P.S.--The view inclosed is the porch and transept of Newport Church, Essex,
from the Parsonage garden. Is it printed too dark? I wish I could get the
grey and white tints I saw in the Photographic Exhibition.[4] Had your
readers behaved with ordinary gratitude, your photographic portfolio ought
to have overflowed by this time.
[Footnote 3: It was an expensive one, bought of one of the principal houses
for the supply of photographic apparatus, &c.]
[Footnote 4: [Some of the best specimens of these tints were forwarded to
us by MR. PUMPHREY, accompanying the description of his process, printed in
our eighth volume, p. 349.--ED. "N. & Q."]]
_Cameras._--The note of LUX IN CAMERA has brought in more than one letter
of thanks; and a valued correspondent has written to us, suggesting "That
the attention of the Photographic Society, who have as yet done far less
than they might have done to advance the Art, should be _at once_ turned,
and that seriously and earnestly, to the production of a light, portable,
and effective camera for field purposes; one which, at the same time that
it has the advantages of lightness and portability, should be capable of
resisting our variable climate." Our correspondent throws out a hint which
possibly may be adopted with advantage, {549} that papier maché has many of
the requisites desired, being very firm, light, and impervious to wet.
_Progress of Photography._--As a farther contribution to the History of
Photography, we have been favoured with the following copy of a letter from
a well-known amateur, which details in a graphic manner his early
photographic experiences.
"As there is a sort of reflux of the tide to Mr. Fox Talbot's plan, and
different people have succeeded best in different ways, it may amuse you to
hear how I _used_ to work, with better luck than I have had since.
"Mr. Talbot's sensitive wash was very strong, so he floated his paper upon
distilled water immediately after its application.
"Mr. G. S. Cundell, of Finsbury Circus, diluted the sensitive wash with
water, instead of floating the paper. Amateurs date their success from the
time Mr. Cundell published this simple modification of the original
process.
"Mr. William Hunt, of Yarmouth, was my first friend and instructor in the
art; and _if_ there be any merit in the pictures I did before I knew you,
the credit is due to _him entirely_.
"The first paper we tried was Whatman's ivory post, very thick and hard,
and yet it gave good negatives. We afterwards got a thinner paper, but
always stuck to Whatman. Neither were we troubled with that _porosity_ in
the skies of which you complain in the more recently-made papers of that
manufacturer.
"We first washed the paper with a solution of nitrate of silver, fifteen
grains to the ounce, going over the surface in all directions with a
camel-hair brush. As soon as the fluid ceased to run, the paper was
_rapidly dried before the fire_, and then immersed in a solution of iodide
of potassium, 500 grains to the pint of water. We used to draw it through
the solution frequently by the corners, and then let it lie till the yellow
tint was visible at the back. It was then immediately taken to the pump and
pumped upon vigorously for two or three minutes, holding it at such an
angle that the water flushed softly over the surface. We then gave it a few
minutes in a rain-water bath, inclining the dish at different angles to
give motion to the water. By this time the iodide of silver looked like
pure solid brimstone in the wet paper. Then we knew that it was good, and
hung it up to dry.
"To make this paper sensitive, we took 5 drops of gallic acid (saturated
solution), 5 drops of glacial acetic acid, 10 drops of a 50-grain solution
of nitrate of silver, and 100 drops of water. The sensitive wash was poured
upon a glass plate, and the paper placed thereon. We used to lift the paper
frequently by one or other corner till it was perfectly limp. We then
blotted off and placed in the camera, where it would keep a good many
hours.
"Whether such pictures would have come out spontaneously under the
developing solution, I know not, for we had not patience enough to try. We
forced them out in double quick time with red-hot pokers; and great was the
alarm of my wife to see me rush madly about the house armed with these
weapons. Yet the plan had its advantages; by presenting the point of the
poker at a refractory spot, its reluctance to appear was speedily overcome,
and we persuaded out the shadows.
* * *
"P.S.--I now have the first picture I ever did, little, if at all, altered.
It was done in July, 1845, with a common meniscus lens. I have just got a
_capital negative_ by DR. DIAMOND'S plan, but which is spoiled by the
metallic abominations in Turner's paper."
_A Collodion Difficulty._--With reference to MR. J. COOK'S collodion, I
would suggest that his ether was indeed "still very strong" of _acid_; by
which the iodine was set free, and gave him "nearly a port-wine colour."
This is a common occurrence when the ether or the collodion is acid. The
remedy is at hand, however. Powder a few grains of _cyanide of potassium_,
and introduce about a grain at a time, according to the quantity: shake up
till dissolved, and so on, until you get the clear golden tint. Thus will
"the mystery be cleared up." I need not say that the essential properties
of the solution will not be impaired.