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AMERICAN HAND BOOK OF THE DAGUERREOTYPE
GIVING THE MOST APPROVED AND CONVENIENT METHODS FOR PREPARING THE
CHEMICALS, AND THE COMBINATIONS USED IN THE ART.
CONTAINING THE DAGUERREOTYPE, ELECTROTYPE, AND VARIOUS OTHER PROCESSES
EMPLOYED IN TAKING HELIOGRAPHIC IMPRESSIONS.
BY S. D. HUMPHREY
FIFTH EDITION
NEW YORK: PUBLISHED BY S. D. HUMPHREY 37 LISPENARD STREET
1858
Entered, according to Act of Congress, in the year 1858, by S. D.
HUMPHREY, In the Clerk’s Office of the District Court of the Southern
District of New York.
To J. GURNEY, WHOSE PROFESSIONAL SKILL, SCIENTIFIC ACCURACY, AND
ENERGETIC PERSEVERANCE, HAVE WON FOR HIM UNIVERSAL ESTEEM, THIS WORK IS
MOST RESPECTFULLY INSCRIBED.
PREFACE.
There is not an Amateur or practical Daguerreotypist, who has not felt
the want of a manual—Hand Book, giving concise and reliable information
for the processes, and preparations of the Agents employed in his
practice.
Since portraits by the Daguerreotype are at this time believed to be
more durable than any other style of “Sun-drawing,” the author has hit
upon the present as being an appropriate time for the introduction of
the Fifth Edition of this work. The earlier edition having a long since
been wholly; exhausted, the one now before you is presented.
The endeavor has been to point out the readiest and most approved
Methods of Operation, and condense in its pages; as much practical
information as its limits will admit. An extended Preface is
unnecessary, since the aim and scope of this work are sufficiently
indicated by the title.
S. D. HUMPHREY NEW YORK, 1858.
CONTENTS
CHAPTER I.
Polishing the Daguerreotype Plate—Buffing the Plate—Coating the
Plate—Exposure of the Plate in the Camera—Position Developing the
Daguerreotype—Exposure to Mercury—Removing the Coating—Gilding or
fixing the Image—Coloring Daguerreotype, . . . . . 18
CHAPTER II.
Coloring Back Grounds—Transparent ditto—Gilding Dissolvent—Solution for
removing Specks—Solarized Impression—To Purify Water—Cleaning
Mercury—Adhesive Paper—Black Stain for Apparatus—Sealing Wax for
Bottles—Rouge—Rotten Stone—Potassa Solution—Hyposulphite
Solution—Substitute for do.—Gilding Solution—Solution for increasing
the Brilliancy of the Daguerreotype—Bleaching Solution;—Cold
Gilding—Neutralizing Agents—Buff Dryer—Keeping Buffs in order—Cleaning
Buckskins—Reflector for taking Views, . . . . 52
CHAPTER III.
Bromine and its Compounds—Iodine and its Compounds—Chlorine and its
Compounds—Cyanide of Potassium—Hyposulphite of Soda—Hyphosulphite of
Gold—Nitric Acid—Nitro-Muriatic Acid—Hydrochloric Acid—Hydrofluoric
Acid—Sulphuric Acid—Accelerating Substances—Liquid Sensitives—Dry
Sensitives, etc., etc., . . . . . 72
CHAPTER IV.
Light—Optics—Solar Spectrum—Decomposition of Light—Light, Heat, and
Actinism—Blue Paper and Color for the Walls of the Operating
Room—Proportions of Light, Heat and Actinism composing a
Sunbeam—Refraction—Reflection—Lenses—Copying Spherical
Aberration—Chromatic Aberration, . . . 131
CHAPTER V.
To make Plates for the Daguerreotype—Determining the Time of Exposure
in the Camera—Instantaneous Process for Producing
Daguerreotype—Galvanizing the Daguerreotype Plate—Silvering
Solution—Daguerreotype without Mercury—Management of Chemicals—Hints
and Cautions—Electrotyping—Crayon Daguerreotypes—Illuminated
Daguerreotypes—Natural Colors in Heliography—Multiplying Daguerreotypes
on one Plate—Deposit in Gilding—Practical Hints on the Daguerreotype, .
. . 149
CHAPTER VI.
An Account of Wolcott and Johnson’s Early experiments in the
Daguerreotype, . . . 188
AMERICAN HAND-BOOK of THE DAGUERREOTYPE.
CHAPTER I.
Polishing the Daguerreotype Plate—Buffing the Plate—Coating the
Plate—Exposure of the Plate in the Camera—Position—Developing the
Daguerreotype—Exposure to Mercury—Removing the Coating—Gilding or
fixing the Image—Coloring Daguerreotype.
Polishing the Daguerreotype Plate.—I shall endeavor to present to the
reader the process I have found productive of good and satisfactory
results, presenting the same in a clear and concise manner, so that any
one, by following the various manipulations given, will be enabled to
succeed. If there is any one part of the process in Daguerreotype in
which operators fail more than all others, it is in not properly
preparing the plate. It has truly been said that it would take a volume
to describe all the methods that have been suggested for polishing the
plate.
I shall confine myself to the following description, which has been
successfully practised, also most generally adopted by our operators,
and I believe equal, if not superior to any other method, yet at the
same time it is not of so much importance what particular method is
employed, so that it be thoroughly and skillfully carried out.
There is a general tendency with beginners to slight this operation;
hence the necessity of adopting a system which precludes the
possibility of doing so. During many years’ study and practice in the
art, I have tried numerous methods and substances for the better
accomplishment of the end in view, and have finally settled upon the
following, as being (so far as experience allows me to Judge) the modus
operandi, best suited to all circumstances; under no condition would I
approve of a method less rigorous or precise.
The operator being provided with a bottle of finely prepared rotten
stone, cover the mouth of the bottle with a piece of thick paper, this
perforated with a pin so that the rotten stone can be dusted on the
plate. Fasten the plate on the holder, take the rotten stone (Becker’s
can always be depended upon), and dust on lightly until the surface is
freely covered; now drop on the plate’s surface a few drops of an
alcoholic solution.[1]
[1] This solution is composed of equal parts of alcohol and water, for
the summer, and in winter three parts alcohol to one of water; a few
drops of potassa solution may be added, and is known to have a decided
effect upon the plate.
Take a patch of Canton flannel; in order to prevent the moisture from
the hand it should have a thick, firm texture: with this rub the plate
in circles across, then back covering one-half of the former row of
circles in each crossing until you have gone over the plate and back to
the point of beginning, occupying at least half a minute in the
operation, for a small plate, and so in proportion for the other sizes.
Care should be observed to keep the patch wet with the alcoholic
solution forming a paste on the surface of the plate; the motion of the
hand should be brisk and free, not hurried, and the pressure about
equal to that of a pound weight. When the cotton is disposed to adhere
to the plate, and slip from under the finger, spread the fore and
middle fingers a little apart, then pressing down, bring them together
in such a manner as to form a fold in the cloth between them, by which
means you will hold it perfectly secure.
Avoid wetting the fingers, and should they perspire, wipe them often,
as the moisture penetrating the cotton and coming in contact with the
plate, would cause streaks it would be difficult to remove. I will here
remark that many operators use much more cotton flannel than there is
need of. I have found in my experience that a single patch, about one
and half inch square, will be better for cleaning a number of plates
than a new piece for every plate. This is the case for the wet, and for
the dryrubbing two or three pieces will be found to answer. Thus with
four or five cloths a dozen plates may be prepared.
Some operators use prepared cotton, and think it more convenient than
the flannel. This may be had prepared free from seeds and in a very
perfect state, if wished.
In going over the plate, great care should be observed, in touching its
surface as equally as possible. The greatest care should be taken
neither to touch the plate with the fingers, nor that part of the
cotton flannel which is to come in contact with its surface; take a
clean piece of flannel by one corner, snap it smartly to free it from
dust and loose fibres, lay it face-side upward, dust on a little fine
rotten stone; with this, polish around, or across, or in circles,
lightly and briskly, passing gradually over the whole surface of the
plate, as was done before with the wet. The plate should now exhibit a
bright, clear, uniform surface, with a strong metallic lustre,
perfectly free from any appearance of film; if not, the last polished
should be continued until the effect is obtained, and when once
obtained, the plate is ready for buffing.
Buffing the Plate.—There are a variety of ways and means employed in
this part of the operation. Some choose wheels, and others prefer the
ordinary hand-buff. I have been unable to detect any peculiar advantage
in the use of the wheel except in the facility of the operation; no
doubt, however, but there is a saving of time, particularly in the
preparation of the larger plates. For general use, we have not seen a
wheel better adapted for this purpose than the one patented by Messrs.
Lewis.
It is generally well to use a hand-buff before placing the plate on the
wheel; this is in order to prevent, as far as possible, the dust or
other substance that may be on the surface of the plate from coming in
contact with the cover of the wheel. I will here follow out the use of
the hand-buffs (two are necessary) as they are mostly used.
In the morning, before using the buffs, brush both as clean as
possible, in order to free them from dust; then with the blade of a
pair of shears, held perpendicular, rub the buffs from end to end; then
knock them both together in order to free them from all dust or other
substances, occasionally exposing them to the sun or to the fire.
With one of the buffs (reserving the finest and softest for the last
operation), powder its face with fine rouge and brush off slightly,
leaving only the finest particles in it. Every operator should have two
plate-holders; one for cleaning and one for buffing the plate; for when
using only one, the rotten stone is liable to get on the buff and
scratch the plate.
Rest the fingers of the left hand on the back of the buff, near the
farther end, with about the same pressure as in cleaning, while with
the right you bear on the handle to correspond, and give the buff a
free, easy, horizontal motion, passing it very nearly the whole length
over the plate each time. Continue this operation in such a manner that
the plate will on all parts of its surface have received an equal
amount of polish. This buff once well filled with polish, add but
little after, say a small quantity once in two or three plates. The
polish as well as the buffs must be kept perfectly dry.
The second buff should always be in the best order, and if this is the
case, but little polish after the first need be used. Much depends upon
the last finish of the surface of the plate, and as a fine impression
is desired in the same ratio, the operator must exercise care and skill
in this operation. Some buff the smaller plates on the hands, by
resting them on the fingers in such a manner that the buff cannot touch
them; some by holding the edges with thumb and little finger, with the
remaining fingers under, or on the back; and others buff on the holder.
When this last method is adopted, it requires the greatest caution to
prevent the dust from getting on the buff. The holder should be wiped
clean.
The plate frequently slips off or around, and the buff comes in contact
with the bed of the holder. When, however, the operator is so
unfortunate as to meet with this mishap, the utmost care must be
observed in thoroughly cleaning the buff cover before further buffing.
In this last buffing it may be continued as before, except without the
application of polish powder to the last buff. Examine the surface
occasionally, and buff more lightly towards the close of the operation,
using at last the mere weight of the buff. This last buffing should
occupy as long a time as the first.
The point to be aimed at is, the production of a surface of such
exquisite polish as to be itself invisible, like the surface of a
mirror. The secret of producing pictures discernible in any light, lies
in this: the more dark, deep and mirror-like the surface of the plate,
the more nearly do we approach to perfection.
In all cases, very light and long continued buffing is productive of
the greater success, since by that means a more perfect polish can be
obtained.
The question is often asked, why is it that the plates receive the
coating so unevenly? I will answer by saying that it may arise from two
causes: the first and most general cause is that those parts of the
plate’s surface which will receive the heaviest coating have been more
thoroughly polished, and the consequence is that it is more sensitive
to the chemical operation; second, and might perhaps be considered a
part of the first, the heat of the plate may not be equal in all its
parts; this may arise from the heat caused by the friction in buffing.
It is a well known fact, with which every observing practitioner is
familiar, that a silver plate at a temperature of 45 deg. or less,
exposed to the vapors of iodine, is less sensitive and takes a longer
time to coat, than when it is at a temperature of 60 deg. or more.
Whenever a view is to be taken, or any impression which requires the
plate to be turned on the side, it should be buffed in the other
direction, so that the marks will always be horizontal, when the
picture is in position. With the finest possible polish, the plate is
ready for the coating box.
The question is often asked by operators, what is the state of the
plate when polished and allowed to stand for a time before using? To
meet this point we hare only to consider the silver and the power
acting upon it. Pure atmosphere does not act upon silver; but we do not
have this about in our operating rooms, as it is more or less charged
with sulphurated hydrogen, which soon tarnishes the surface of the
plate with a film of brown sulphurate. It is this that sometimes causes
the specks which appear on finishing the impression, and are a great
annoyance. Hence we see that the plate should be buffed just before
receiving the vapor of iodine. Mr Hunt gives his opinion of the use of
diluted nitric acid as the best solution for freeing, the surface of
the plate; he says:
“Numerous experiments on plated copper, pure silver plates, and on
silvered glass and paper, have convinced me that the first operation of
polishing with nitric acid, etc., is 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 oxydized or iodized, according as the circumstances may occur of
its exposure to the atmosphere or the iodine.”
I cannot see the objection to this solution; not, however, in general
use. Our operators do not find it of sufficient importance to the
success of their pictures to accept it, the alcoholic solution being in
its nature less objectionable.
I will say here, that a plate submitted to only an ordinary polish is
found to contain numberless minute particles of the powder made use of.
Should the same plate be buffed for a long time, the polish will nearly
all disappear, leaving the cavities in the surface free for the action
of agents employed in subsequent operation. For this reason, I find
that great amount of polishing powder should not be applied to the last
buff, and it is obvious that three buffs can be employed to adventure;
the two last should not receive any polishing materials. I have
examined a plate that was considered to possess a fine finish, and
similar had produced good impressions; these same plates, when
subjected to a long and light buffing, would present a surface no finer
in appearance to the naked eye; but upon exposure to the solar
radiation, would produce a well-defined image in one fourth less time
than the plate without the extra buffing.
Coating the Plate.—For this purpose our mechanics and artists have
provided a simple apparatus called a coating-box, which is so arranged
as to be perfectly tight, retaining the vapor of the iodine or
accelerators, and at the same time allowing, by means of a slide, the
exposure of the plate to these vapors. They can readily be obtained by
application to any dealer, all of whom can furnish them.
The principal difficulty in coating the plate, is that of preserving
the exact proportion between the quantity of iodine and bromine, or
quick. It is here necessary to say, that hardly any two persons see
alike the same degree of color, so as to be enabled to judge correctly
the exact tint, i. e. what one might describe as light rose red, might
appear to another as bright or cherry red; consequently, the only rule
for the student in Daguerreotype, is to study what appears to him to be
the particular tint or shade required to aid him to produce the desired
result. Practise has proved that but a slight variation in the chemical
coating, of the Daguerreotype plate will very materially affect the
final result.
The operator will proportion the coating of iodine and bromine or
accelerators according to the strength and composition of the latter.
Experience proves that the common impressions, iodized to a rather
light yellow gold tint, and brought by the bromine to a very light,
rose color, have their whites very intense, and their deep shades very
black. It is also known that if you employ a thicker coating of iodine
and apply upon it a proportionate tint of bromine, so as to obtain a
deep rose tint, delineations will be less marked, and the image have a
softer tone. This effect has been obvious to everyone who has practised
the art. Thus I may observe that the light coatings produce strong
contrast of light and shade, and that this contrast grows gradually
less, until in the very heavy coating it almost wholly disappears. From
this it will readily be perceived that the middle shades are the ones
to be desired for representing the harmonious blending of the lights
and shades.
Then, if we examine, with respect to strength, or depth of tone, and
sharpness of impression, we see that the light coating, produces a very
sharp but shallow impression; while the other extreme gives a deep but
very dull one. Here, then, are still better reasons for avoiding either
extreme. The changes through which the plate passes in coating may be
considered a yellow straw color or dark orange yellow, a rose color
more or less dark in tint, or red violet, steel blue or indigo, and
lastly green. After attaining this latter color, the plate resumes a
light yellow tint, and continues to pass successively a second time,
with very few exceptions, through all the shades above mentioned.
I will here present some excellent remarks upon this subject by Mr.
Finley. This gentleman says:
“It is well known to all who have given much attention to the subject,
that an excess of iodine gives the light portions of objects with
peculiar strength and clearness, while the darker parts are retarded,
as it were, and not brought out by that length of exposure which
suffices for the former. Hence, statuary, monuments, and all objects of
like character, were remarkably well delineated by the original process
of Daguerre; the plate being coated with iodine alone. An excess of
bromine, to a certain degree, has the opposite effect; the white
portions of the impression appearing of a dull, leaden hue, while those
which should be black, or dark, appear quite light. This being the
case, I conclude there must be a point between the two extremes where
light and dark objects will be in photogenic equilibrium. The great
object, therefore, is to maintain, as nearly as possible, a perfect
balance between the two elements entering into union to form the
sensitive coating of the plate, in order that the lights and shades be
truly and faithfully represented, and that all objects, whether light
or dark, be made to appear so far conformable to nature, as is
consistent with the difference in the photogenic energy of the
different colored rays of light. It is this nicely-balanced combination
which ensures, in the highest degree, a union of the essential
qualities of a fine Daguerreotype, viz., clearness and strength, with
softness and purity of tone.
“So far as I know, it is the universal practice of operators to judge
of the proportion of iodine and bromine in coating the plate, by two
standards of color the one fixed upon for the iodine, the other for the
additional coating of bromine. Now I maintain that these alone form a
very fallacious standard; first, because the color appears to the eye
either lighter or darker, according as there is more or less light by
which we inspect the coating; and secondly, because if it occur that we
are deceived in obtaining the exact tint for the first coating, we are
worse misled in obtaining the second, for if the iodine coating be too
light, then an undue proportion of bromine is used in order to bring it
to the second standard, and vice versa.”
The iodine box should be kept clean and dry. The plate immediately
after the last buffing, should be placed over the iodine, and the
coating will depend upon the character of the tone of the impression
desired. Coating over dry iodine to an orange color, then over the
accelerator, to a light rose, and back over iodine one sixth as long as
first coating, will produce a fine, soft tone, and is the coating
generally used for most accelerators. The plate iodized to a dark
orange yellow, or tinged slightly with incipient rose color, coated
over the accelerator to a deep rose red, then back over iodine
one-tenth as long as at first coating, gives a clear, strong, bold,
deep impression.
I will here state a singular fact, which is not generally known to the
operator. If a plate, coated over the iodine to a rose red, and then
exposed to strong dry quick or weak bromine water, so that a change of
color can be seen, then recoated over the iodine twice as long as at
first coating, it will be found far more sensitive when exposed to the
light than when it has been recoated over the iodine one-fourth of the
time of the first coating.
Probably the best accelerating combination is the American compound
formerly known as “Gurney’s American compound,” or some of the
combinations of bromide of lime. The first is thought to possess
perhaps more uniformity in its action than any other combination I have
ever used.
The plate once coated should be kept excluded from the light by means
of the plate holder for the camera box.
I will notice one of the principal causes having a tendency to prevent
the perfect uniformity of chemical action, between the iodine and
silver; hydrogen, or the moisture in the atmosphere, makes a very
perceptible barrier. This moisture may arise as the result of the cold,
from a want of friction in the buffing of the plate, which, coming in
contact with the warmer air, as a writer on this subject says:
“It is well known that as often as bodies, when cold, are exposed to a
warmer air, the humidity contained in them is condensed. It is to this
effect that we must attribute the difficulty experienced in operating
in most cases.” This is corroborated by the results experienced by our
operators. So it is seen that the plate should be of a temperature
above that of the atmosphere. Mr. Gurney submits his plates to a gentle
heat from a spirit lamp just before exposing them to the vapor of
iodine. Experience has convinced me that a plate heated to about 80
deg. before being exposed to iodine will present a far better defined
image than a plate at a temperature of 50 deg. I account for this by
noticing that, at a higher temperature, the plate throws off any larger
crystals that might otherwise be deposited, receiving only the finer,
thus producing a more perfect chemical combination of iodide of silver.
I would call the attention of the operator to this point, as presenting
something of interest, and which may direct in a way of accelerating
the future operations.
That the presence of a film of moisture over the plate is a preventive
of uniform chemical action, may be readily understood from the fact
that iodine is almost insoluble in water, requiring seven thousand
parts of water to dissolve one of iodine, or one grain to a gallon of
water. Yet its affinities for silver and other substances are so
powerful as to prevent its existing in an insulated state, hence we can
account for the frequent occurrence of a plate presenting parts of an
image over its surface. It is quite evident that those parts of plate’s
surface covered with moisture are nothing like as sensitive to the
iodine as those parts perfectly free.
Exposure of the plate in the Camera, and Position.—The time of exposure
necessary to produce an image upon the Daguerreotype plate, can only be
determined by experiment, and requires a liberality of judgment to be
exercised on the part of the operator. The constant variation of the
light renders it impossible to lay down any exact rule upon this point.
Light is not alone to be considered; the amount of coating exercises a
deviating influence, also the subjects to be represented are not
equally photogenic, some requiring much longer time of exposure than
others. This may be easily observed by exposing the plate at the same
time to a plaster bust and a piece of black velvet, the first being a
much stronger reflector of light than the latter: the time necessary to
produce a well developed image of the velvet being about six times
longer than that required to produce an equally defined image of
plaster. The manner of judging correctly of the time is by the
appearance of impression after it has been developed by the mercurial
vapors. Should it present a deep blue or black appearance it is
solarized or over-timed. This sometimes is to an extent, that a perfect
negative is formed, the white being represented black, and the dark
light.
An object requiring the particular care and attention of the operator
is the proper focus. It is not unfrequently the complaint of sitters
that their hands are represented as being magnified and greatly out of
proportion with the general figure. This is the case also with the nose
and eyes, but in a less degree. As this cannot be wholly remedied, it
is desirous to come as near as possible, and in order to do this, it is
necessary to present the figure in such a position as to bring it as
nearly as possible upon the same plane by making all parts nearly at
equal distance from the lenses. This must be done by the sitter
inclining the head and bust formed to a natural, easy position, and
placing the hands closely to the body, thus preserving a propel
proportion, and giving a lively familiarity to the general impression.
It is not an uncommon fault among our less experienced operators to
give a front view of the face of nearly every individual, regardless of
any particular form, and this is often insisted upon by the sitter,[2]
who seems to think the truth of the picture exists principally in the
eyes staring the beholder full in the face.
[2] I might here picture some curious scenes experienced by our
operators Every one is familiar with a certain class of our community
whose ideas of the importance of a free and easy position of the body
are too closely confined with stays, attention to toilet, tightly
fitting dress coats and the like, to admit of being represented as if
nature had endowed them with least possible power of flexibility. To
such we would suggest the following, to be well learned and retained
in the mind while presenting themselves before the Daguerreotype
camera:
“The experience of one who has often been Daguerreotyped, is, to let
the operator have his own way.”
Nothing, in many instances, can be more out of place in a Daguerreotype
portrait than this, for let a man with a thin, long,
defeated-politician-face, be represented by a directly front view, we
have, to all appearances, increased the width of the face to such an
extent as to reveal it flat and broad, losing the characteristic point
by which it would be the most readily recognized. The method we should
adopt in taking the likeness of such an individual as above, would be
to turn the face from the camera, so as to present the end of the nose
and the prominence of the cheek bone equally distant from the lenses,
and then focusing on the corner of the eye towards the nose, we cannot
in many cases, fail to produce an image with the lips, chin, hair, eyes
and forehead in the minutest possible definition.
It should be the study of every operator to notice the effect of the
lights and shades while arranging the sitter, and at the same time be
very particular to give ease in the position.
No matter how successful the chemical effect may have been, should the
image appear stiff and monument-like, all is lost. “In the masterpiece,
grace and elegance must be combined.”
I will here use the words of another, which are very true:
“So great is the difference in many faces, when inspected in opposite
directions, that one of the two views, however accurately taken, would
not communicate the likeness—it not being, the usually observed
characteristic form. When the right view of the head is obtained, it is
first necessary to consider the size of the plate it is to be taken on,
so as to form an idea of the proportion the head should bear to it. The
mind must arrange these points before we commence, or we shall find
everything, too large or too small for the happy proportion of the
picture, and the conveying of a just notion of the stature. The work
will have to be done over, and time sacrificed, if this is not attended
to. The adjustment of the head to the size of the plate (as seen from
the margin of the mat), is not to be taught: everyone must bring
himself, by scrutinizing practice, to mathematical accuracy; for
something will be discovered in every face which can be surmounted only
by experience.
“The eye nearest the camera, in a three-quarter-face, is placed in the
middle of the breadth of the plate; the chin, in a person of middle
stature, in the middle of the length, and higher according to the
proportional height of the person.”
In regard to the proper elevation of the camera, it may be here stated
that I have found it best in taking portraits where the hands are
introduced, to place the camera at about equal height with the eyes of
the sitter, in order to bring the face and hands equi-distant from the
tube. It will be found, if the above be followed, that by attaching a
string to the camera tube, and making a semi-circle, that the face and
hands of the sitter will occupy a corresponding distance, and the
consequence is that the impression will appear without the hands being
magnified. It has been found that a person with a freckly face can have
as fine, fair, and clear an impression as the most perfect complexion;
this may be done by the subject rubbing the face until it is very red.
The effect is to lessen the contrast, by giving the freckles and skin
the same color and the photogenic intensity of the red and yellow being
nearly the same, an impression can be produced perfectly clear.
When a child is to be taken, and there are doubts of its keeping still,
the operation may be accelerated by placing it nearer the window
bringing the screen nearer, and placing a white muslin cloth over the
head; this will enable you to work in one third of the usual time.
Should the person move, or the plate become exposed to the light, it
may be restored to its original sensitiveness by placing it over the
quick, one or two seconds.
Developing the Daguerreotype.—After the plate has been submitted to the
operation of the light, the image is still invisible. It requires to be
exposed to the vapors of heated mercury. It is not absolutely necessary
to apply artificial heat to the mercury to develop the image, for fair
proofs have been produced by placing a plate over the bath at the
ordinary temperature of the atmosphere. This plan, however, requires a
long time and cannot be adopted in practice, even if it were advisable.
The time more usually required in developing the image over the
mercurial vapors, is about two minutes, and the temperature is raised
to a point necessary to produce the desired effect in that time. This
point varies as indicated by different scales, but for the ordinary
scales it is not far from 90 deg. cen.
The mercury bath is accompanied with a centigrade thermometer, by which
the heat is regulated. Those furnished by the manufacturers are not
always correct, and it requires some experience to find the proper
degree on the scale.
I would here remark that it is advisable, when placing the spirit lamp
under the bath, to so arrange it that the position of applied heat
should always be on the same point, viz., should the heat be directly
under the bulb containing the thermometer it would raise the mercury in
the tube to the point marked, and the temperature of that in the bath
would be far below what it should be; hence it is (where time is
followed for developing) that many failures occur. This is observed
more readily in the large baths made of thick iron, particularly upon
first heating. In practice I apply the heat as nearly as possible
between the centre of the bottom of the bath and the bulb containing
the mercury tube. It is advisable to keep the lamp lighted under the
bath from the time of commencing in the morning to the close of
business at night. By this means you have a uniformity of action, that
cannot be otherwise obtained.
It is well known to the experienced Daguerreotypist, that different
atmospheres have a decided effect upon the mercury in developing the
Daguerreotype. It will require a greater degree of heat for one
atmosphere than for another. Experience alone determines this little
difference.
In summer, on cloudy and stormy days, mercurial vapors rise more
readily and quickly than in the temperature of autumn or winter. From
60 degrees upwards towards the boiling point (660 deg.), the vapors of
mercury rise in greater abundance and collect in larger globules on
cold surfaces.
For various reasons I prefer a high temperature and short exposure. It
accelerates the process. It renders the lights of the picture more
strong and clear, while the deep shades are more intense. It gives a
finer lustre to the drapery. The solarized portions also are very
seldom blue, especially after gilding. If heated too high, however, the
light parts become of a dead, chalky white, and the shadows are injured
by numerous little globules of mercury deposited over them. Just the
right quantity of mercury leaves the impression of a transparent,
pearly white tone, which improves in the highest degree in gilding. To
mercurialize with exactness is a nice point. If there is reason to
suspect having timed rather short in the camera, reduce the time over
mercury in a corresponding proportion. A dark impression will be ruined
by the quantity of mercury which would only improve a light one.
If practicable, it is most expedient that the plate be submitted to the
action of mercury immediately on coming from the camera. I have
frequently, however, carried plates for miles in the plate-holders and
after exposing in the camera, brought them back to expose to mercury,
and obtained fair proofs; but for the reason before given, it is
advisable to carry along the bath, and bring out the impression on the
spot.
It is sometimes the practice of inexperienced operators to take the
plate off the bath and examine the impression by solar light. This plan
should be abandoned, as it is almost sure to produce a dense blue film
over the shadows.
This I am led to believe is occasioned by the action of light on the
yet sensitive portions of the plate, and made to appear only by
subsequent exposure to mercury, being equivalent to solarization.
There has been little said by our professors upon the subject of the
position of the plates while exposed to the mercurial vapour. Mr. Hunt,
in referring to this subject, says: “Daguerre himself laid much stress
upon the necessity of exposing the plate to the mercury at an angle of
about 45 deg.. 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 angular position. Both horizontally and
vertically, I have often produced equally effective Daguerreotypes.” I
presume from the last sentence of Mr. Hunt, that he has confined his
experiments to the smaller sized plates. Hence he may not have thought
of the effect of the vertical exposure of a large plate.
In America this is a subject of no little importance. When an
impression is to be developed upon a plate fifteen by seventeen inches,
were we to use an angle of about 45 deg., it would be found to make a
perceptible difference in the appearance of the image. By examining the
wood tops of our baths as formerly made, it will be found that there is
a great variation in the distance from the mercury to the different
portions of the plate. By measuring one of these tops for the size
plate above mentioned, I find the distance to the nearest point between
the mercury and the plate, to be thirteen, and the middle point
sixteen, and the furthest point twenty-one and a half inches: by this
we see that one point of the plate is eight and a half inches further
from the mercury than the nearest point; even this is not the variation
there would necessarily be, were we to adopt the angle of 45 deg. as
urged by Daguerre.
Among our principal professors, the bevel top will not be found in use
where the large plates are used. Should any one feel desirous to test
more minutely the effect produced by a bevel top bath, I would suggest
to them to place a frame, so constructed as to hold three sixth size
plates, and fit it to the top of the bath, and so arrange it with
openings that the plates may be placed, one at the nearest point of the
mercury, the second midway, and the third to the greatest distance, and
by placing the plates over at one and the same time, the experimenter
will be enabled to judge if there exists a difference in the
developing. In speaking of the above, reference is had to baths to the
ordinary heights used by operators.
We will now proceed to examine the effect produced by mercurial vapor
upon the plate at different lengths of exposure. In some investigations
which I have made upon the appearance of the Daguerreotype impressions
when developed over mercury at 90 deg. C. (194 deg. F.), the following
was the result. Plates, coated and exposed to light in our usual manner
of operating, produced on exposure of
1/2 minute, whole impression, deep blue.
1 minute, ashy and flat; no shadows; linen, deep blue.
1 1/2 minute, coarse and spongy; shadows, muddy; drapery, dirty reddish
brown.
2 minutes, shallow or watery; shadows, yellowish; drapery, brown.
2 1/4 minutes, soft; face, scarcely white; shadows, neutral; drapery,
fine dark brown linen somewhat blue.
2 1/2 minutes, clear and pearly; shadows, clear and positive, of a
purple tint; drapery, jet black, with the dark shades slightly frosted
with mercury.
2 3/4 to 3 minutes, hard and chalky; shadows, harsh; drapery,
roughened, and misty with excess of mercury.
The foregoing results will be found general.
There are numerous opinions among our operators in regard to the
quantity of mercury necessary for a bath. As regards this, I need only
say, similar results occur when two pounds or two ounces are used, but
the quantity generally employed is about a quarter of a pound. I am of
the opinion that one ounce will answer as well as a larger quantity. I
know of no better proof in favor of a small quantity than that
presented in the following incident. Several years since, an operator
(Mr. Senter, of Auburn, N.Y.) of my acquaintance, was requested to go
several miles to take a Daguerreotype portrait of a deceased person. He
packed up his apparatus and proceeded over a rough road for some
distance to the house where he was to take the portrait, and arranging
his apparatus, with all the expedition which the occasion required,
after having everything in usual order (as was supposed), he proceeded
and took some ten or twelve very superior impressions. They were fine,
clear, and well developed. After taking the number ordered, he
proceeded to repack his apparatus, and to his surprise, when he took up
the bottle he carried the mercury in, he found it still filled, and
none in the bath, except only such particles as had adhered to the
sides, after dusting and being jolted for several miles over the rough
road. From this it will be seen that a very little mercury will suffice
to develop fine proofs. I saw some of the impressions referred to
above, and they were certainly well developed, and very superior
specimens of our art.
Removing the Coating.—After the impression has been developed over the
mercurial vapor, the next step is to remove the sensitive coating. For
this purpose the following solution is used:
Put about two ounces of hyposulphite of soda in a pint of water, which
should always be filtered before using. A convenient way of doing this
is to have two bottles, and a large funnel with a sponge pressed into
the neck of it; or, what is better, some filtering paper folded in it.
The solution in one bottle, the funnel is placed in the other, and the
picture held over it; when the solution is poured on the plate, it runs
from it into the filter, and is always ready for use.
It is best that the washing be done immediately on the plate coming
from the mercury bath. If allowed to stand long with the coating on, it
assumes a very dark tint—as the operation of the light continues,
though less active than while exposed in the camera, and destroys that
brightness which would otherwise have been obtained. It is preferable
to wash and gild a picture without it first being dried; yet when there
are doubts of its giving satisfaction, there would sometimes be a
saving by drying and getting the decision of the subject before
gilding, as this last injures the plate for another impression. First,
light your spirit-lamp, then with your plyers take the plate by the
lower right-hand corner, holding it in such a manner that the plyers
will form in a line with the upper left-hand corner; pour on, slowly,
the hyposulphite solution, slightly agitating the plate, until all the
coating is dissolved off; then rinse off with clean water, and if it is
not to be gilded, dry by holding the plate perpendicular with the
bottom left-hand corner lowest, and applying the blaze of the
spirit-lamp to the back, at the same time blowing gently downward on
the face of the plate.
The hyposulphite solution should be often filtered through a sponge,
and it will answer for a great number of washings. Yet it is observed
that the mercury collects in this solution in small globules; these
often come in contact with the plate, causing white spots, which spoil
the impression. They should be guarded against, and the solution
renewed. Again, in order to prevent streaks or scum on the surface of
the plate, it is necessary that the coating should be removed with a
good degree of uniformity. I find in practice that the hyposulphite of
soda in our market varies much as regards strength, and consequently
the rule to be adopted is to make a solution of sufficient strength to
remove the coating in about ten seconds. I am aware that it may be said
that this strong solution would have a tendency to injure the
impression by destroying in a measure the sharpness of outline. To meet
this, it need only to be said that the preventive is, to not let the
solution rest on the surface of the plate for a longer time than is
absolutely necessary, and then it should be drenched copiously with
water; hence a chemical action upon the image is prevented and the
general operation facilitated. This plan is adopted by our first
operators with the greatest success.
If the operator should allow the hyposulphite solution to run over the
plate unevenly, it is quite likely that white or blue streaks would
result. These it is impossible to remove without injury to the
impression. Some, in order to prevent this, breathe over the surface,
thus moistening it and putting it in a condition to receive the
solution with greater uniformity. The plate should be well washed with
water before gilding.
Gilding, or Fixing the Image.—The next process to be given is that for
fixing the image on the plate. This is done by precipitating a thin
film of gold over the surface and is productive of the most brilliant
effect when prepared immediately after the plate has been washed with
water after the application of the hyposulphite solution, and before
the plate has been allowed to dry. When, however, the plate has been
dried and allowed to stand for any time, before gilding, the
hyposulphite wash should be applied as at first, in order to destroy
any chemical coating that may have been formed on exposure of the plate
to the air. For gilding the larger plates, we have a gilding stand so
constructed that the plate can be put on a perfect level. In practice,
I prefer holding the plate with nippers, fastened at one corner. Hold
the plate in the same manner as in removing the coating; pour on the
gilding, newly filtered, until the surface is wholly covered, and with
the blaze of the spirit lamp, at least three inches high, apply it to
the back of the plate, moving it about, that the surface may be heated
with as much uniformity as possible. Continuing this operation, the
surface will generally become covered with small yellow bubbles which
soon disappear, leaving the image clear and distinct.
It is advisable to make use of a lamp having a sufficiently strong
flame to produce the effect in a few minutes. If after a first heating,
it is found that the impression can admit of a greater degree of
intensity, it might be heated anew; but that is seldom necessary, and
often by trying to do too, well, the operator, if he persists in
heating certain parts of the plate, may find the liquid dry up just
above the flame, and inevitably cause a stain; [3] or else the blacks
are covered with a film, or even the coating of gold may suddenly
exfoliate, when small particles are detached from the plate. The
impression is then entirely spoiled, but the plate may be re-polished.
[3] This can be remedied, however, if it is immediately washed over
with the same solution that is on the plate, so that the surface shall
not become cool; continue for a short time to apply the lamp under,
and agitate the plate slightly, and it will soon be free from all
imperfections and give a fine clear tone.
It is not unfrequent that the surface assumes a dark, cloudy
appearance. This is generally the best sign that the gilding will bring
out the impression with the greatest degree of distinctness. Soon, the
clouds gradually begin to disappear, and, “like a thing of life” stands
forth the image, clothed with all the brilliancy and clearness that the
combined efforts of nature and art can produce. When in the operator’s
judgment the operation has arrived at the highest state of perfection,
rinse suddenly, with an abundance of clean water, and dry as before
described.
When an impression is dark, the gilding process may be longer
continued; but when light, it should be gilded quickly, as lengthening
the time tends to bleach the impression and make it too white. The
cause of this appears to be, that with a moderate heat the chlorine is
merely set free from the gold, and remaining in the solution, instead
of being driven off, with its powerful bleaching, properties, it
immediately acts upon the shades of the picture. A dark impression can
thus, by a low heat, long-continued, be made quite light. To procure
the best effect, then, heat suddenly with a large blaze, and judging it
to be at the maximum, cool as suddenly as possible.
When the hyposulphite of gold is used instead of the chloride, a less
heat should be employed.
Coloring Daguerreotypes.—Of all the so-called improvements in the
Daguerreotype, the coloring is the least worthy of notice. Yet the
operator is often, in fact most generally, called upon to hide an
excellent specimen under paint. I can conceive of nothing more perfect
in a Daguerreotype than a finely-developed image, with clearness of
lights and shadows, possessing the lively tone resulting from good
gilding. Such pictures, however, are not always had, and then color may
perform the part of hiding the imperfections. We present the following
method as given in Willat’s Manual:
“Daguerreotype portraits are now commonly met with beautifully colored;
but the coloring is a process requiring great care and judgment, and
many good pictures are spoiled in fruitless experiments. Several
different methods of coloring have been proposed. The simplest mode
appears to be that of using dry colors prepared in the following
manner: A little of the color required, very finely ground, is thrown
into a glass containing water, in which a few grains of gum arabic have
been dissolved. After standing a few moments, the mixture may be passed
through bibulous paper, and the residue perfectly dried for use. The
principal colors used are Carmine, Chrome Yellow, Burnt Sienna,
Ultramarine and White; boxes fitted with sets of colors properly
prepared, may be obtained of the dealers, and include Carmine, White,
Lilac, Sky Blue, Pink, Yellow, Flesh color, Orange, Brown, Purple,
Light Green, Dark Green and Blue. With a few colors, however, all the
rest may be made thus: Orange, by Yellow and Red; Purple, with Blue and
Red; Green, Blue and Yellow; Brown, with Umber, Carmine and Lamp Black;
Scarlet, Carmine and Light Red. While it is true that a little color
may relieve the dark metallic look of some Daguerreotypes, it must not
be concealed that the covering of the fine delicate outline and
exquisite gradations of tone of a good picture with such a coating, is
barbarous and unartistic.
“The prevaling taste is, however, decidedly for colored proofs, and the
following directions will assist the amateur in ministering to this
perverted taste, should he be so inclined. The coloring should commence
with the face, and the flesh tint must be stippled on (not rubbed) with
a small camel’s-hair brush, beginning from the centre of the cheek,
taking great care not to go over the outline of the face, and also not
to have too much color in the brush; the eyes and eyebrows must not be
touched with color. After the flesh color is applied, take a piece of
very soft cotton and pass it very gently backwards and forwards over
the face, so as to soften down the color, and then apply the carmine to
give the required tint. For men, the darker tints should predominate,
and for women the warmer. Very light hair may be improved by a slight
tint of brown, or yellow and brown, according to the color. In coloring
the drapery, the same care must be used. No rules can be laid down for
all the different colors required, and the amateur had better obtain
the assistance or advice of some one accustomed to the use of colors. A
little white with a dash of blue or a little silver, will improve white
linen, lace, etc. The jewelry may be touched with gold or silver from
the shells, moistened with distilled water, and laid on with a
fine-pointed sable-hair brush.
“Brilliants may be represented by picking the plate with the point of a
pin or knife.”