix the piece of wood at some distance above it.
Different kinds of wood require to be more or less saturated with the
chlorine or iodine, and consequently need a longer or shorter exposure.
The wood to remain in the atmosphere
time, therefore, necessary for the
by direct experiment. Wood is impreg-
of chlorine, can only be settled
nated very readily with iodine, by putting a small portion in a capsule
a few inches below it. It does not appear to me at present, that any
practical result is likely to arise out of this peculiar property : it is only
introduced as a singular fact, which is perhaps worthy a little more

attention than my numerous engagements have left me time to devote

to it.

13. Process for Preparing the Hyposulphite of Soda.

As the solution of this salt is found to be the best fixing agent yet
recommended, and as it is not commonly kept by the retail chemist, I
insert the following directions to enable any person to prepare it for
himself :
Form, in the first instance, a solution of caustic soda, by dissolving a
pound of soda in a quart of boiling water, and mixing it, while hot,
with half-a-pound of fresh burnt lime, slacked with another quart of
boiling water. The mixed solution is to be carefully covered from the air
until cold. The clear liquor is then to be poured off, and made to dis-
solve,by boiling in an earthen vessel, as much sulphur as possible. The
deep yellow solution formed is to be decanted off into a deep vessel, and
a current of sulphurous acid gas passed through it until it becomes
quite colourless. This is very easily done by mixing, in a retort with
a long beak, some linseed oil and sulphuric acid. On applying a little
heat, the sulphurous acid gas is given off in great abundance. By
plunging the beak to the bottom of the vessel, it* passes through, and
is rapidly absorbed by the solution. If it is desired to crystallize the
hyposulphite, the fluid should not be allowed to become quite free of
colour. Whilst still a should be filtered and evaporated
little yellow, it

in a porcelain or earthen vessel, over a quick fire, to the consistence of

a syrup. The liquid thus evaporated is mixed with half its volume of
alcohol, and well shaken. The alcohol takes up all the sulphuret, and
floats above the lower solution is left to cool under the alcoholic one.
;

The hyposulphite of soda must be preserved in well stopped glass

bottles, and never be exposed any bright light. It is best to keep it
to
in small bottles, as the action of the oxygen of the atmosphere has a
tendency to form a sulphate and precipitate the sulphur.
 01

CONCLUSION.

Haying now completed my description of all the published photogra-

phic processes of any real value, and my own observations on each of
them, nothing more remains to be done, but to draw attention to the
importance of the art, both practically and philosophically considered.
A great number of important considerations press themselves upon me,
but I shall only remark on those which have the most popular ten-
dency.
We have seen that the beams which proceed from the sun, in the
form of white light, are each one of them a combination of distinct
rays, not only differing in colour, but having very opposite powers. For-
merly these rays were divided into three classes, and called the calo-
rific, the luminous, and the chemical, under an impression that

these particular functions were confined to the particular parts thus

named. Recent observations have shown that the calorific action is not
confined to the red or calorific rays, but that it extends over the
greater part of the spectrum. The luminous, or yellow rays, have
long been considered as being destitute of any chemical action but Sir ;

John Herschel, in a communication he has been kind enough to make

to me, and which I have his permission to publish, says, I have ob-
tained photographic actions on certain papers, not argentine, which are
4
limited not to the * chemical, not to the calorific, but to the lu-
minous rays, i. e. which seem to be produced exclusively, or nearly so,

by those rays which affect the organ of sight. These papers are pre-
pared with substances of vegetable origin and though at present I do
;

not see how this can become serviceable in the arts, it strikes me as
scientifically of considerable importance. This fact is to me singularly
interesting, the more so, that in my experiments on the effects of light
on vegetation, I have detected powers in the luminous rays which are
highly destructive to the germination and the growth of plants. This
inquiry I am now pursuing, and I hope the coming summer will enable
me to add something to the many very remarkable discoveries recently
made by Sir John Herschel and others.
The chemical action of light, so far fromjbeing confined to the most
refrangible rays, we now know extends over the whole spectrum, visible
and invisible, the action only being shifted from one ray to another,
according to the substance upon which its peculiar functions are ex-
erted. It is extremely difficult to explain many of the phenomena of
light by either of the rival theories and as we proceed in our inquiries,
;

the question of the materiality or immateriality of light becomes more

and more complicated. A matter of much interest arises out of these
considerations, which is, are the different rays in similar electrical
states, or do they vary in this respect with their refrangibility ? Those
philosophers who have adopted the undulatory theory of light, put the
 92 CONCLUSION.

question aside with a smile, or show how completely the electrical

notion is at variance with their theory. There many
very great
exists
difficulties in solving the problem, but although a good theory will often
aid us in discovering the truth, we must not allow our researches to be
stopped, because they may appear inconsistent with the received notion.
If we could establish the fact of peculiar electric action existing in the
different rays of light, we should then have the means of reducing to
something like system, the many anomalous features which come under
our notice in prosecuting our studies into the character of the solar
light. In this instance, says M. Arago, it is upon the unforeseen
that we are especially to reckon, and every new discovery goes to prove
the correctness of this.
Few words need be expended to show the utility of the photographic
art to manufactures. We may expect in a few years to find the designs
with which we ornament our porcelain, and the beautiful fabrics of the
loom, infinitely superior to those with which they are at present adorned,
and if not directly formed by the operations of light, they will be copied
from those incomparably faithful pictures which photographic processes
enable us to obtain. From the first publication of the photographic
operations we may date an improvement of taste. No one who has
accustomed himself to the exquisite finish of these productions, will be
enabled to endure any artistic design which is not of superior excellence.
Hence will be created a new era in the arts, and I have little doubt but
the effects of photography will soon be apparent by improvements in
linear perspective, and the general disposition of light and shadow
in the productions of modern painters. It has been said that photo-
graphic drawings fail in artistic effect That they fail in producing
.

those exaggerated effects which are found no where in nature, but on

the canvass of some modern artists of eminence, is most true. But
nature in her rudest forms is more beautiful than any human produc-
tion; and in her choice arrangements, how infinitely beyond us. If
the photographic art does nothing more than teach our artists to subdue
the violence of contrasts in which they have of late indulged, under a
mistaken idea of producing a superior effect, it will have been of great
service to all that relates to refined taste. Of all effects, the most un-
truthful is the modern artistic effect.

I shall conclude with a few words from the speech of M. Arago.

To copy the millions and millions of hieroglyphics which completely
cover the great monuments of Thebes, Memphis, Carnac, &c., would
require scores of years, and legions of artists. With the Daguerreo-
type a single man would suffice to bring to a happy conclusion this vast
labour. Arm the Egyptian Institution with two or three of Daguerres
instruments, and on many of the large engravings in their celebrated
work, the fruit of our immortal expedition, vast assemblages of real
hieroglyphics would replace fictitious or purely conventional characters.
 CONCLUSION. 03

Again, these photographic delineations having been subjected, during

their formation, to the rules of geometry, shall enable us, with the aid
of a few simple data, to ascertain the exact dimensions of the most
elevated parts, and of edifices the most inaccessible.

Beyond this, what need be said of the vast importance of Photo-

graphy?

March 17th ,
1841.
 SUPPLEMENTARY CHAPTER.

A new Photographic Process by the Author, for procuring Pic-

tures with the Camera Obscura in a few Seconds.

On referring to the section in which I have treated of the application

of the Daguerreotype to paper, it will 'be seen, that I was the first to

show, that both iodine and mercury could be used in the same way with
papers properly prepared, as with the prepared silver tablets. I have been
lately induced to extendmy inquiries, and particularly to examine the
manner which chlorine and bromine would act on papers prepared
in
as I have before directed. Many extremely curious results, which are
omitted from their not having any practical bearing, led me to examine
the effect of the mercurial vapour on the pure precipitated iodides and
bromides. I was long perplexed with some exceedingly anomalous
results, but being satisfied from particular experiments, that these
researches promised to lead to the discovery of a most sensitive pre-
paration, I persevered in them. Without stopping to trace the progress
of the inquiry, I may at once state, that I have the satisfaction of being
enabled to add to the present treatise, an account of a process which
serves to prepare papers that are much more sensitive than Daguerres
iodidated plates. The exquisite delicacy of these new photographic
papers may be imagined when I state, that in five seconds in the camera
obscura I have during sunshine obtained perfect pictures ; and that
, , , ,

when the sky is overcast, one minute is quite sufficient to

produce a most
decided effect. The action of light on this preparation, does indeed
appear to be instantaneous. On several occasions I have procured, in
less than a second, distinct outlines of the objects to which the camera
has been pointed, and even secured representations of slowly mov-
ing bodies. With this great increase of sensitiveness, we of course
secure greater sharpness of outline, and more minute detail. It should
be understood that the process a negative one, from which positive
is

pictures may be procured on the ordinary photographic paper by

transfer.
To prepare this very sensitive paper, we proceed as follows :
Select
the most perfect sheets of well glazed satin post, quite free from specks
of any kind. Placing the sheet carefully on some hard body, wash it
over on one side by means of a very soft camels hair pencil, with a
solution of sixty grains of the bromide of potassium in two fluid ounces
 SUPPLEMENTARY CHAPTER. 95

of distilled water, and tlien dry it quickly by the fire. Being dry, it is
again to be washed over with the same solution, and dried as before.
Now, a solution of nitrate of silver, one hundred and twenty grains to
the fluid ounce of distilled water, is to be applied over the same surface,
and the paper quickly dried in the dark. In this state the papers may
be kept for use. When they are required, the above solution of silver
is to be plentifully applied, and the paper placed wet in the camera, the

greatest care being taken that no day-light, not even the faintest gleam,
falls upon it, until the moment when we
are prepared, by removing the
screen, to permit the light, radiatedfrom the objects we wish to copy,
to act in producing the picture. After a few seconds, the light must be
again shut off, and the camera removed into a dark room. It will be
found, on taking the paper from the box, that there is but a very slight
outline, if any, as yet visible. Place it aside, in perfect darkness until ,

quite dry, then place it in the mercurial vapour box described in the
former pages, and apply a very gentle heat to the bottom. The mo-
ment the mercury vaporizes, the picture will begin to develope itself.
The spirit lamp must now be removed for a short time, and when the
action of the mercury appears to cease, it is to be very carefully again
applied, until a well defined picture is visible. The vaporization must
now be suddenly stopped, and the photograph removed from the box.
The drawing will then be very beautiful and distinct ; but much detail
is still clouded, for the development of which it is only necessary to
place it cautiously in the dark, and allow it to remain undisturbed for
some hours. There is now an inexpressible charm about the picture,
equalling the delicate beauty of the Daguerreotypes ; but being still

very susceptible of change, must be viewed by the light of a taper

it

only. The nitrate of silver must now be removed from the paper by
well washing in soft water, to which a small quantity of salt has been
added, and it should be afterwards soaked in water only. When the
picture has been dried, wash it quickly over with a soft brush, dipped
in a warm solution of the hyposulphite of soda, and then well wash it
for some time in the manner directed for the ordinary photographs, in
order that all the hyposulphite may be removed. The drawing is now
fixed, and we may use it to procure positive pictures, many of which
may be taken from one original. The transfers procured from this
variety of negative photographs, have more decision of outline, and
greater sharpness in all their minute detail, than can be procured by
any other method. This is owing to the opacity produced by the curi-
ous combination of mercury and the bromide of silver, which is not', I
believe, described in any chemical work.
This very beautiful process is not without its difficulties; and the
author cannot promise that, even with the closest attention to the above
directions, annoying failures will not occur. It often happens that

some accidental circumstance, generally a projecting film, or a little

dust, will occasion the mercurial vapour to act with great energy on
one part of the paper and blacken it, before the other portions are at all
 ;
:

96 SUPPLEMENTARY CHAPTER.

affected. Again, the mercury will sometimes accumulate along the

lines made by the brush,* and give a streaky appearance to the picture,
although these lines were not at all evident before the mercurial vapour
was applied.
The action, however, of this new photographic preparation is certain
and although a little practice may be required to produce finished
designs, yet very perfect copies of nature may be effected with the
greatest possible ease and certainty.
have stated that the paper should be placed wet in the camera
I
the same paper may be used dry, which is often a great convenience.
When in the dry state, a little longer exposure is required, and instead
of taking a picture in four or five seconds, two or three minutes are
necessary.
I cannot conclude without remarking, that it appears to me that this
process, when rendered complete by the improvement of its manipu-
latory details, will do much towards realising the hopes of those who
were most sanguine of the ultimate perfection of photography and will ;

convince others who looked upon the art as a philosophical plaything,

that the real utility of any discovery is not to be estimated from the
crude specimens produced in its infancy, ere yet its first principles
were evident to those who pursued it with an eager hope.

Falmouth, April 19 1841

,
.

BELL AND BAIN, PRINTERS, GLASGOW.

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