AN ACCOUNT OF WOLCOTT AND JOHNSON’S EARLY EXPERIMENTS, IN THE
DAGUERREOTYPE. BY JOHN JOHNSON.
[From Humphrey’s Journal, vol. ii 1851]
As a general thing, however perfect any invention may be deemed by the
inventor or discoverer, it falls to the lot of most, to be the subject
of improvement and advancement, and especially is this the case with
those new projects in science which open an untrodden field to the view
of the artisan. Such has been, in an eminent degree, the case with the
discovery first announced to the world by Mons. Jean Jaques Claude
Daguerre, of Paris, in the year 1839, and which excited unbounded
astonishment, curiosity and surprise. It may be questioned had any
other than Daguerre himself discovered a like beautiful combination,
whether the world would have been favored with details exhibiting so
much care, patience and perseverance as the Daguerreotype on its
introduction. Shortly after, these details reached the United States,
by Professor S. F. B. Morse, of New York, who was, at the time of the
discovery, residing in Paris. By this announcement, the whole
scientific corps was set in operation, many repeating the experiments,
following carefully the directions pointed out by Daguerre, as being
necessary to success. Among the number in the United States, was
Alexander S. Wolcott (since deceased) and myself; both of this city. On
the morning of the 6th day of October, 1839, I took to A. Wolcott’s
residence, a full description of Daguerre’s discovery, he being at the
time engaged in the department of Mechanical Dentistry, on some work
requiring his immediate attention, the work being promised at 2 P.M.
that day; having, therefore, no opportunity to read the description for
himself (a thing he was accustomed to do at all times, when
investigating any subject). I read to him the paper, and proposed to
him that if he would plan a camera (a matter he was fully acquainted
with, both theoretically and practically), I would obtain the materials
as specified by Daguerre. This being agreed to, I departed for the
purpose, and on my return to his shop, he handed me the sketch of a
camera box, without at all explaining in what manner the lens was to be
mounted. This I also undertook to procure. After 2, P.M., he had more
leisure, when he proceeded to complete the camera, introducing for that
purpose a reflector in the back of the box, and also to affix a plate
holder on the inside, with a slide to obtain the focus on the plate,
prepared after the manner of Daguerre. While Mr. Wolcott was engaged
with the camera, I busied myself in polishing the silver plate, or
rather silver plated copper; but ere reaching the end preparatory to
iodizing, I found I had nearly or quite removed the silver surface from
off the plate, and that being the best piece of sliver-plated copper to
be found, the first remedy at hand that suggested itself, was a
burnisher, and a few strips were quickly burnished and polished.
Meantime, the camera being finished, Mr. Wolcott, after reading for
himself Daguerre’s method of iodizing, prepared two plates, and placing
them in the camera, guessed at the required time they should remain
exposed to the action of the light; after mercurializing each in turn,
and removing the iodized surface with a solution of common salt two
successful impressions were obtained, each unlike the other!
Considerable surprise was excited by this result, for each plate was
managed precisely like the other. On referring to Daguerre, no
explanation was found for this strange result; time, however, revealed
to us that one picture was positive, and the other negative. On this
subject I shall have much to say during the progress of the work.
Investigating, the cause of this difference occupied the remainder of
that day. However, another attempt was agreed upon, and the
instruments, plates, etc., prepared and taken up into an attic room, in
a position most favorable for light. Having duly arranged the camera, I
sat for five minutes, and the result was a profile miniature (a
miniature in reality,) or a plate not quite three-eighths of an inch
square. Thus, with much deliberation and study, passed the first day in
Daguerreotype—little dreaming or knowing into what a labyrinth such a
beginning was hastening us.
[Description of apparatus represented on pages 192 and 199:]
A.—The Box—about 4 inches long by about 2 outside diameter. B.—The
Reflector soldered to a brass screw, and mounted in the rear of the
box.
c.—The slide to regulate the focus to the plate holder. d.—The standard
to the plate holder screwed to the slide. f.—The plate-holder frame
having two small ledges, * *, for the plate to rest upon.
{192}
g.—The plate resting upon the ledge., * *, and kept against the frame
by the spring h. The plates used were about 3/8 of an inch square.
A.—The window with the sashes removed.
B and C (p. 199) are large looking-glasses mounted as plain reflectors,
the lower one C having rotary motion upon the saddle, resting upon the
sill of the window in order to direct the rays of the sun upon the
reflector B, at any hour of the day—the vertical motion of the
reflector C being necessary, the sun varying in altitude so much during
the hours most favorable to the production of portraits. The reflector
C was {193} kept up to the required position by the handle lever,
upright post and bolts. Reflector B was hinged at its upper end at the
top of the window frame, the only motion being necessary was that which
would reflect upon the sitter the incident rays from reflector C—the
reflector B being kept at the required angle by the connecting lever m,
etc. Suitable back-grounds were placed behind the sitter.
[Illustration: Fig. 12]
The reflector B and C, had frequently to be renewed, the heat of the
sun soon destroying their brilliance or power of reflecting, light,
before renewing them, however, we resorted to the springing of them, by
which means their power was increased for a period.
The camera or reflecting apparatus, invented by Mr. Wolcott, was, from
the nature of the case, better adapted at that day to the taking of
portraits from life, than any other instruments. After carefully
examining the camera described by Daguerre, and the time stated as
necessary to produce action for an image, it became evident to the mind
of Mr. Wolcott at once, that more light could be obtained (as the field
of view required was not large) by employing a reflector of short focus
and wide aperture, than from a lens arrangement, owing to spherical
aberration and other causes. Many experiments having been tried with
the small instrument figured (p. 199), a reflector for taking portraits
from life was determined on, having eight inches diameter, with twelve
inches focal distance for parallel rays; this was to admit plates of
two inches wide by two and a half long Mr. Wolcott having on hand
reflectors of the right diameter, for Newtonian telescopes, of eight
feet focal distance, resolved (as it was a matter of experiment) to
grind down or increase the curve for the focal distance before
named—this required time. In the mean time, many plans were pursued for
making good plates, and the means of finishing, them. As the completion
of the large reflector drew to a close, our mutual friend, Henry Fitz,
Jr., returned from England, whither he had been on a visit, and when he
heard what we were about, kindly offered his assistance; he being well
versed in optics, and having been before engaged with Mr. Wolcott, in
that and other business is offer was gladly accepted—Mr. Wolcott
himself having frequent engagement; to fill as operator in the details
of mechanical dentistry. Thus, by the aid of Mr. Fitz, the reflector
was polished, and experiments soon after tried on plates of two by tow
and a half inches, with tolerable success. Illness on my part quite
suspended further trial for nearly four weeks.
On my recovery, early in January, 1840, our experiments were again
resumed with improved results, so much so as to induce Mr. Wolcott and
myself to entertain serious thoughts of making a business of the taking
of likenesses from life, intending to use the reflecting apparatus
invented by Mr. Wolcott, and for which he obtained Letters Patent, on
the 8th day of May, 1840. Up to January 1st, 1840, all experiments had
been tried on an economical scale, and the apparatus then made, was
unfit for public exhibition; we resolved to make the instruments as
perfect as possible while they were in progress of manufacture.
Experiments were made upon mediums for protecting the eyes from the
direct light of the sun, and also upon the best form and material for a
back-ground to the likenesses. The length of time required for a
“sitting,” even with the reflecting apparatus, was such as to render
the operation anything but pleasant. Expedients were ever ready in the
hands of Wolcott: blue glass was tried and abandoned in consequence of
being, at that time, unable to procure a piece of uniform density and
surface: afterwards a series of thin muslin screens secured to wire
frames were prepared as a substitute for blue glass. The objections to
these screens, however, were serious, inasmuch as a multiplication of
them became necessary to lessen the intensity of the light sufficiently
for due protection to the eyes, without which, the likenesses, other
than profiles, were very unpleasant to look upon. Most of the
portraits, then of necessity were profiles formed upon back-grounds,
the lighter parts relieved upon black, and the darker parts upon light
ground; the back-ground proper being of light colored material with
black velvet so disposed upon the light ground, this being placed
sufficiently far from the sitter, to produce harmony of effect when
viewed in the field of the camera. Other difficulties presented
themselves seriously to the working of the discovery of Daguerre, to
portrait taking—one of which was the necessity for a constant and
nearly horizontal light, that the shaded portions of the portrait
should not be too hard, and yet, at the same time, be sufficiently well
developed without the “high light” of the picture becoming overdone,
solarized or destroyed. In almost all the early specimens of the
Daguerreotype, extremes of light and shade presented themselves, much
to the annoyance of the early operators, and seriously objectionable
were such portraits. To overcome this difficulty, Mr. Wolcott mounted,
with suitable joints, upon the top of his camera, a large looking-glass
or plane reflector, in such a manner that the light of the sun (as a
strong light was absolutely necessary), when falling upon the glass
could be directed upon the person in an almost horizontal direction.
Early in February, 1840, Mr. Johnson, Sen., (since deceased) sailed for
Europe with a few specimen likenesses taken with the instruments
completed as above, with the intention of patenting the invention. On
his arrival a joint arrangement was effected with Mr. Richard Beard, of
London, in patenting and working the invention in England. Up to
February, 1840, but few friends had been made acquainted with the
progress of the art in the hands of Mr. Wolcott and myself. From time
to time reports reached us from various sources of the success of
others, and specimens of landscapes, etc., were exhibited at Dr. James
R. Chilton’s laboratory, in Broadway, much to the gratification of the
numerous visitors and anxious expectants for this most wonderful
discovery. Dr. Chilton, Professor J. J. Mapes, Professor J. W. Draper.
Professor S. F. B. Morse, all of this city; Mr. Cornelius, Dr. Goddard
and others of Philadelphia; Mr. Southworth, Professor Plumbe, and
numerous others were early in the field; all, however, using the same
description of camera as that of Daguerre, with modification for light,
either by enlargement by lens and aperture for light, or by shortening
the focal distance.
At a conversational meeting of the Mechanics’ Institute, Professor J.
J. Mapes being present, a question was asked if any one present could
give information relative to portraiture from life by the
Daguerreotype. Mr. Kells, a friend of Mr. Wolcott and a scientific and
practical man (since deceased), at once marked out upon the
black-board, the whole as contrived by Mr. Wolcott. This gave publicity
to the invention of Mr. Wolcott. Shortly after, Professor Mapes, Dr.
Chilton, and many others, sat for their portraits, and were highly
gratified. Professor Morse also came and proposed to Mr. Wolcott to
join him in the working of the invention, etc.
From this time much interest was manifested by our friends in our
progress. Rooms were obtained in the Granite Buildings, corner of
Broadway and Chambers street, and fitted for business. The rooms being
small, it was soon found impracticable to use the arrangement of
looking-glass, as previously spoken of; a new plan became necessary, to
introduce which, the sashes were removed, {199} and two large
looking-glasses were mounted in proper frames, thus:—
[Illustration: Fig. 13]
Just in front, and between the sitter and {200} the reflector, upon a
proper stand, were used those paper muslin screen before described;
also screens of tissue paper. These screens, however, when they were
used, required so much time for a sitting, that some other medium, as a
protection to the eyes, became absolutely necessary. The most plausible
thing that suggested itself was blue glass; but, as this could not be
found, numerous were the expedients proposed by the friends of the art,
who from time to time visited our rooms. At the suggestion of Professor
Mapes (who is ever ready to assist those in perplexity), a trough of
plate glass s, about twenty-eight inches square in the clear, and from
three to four inches thick, was filled with a solution of ammonia
sulphate of copper, and mounted on the frame as in the sketch, which,
for a time, answered extremely well; soon, however, decomposition of
this solution became apparent from the increased length of time
required for a sitting, although to the eye of an observer, no visible
cause for such long sittings could be pointed out. Professor Mapes
being appealed to, suggested that to the above solution a little acid
be added which acted like a charm—shortening the time for a sitting
from six, eight, or ten minutes to that of about one. Decomposition,
however, would go on by the action of light and heat through the
solution. New solutions were tried, when the whole were finally
abandoned as being, too uncertain and troublesome. (The reflecting
apparatus R, was placed upon the stand as in the sketch, with a wedge
for elevating the camera, between it and the table, to obtain the image
properly upon the plate.) A quantity of blue window glass was next
obtained, and holes drilled through the corners of it, and several
sheets were wired together to increase the size, and, when complete,
was suspended from the ceiling in its proper place, and so arranged
that when a person was sitting, this sheet of glass could be moved to
and from, the object of which was to prevent shadows on the face of the
sitter produced from the uneven surface of the glass. This latter
contrivance was used until a perfect plate of glass was procured.
The number of persons desirous of obtaining, their miniatures, induced
many to entertain the idea of establishing themselves in the Art as a
profession, and numerous were the applications for information; many
persons paying for their portraits solely with the view of seeing the
manner of our manipulations, in order that they might obtain
information to carry on likeness-taking as a business.
The reflecting camera being a very troublesome instrument to make, and
difficulties besetting us from every source, but little attention could
be given to teaching others; and, indeed, as the facts seemed to be at
this time, we knew but little of the necessary manipulations ourselves.
In course of time, several established themselves. The first one, after
ourselves, who worked the discovery of Daguerre for portrait taking in
this city, was a Mr. Prosch; followed soon after by many others, in
almost all cases copying the reflecting arrangement for light, as
figured above, many using it even after we had long abandoned that
arrangement for a better one.
Innumerable obstacles to the rapid advance of the daguerreotype,
presented themselves almost hourly, much to the annoyance of ourselves,
and those dependent upon our movements for their advancement. Among the
most difficult problems of the day, was the procuring of good plates.
Messrs. Corduran & Co. were among the first to supply the trade; at
that early day, however, it was a very rare thing, to be able to
procure an even perfect surface, from the fact that a pure surface of
silver could scarcely be obtained, the manufacturers deeming it too
much trouble to prepare silver plated copper with pure silver—the
result was, that in attempting to polish perfectly such plated metal as
could be procured, the plates would become cloudy, or colored in spots,
from the fact of having more or less alloy, according as more or less
of the silver surface was removed in polishing the plate fit for an
impression. To explain more clearly, it was the practice of most silver
platers to use an alloy for silver-plating. In the reduction of the
ingot to sheet metal, annealing has to be resorted to, and acid pickles
to remove oxides, etc. The number of times the plated metal is exposed
to heat and acid in its reduction to the required thickness, produces a
surface of pure silver. The most of this surface is, however, so rough
as to be with difficulty polished, without in places removing entirely
this pellicle of pure metal, and exposing a polished surface of the
alloy used in plating. Whenever such metal was used, very unsightly
stains or spots frequently disfigured the portraits. The portrait, or
portion of it, developed upon the pure silver, being much lighter or
whiter than that developed upon the alloy; it therefore appeared that
the purer the silver, the more sensitive the plate became. Accordingly,
we directed Messrs. Scovills, of Connecticut, to prepare a roll of
silver-plated metal, with pure silver; it fortunately proved to be a
good article, but, unfortunately, a pound of this metal (early in 1840)
cost the round sum of $9. Like descriptions of metal, the same
gentlemen would be glad to furnish, at this time, for $4. Soon after
this, some samples of English plated metal, of a very superior quality,
came to our possession, and relieved us from the toil of making and
plating one plate at a time, an expedient we were compelled to resort
to, to command material to meet the pressing demands for portraits.
Having it now in our power to obtain good plated metal, a more rapid
mode of polishing than that recommended by Daguerre was attempted as
follows:
This metal was cut to the desired size, and having a pair of “hand
rolls” at hand, each plate, with its silvered side placed next to the
highly polished surface of a steel die, was passed and repassed through
the rolls many times, by which process a very smooth, perfect surface
was obtained. The plates were then annealed, and a number of plates
thus prepared were fastened to the bottom of a box a few inches deep a
foot wide, and eighteen inches long; this box was placed upon a table
and attached to a rod connected to the face plate of a lathe, a few
inches from its centre, so as to give the box a reciprocating motion. A
quantity of emery was now strewn over the plates, and the lathe set in
motion. The action produced wag a friction or rubbing of the emery over
the surface of the plates.
When continued for some time, a greyish polish was the result. Linseed,
when used in the same manner, gave us better hope of success, and the
next step resorted to was to build a wheel and suspend it after the
manner of a grindstone. The plates being secured to the inner side of
the wheel or case, and as this case revolved, the seeds would
constantly keep to the lower level, and their sliding over the surface
of the plates would polish or burnish their surfaces. This, with the
former, was soon abandoned; rounded shots of silver placed in the same
wheel were found not to perform the polishing so well as linseed.
Buff-wheels of leather with rotten-stone and oil, proved to be far
superior to all other contrivances; and, subsequently, at the
suggestion of Professor Draper, velvet was used in lieu of buff
leather, and soon superseded all other substances, both for lathe and
hand-buffs, and I would add, for the benefit of new beginners that
those who are familiar with its use, prefer cotton velvet. The only
requisite necessary is, that the buffs made of cotton velvet should be
kept dry and warm.
The greater number of operators, with whose practice I am familiar,
use, for polishing plates, prepared tripoli, imported from France, or
Browne’s rotten-stone. The former of these articles is very
objectionable, inasmuch as there is no positive certainty of being
enabled to procure or make the article of uniform grit—the nature of
the substance rendering, it impossible to reduce it to varying degrees
of evenness, by the well known process of washing, for that purpose,
and the burning of rotten-stone changes its chemical nature somewhat,
at the same time rendering, this invaluable article harsh and gritty.
And especially, no reliance can be placed upon burned rotten stone if
purchased from those who do not give very great attention and care to
its preparation; and the same remarks apply to rouge.
The best article for polishing Daguerreotype plates is rotten-stone,
such as can be procured in any town, prepared after the following
manner: Procure, say half a dozen wide-mouthed bottles, of suitable
dimensions, numbering each from one to six. Put into No. 1 about half a
pound of rotten-stone, and nearly fill the bottle with water. Then,
with a proper stick or spatule, mix well the rotten-stone and water;
after which, let No. 1 rest for, say one minute, then carefully pour
off into bottle No. 2 (or, what would be better, draw off by a syphon)
as much of the floating particles of rotten-stone as is suspended in
the water. Again fill bottle No. 1 with water, agitate it as before,
and decant it to bottle No. 2, care being taken to draw off only the
suspended particles of rotten-stone.
When a sufficient quantity of washings from bottle No. 1 is collected
into bottle No. 2, a similar process must be gone through, as above
stated, for No. 1; the difference being in the care required, and in
the time allowed between the stirring or mixing the rotten-stone and
water. The floating particles of rotten-stone, after four minutes’
subsiding, will be found fine enough for the finest Daguerreotype
polishing required.
A quantity of such washings may be collected in a large bottle, and
allowed to stand a few hours, when all the rotten-stone will have
settled. The water may be poured off and the rotten-stone put into an
evaporating dish, and while being dried, must be constantly stirred to
obtain an impalpable powder.
Further washings may in like manner be resorted to for finer qualities
of rotten-stone. In my practice, I have used the articles at two and
four minutes’ settling, and occasionally have prepared it after
standing for eight minutes. So fine a quality as this, however, is
seldom required. In using, rotten-stone, I mix with it, for polishing,
fine olive oil, until I obtain a thin paste—and the best of all methods
for polishing (well planished) Daguerreotype plates, is one like that
used for glass by lens polishers; that is, by using a disc or
buff-wheel, and having, a suitable holder by which to secure the plate,
and then by pressing the plate against the revolving buff, well
saturated with the mixed oil and rotten-stone, a very good surface is
obtained. A quantity of plates may be prepared in this way, and all the
adhering oil, etc., may be removed by a clean hand, or lathe buff,
after which each plate must be heated to the point necessary to burn
off the remaining oil great care being required not to overheat the
plate. A very slight excess of temperature will at once destroy all the
polish previously obtained. The test for ascertaining the right
temperature is at hand; the adhering oil will be driven from the plate
in the form of smoke when the right temperature is reached. The moment
the smoke ceases to rise from the plate, the heat must be removed, and
the plate quickly cooled upon a piece of iron.
A quantity of plates thus prepared may be kept on hand for any required
time, and the labor of one minute, with a lathe or hand-buff with dry
charcoal, or rather, prepared lampblack, will perfectly polish the
surface ready for indexing, etc. This lampblack also requires some care
in preparing. Take a small-size crucible, properly temper it by a slow
fire, that it may not be cracked after which, fill it with common
lampblack, cover it over with a piece of soap-stone, and again replace
it in the fire. Build a good hard coal fire around it continue the heat
for two or three hours, being careful not to raise the cover till the
crucible be quite cold. Pulverize when using it. It is very desirable
to keep this lampblack dry and warm. Some operators use much rouge I
would recommend the above in preference; but those who feel that they
cannot dispense with the use of rouge, had better try a large addition
of prepared lampblack to a small one of rouge, as this latter article,
unless great pains be taken in its preparation, will adhere and work
itself into the body of the surface, so that it cannot be removed
therefrom; and I have seen many specimens of Daguerreotype very much
injured in effect from this rouge tint disseminated throughout their
shaded features, at the same time that the whole general effect of such
pictures is that of a want of life. It is true that with the use of
rouge a very high degree of polish may be obtained, but probably not
higher than can be produced with many other substances of a less
objectionable nature.
From the announcement of the discovery by Daguerre to the beginning of
the year 1840, I am not aware of any attempt to lessen the time for the
action of an image, or an impression, other than that of the reflecting
camera invented by Mr. Wolcott. Early, however, in 1840, Mr. Wolcott
was desirous to be enabled to further shorten the time for a sitting,
and having some knowledge of bromine and its action, by request, Dr.
Chilton prepared a small quantity; but Mr. Wolcott did not succeed very
well with it, he having invariably used too much in combination with
iodine to produce that sensitive coating now well known to the
profession. Professor Morse, of this city, Dr. Goddard, of
Philadelphia, and others, in the years 1840 and 1841, were acquainted
with the use of bromine. N. Griffing, of this city, or myself, used
with tolerable success, iodine in large excess to nitric acid and
water; and, subsequently, to nitro muriatic acid (which reacted and
formed a peculiar chloride of iodine); this latter combination proved
to be preferable to simple iodine, at the same time somewhat more
sensitive, and was used by me in this city up to the time of my leaving
for London (October 1, 1840). On arriving in London, I instituted a
series of experiments in the various chemical combinations, solely with
the view to be enabled to obtain more speedily a portrait than it was
practicable to do with any known chemicals at that date. The high
latitude, and the winter season of the year rendering but a feeble
light at best, the greater the necessity for a more sensitive chemical
preparation to the shortening the time for a sitting. Near the
beginning of the year 1841, I discovered and practically applied,
chloride of iodine to great advantage, and, as far as memory serves me,
I believe the first used in this country was some made and shipped,
Messrs. Harnden & Co., from London, to Mr. Wolcott, in New York.
About the same time, Mr. John Goddard, of London (who was associated
with myself), discovered a rather valuable combination of chemicals,
consisting of a mixture of iodine, bromine, iodus, and iodic acid, and
a proper combination of those bodies gave an action somewhat more
sensitive than chloride of iodine—but the “high lights” of the
portraits would become solarized or overdone, more frequently with this
combination than with the chloride of iodine. Throughout the year 1841,
I used, with great success, chloride of iodine, applied as one
coating—occasionally in conjunction with Mr. Wolcott, attempting the
use of iodine, bromine, and chlorine, and at times with more or less
success. The difficulty of exactly combining, the three elements above
mentioned, in order to produce a certainty of result with harmony of
effect, was the work of many months, with great labor and study, the
slightest modification requiring a long, series of practical
experiments, a single change consuming, frequently, an entire day in
instituting comparisons, etc., etc.
Early in the year, 1842, I discovered a combination of chemicals (now
known in London as “Wolcott’s Mixture,” in hermetically sealed bulbs)
of exceeding uniform character, very sensitive to the action of light,
and specimens produced in 1842-3, with this combination, will bear
comparison with the best specimens produced at this late date.
About the same time, I discovered that however much overdone a
Daguerreotype might be, the means were at hand to save or redeem it. It
has long, since been known to operators, that if a plate be exposed to
light after being coated, unless it be again coated, a clear and
distinct picture could not be obtained upon the same plate without
first repolishing and recoating the same, care being taken that no
light fall upon the prepared surface. To prevent solarization, coat a
plate as usual, expose to the action of light any required time
(according to circumstances), say from quarter to one half more time
than would be required in the ordinary method of procedure; observe,
before putting the plate in the mercury box, place it over the vapor of
iodine, bromine, or chlorine, etc. (carefully excluding the light), for
a very brief period, great care being required to have the selected
vapor very much diluted with air, in order to success. Many experiments
will be required ere arriving at satisfactory results. Specimens now
unknown to general operators, for harmony of effect, have been, and may
again be produced by the method pointed out above. I have found the
best general effect, and the most certain result to follow from the use
of the vapor of chlorine—but this requires more than ordinary care. I
would, therefore, recommend the use of iodine. Thus: to a few grains of
iodine, add an ounce of warm water (which will become tinged with
iodine); when cold, to half a pint of pure water in a new and clean
coating box, put, of the above, fifty drops; stir and mix well this
small quantity of iodine in with the water; in ten minutes this box
will be ready for use. Great care and judgment will be required in the
application of this vapor to the plate; if the plate remain over the
vapor too long, the developed picture will have a faint and misty
appearance; if not exposed long enough, the “high light” will be
solarized. I have great hope of the ultimate use of this process, as it
is the only means yet discovered to be enabled to secure specimens of
extremes of light and shade, yet producing harmony of effect; and I
would call the attention of the profession to the fact, that a plate
may be exposed to the action of light for any length of time (a
thousand times longer than required to act for the lesser quantity of
mercury to deposit itself, or that amount necessary to form a perfect
specimen), and be restored by the application of any of the vapors
above mentioned, remarking that for extremes for solarization, denser
vapors will be required. Much remains to be done with this discovery to
the application of the Daguerreotype.
HUMPHREY’S JOURNAL OF THE DAGUERREOTYPE & PHOTOGRAPHIC ARTS.
The above-named publication is well known as the best and most valuable
one devoted to the Photographic Science in this country. Humphrey’s
Journal made its appearance November 1st, 1850, and consequently is the
first and oldest serial offered to the Photographic world.
The art of producing Portraits and Landscapes by means of Light, has
recently taken a new and enlivening impulse, which will in all
probability lead to important and interesting results. No practical
Daguerreotypist, Photographer, or amateur, should be without the means
at hand for securing all of the information upon this subject. Each
should be ready to receive and apply the improvements as they may be
developed. In order to accomplish this, it is a matter of great
importance to the Practitioner or Experimenter that he should have a
reliable medium through which he can obtain information. In what source
can the inquirer better place his confidence than in a regular Journal,
whose editor is literally a practical person, and familiar with the
manipulations necessary for producing Portraits upon “Daguerreotype
Plates,” and upon glass and paper? Such is the conductor of Humphrey’s
Journal.
This Journal is published once every two weeks, and contains all the
improvements relating to the Art, and is the only American Journal
whose editor is practically acquainted with the process for producing
Daguerreotypes, Ambrotypes, and Photographs. The first No. of Vol. X.
is dated May 1st, 1858. The terms (Two Dollars per annum) are trifling
compared with the vast amount of information furnished.
AMBROTYPES.—Humphrey’s Journal contains everything novel which appears
upon this subject, and has already presented more new, important, and
original matter than can be found in any other place.
Many are the letters we have received during the term of the last
volume, in which the writer has stated that a single number of
Humphrey’s Journal has contained information of more value to him than
“several times the amount paid for the entire volume.”
Our resources have grown up around us, and our facilities for
procuring, as well as distributing, all such facts and improvements as
will benefit as well as instruct all who have the progress of the Art
at heart, are as ample as they can well be made.
The future volumes will be abundantly furnished with original writings
from persons of standing in the scientific world; and the practical
Photographer will here find a full account of such improvements as may
from time to time develop themselves.
From the editor’s long practical experience in the Heliographic
Science, he will be enabled to present the subject in a plain, clear,
and concise manner.
Read what the Editors say of Humphrey’s Journal:—
“We have received a copy of a valuable Journal (Humphrey’s) published
in New York, which has reached the 18th number of Vol. VI.... We now
have the pleasure of quoting from our trans-atlantic
coadjutor.”—Liverpool Photographic Jour.
“Humphrey’s Journal is practical as well as scientific in
character.”—American Journal of Science and Arts.
“It treats the subject knowingly and with force.”—New York Tribune.
“It is both a popular and interesting publication.”—Mechanics’
Magazine.
“It is highly useful to all who practice ‘shadow catching.’”—Ohio State
Journal.
“The work is neatly gotten up, and contains many interesting varieties
in this new field of science.”—Times.
“It should be hailed and encouraged, not only by Daguerreotypists
themselves, but by every lover of Science and Art.”—The Democrat.
“We cannot too strongly urge all artists, and those persons who feel an
interest in the Heliographic Arts and Sciences, to take a copy of the
work.”—Sentinel.
“It is indicative of talent worthy of the important Art it is designed
to elevate.”—American.
“This Art is entitled to its own organ, which could not have fallen
into better hands than those of the editor of ‘Humphrey’s
Journal.’”—Transcript.
“It is a scientific work of interest and usefulness.”—Star of the
North.
“This Journal answers many points heretofore regarded as
inexplicable.”—Hudson River Chronicle.
“It is rich with interest.”—North American.
“It contains all the ‘Improvements.’”—Delta.
“It teaches us how to take our own portraits.”—Bee.
“It will cultivate a taste for Daguerreotypes.”—Commercial Advertiser.
“It should be in the hands of all.”—Reveille.
“It is the Daguerreotypist’s friend.”—London News.
“It should be found in every library.”—Evening Journal.
From some of our Subscribers
“Humphrey’s Journal has been the means of saving much time and money,
for by its instruction I have been enabled to produce some of the
finest Paper Pictures I have ever seen.” W. P.
“Don’t fail to send me the Journal, for I would not be without it for
five times the amount of subscription. It is the only publication I can
depend upon.” A. G. R.
“Your treatment of the humbugs and humbugging members of the
profession, is of the most valuable importance to us practical
Daguerreans. Go on. God speed! Here is the amount for the renewal of my
subscription.” E. F. S.
“How can any Operator afford to be without it?” L. L. H.
“Here are five dollars: send me Humphrey’s Journal to this amount. I
will not be without it.” M. S.
“It is my best friend.” J. E. W.
We might quote like commendatory extracts enough to more than ten times
fill this page.
Humphrey’s Journal contains 16 octavo pages of reading matter.
TERMS.
One copy per annum, in advance . . . . . . $2 00
Three copies, do. do. . . . . . . $5 00
Six copies, do. do. . . . . . . $9 00
The thousands who read it cannot be induced to remain without it. All
who desire to keep up with the improvements should subscribe for a
copy.
Subscription price Two Dollars per year.
Don’t fail to become a subscriber. Address
S. D. HUMPHREY Office, 37 Lispenard Street, NEW YORK.
THE PRACTICAL MANUAL OF THE COLLODION PROCESS. BY S. D. HUMPHREY.
THIRD EDITION
This Edition contains all the Improvements in the Art made public up to
the day of publication, and gives complete Practical Instructions for
making Collodion Positives or Ambrotypes, Collodion Negatives,
Printing, etc., etc. The quick, great and unprecedented sale of the
first and second editions demonstrates, more than the strongest
language could possibly do, the extraordinary and increasing popularity
of this work. The Third Edition contains two hundred and sixteen 12mo.
pages, of a larger size and in smaller type than either of the
preceding editions, and is illustrated with numerous wood-cuts. It is
intended to be the best practical work extant; substantially bound in
cloth, price One Dollar; forwarded by mail (postage prepaid). Address
S. D. HUMPHREY, New York
A GUIDE TO PHOTOGRAPHY,
Containing simple and concise directions for obtaining Views,
Portraits, etc., by the chemical agency of Light, by W. H.
Thornthwaite, author of “Photogenic Manipulations,” etc. Illustrated
with numerous wood-cuts. The Book contains more than one hundred 12mo
pages, bound in board, and is sold at twenty-five cents per copy, or
five copies for one dollar. Address
S. D. HUMPHREY, New York
HOLMES, BOOTH & HAYDENS, MANUFACTURERS OF DAGUERREOTYPE CASES, PLATES,
CAMERAS, MATTINGS, PRESERVERS, ETC., ETC.
MANUFACTURERS AND IMPORTERS OF EVERY VARIETY OF AMBROTYPE, AND
PHOTOGRAPHIC GOODS,
Of the Best and most approved Quality.
ESPECIAL ATTENTION GIVEN TO THE FURNISHING OF EVERY ARTICLE USED IN THE
PRACTICE OF THE DAGUERREOTYPE
Depot 81 Chambers and 63 Reade St., New York.
Manufactory at Waterbury, Conn.
HOLMES, BOOTH & HAYDENS’ CAMERAS
From 1/4 to the Mammoth size. These CAMERAS are of the most superior
make, and all subjected to the most thorough test before being offered
for sale.
VIEW CAMERAS, made expressly for taking views: an entirely new article.
DAGUERREOTYPE PLATES, OF EVERY VARIETY, AND WE WOULD CALL PARTICULAR
ATTENTION TO THE
Wreath, and H. B. & H. Eagle 40 Plates, AS HAVING NO EQUALS IN THE
MARKET.
SOLE AGENTS FOR THE CELEBRATED H. B. AND N. P. FRENCH PLATES.
Always on hand a complete assortment of Ambrotype and Photographic
goods.
SOLE AGENTS FOR THE Patent solid glass corner Plate Holders.
All orders will receive prompt attention, and be forwarded with
dispatch.
HOLMES, BOOTH & HAYDENS, 81 Chambers, and 63 Reade St. New York.
SCOVILL MANUFACTURING CO.
MANUFACTURER OF DAGUERREOTYPE PLATES, MATTINGS, PRESERVERS, CASES,
APPARATUS, etc., etc.
Importers and Dealers in every description of Daguerreotype,
Photographic, AND AMBROTYPE GOODS,
The SCOVILL MANUFACTURING COMPANY flatter themselves that an experience
of nearly twenty years in the business and the most extensive variety
of the above Goods in the United States, entitle them to the
continuance of orders for the Domestic and Foreign trade, which will
receive the most careful attention.
Park Building, New York. Entrances—36 Park Row, 4 Beekman, and 141
Nassau Street.
SCOVILL MANUFACTURING CO.
Would call especial attention to their large variety of
CASES,
Embracing many Fancy Styles made only by themselves, and to which they
are constantly adding New Designs.
Union Cases, Of all sizes, with Riveted Hinges. AGENTS FOR THE SALE OF
C. C. HARRISON’S CAMERAS,
with improvements, which we are now prepared to sell at reduced prices,
and warranted to give better satisfaction than ever before
DAGUERREOTYPE PLATES, H. B.—N. P.—Star and other brands PLATE GLASS,
embracing three-quarters white: Crown and all other varieties. We would
call particular attention to our Black Glass, made expressly for
Ambrotypes.
CHEMICALS, for the Daguerreotype and Photographic Art. Iodized and
Plain COLLODION. Gun Cotton, etc., etc. Tagliabue’s Collodiometres and
Actino-Hydrometres, for testing Chemicals.
APPARATUS OF EVERY VARIETY.
Gutta Percha, Porcelain, and Glassware of all kinds used in the Art.
A large assortment of Gilt Frames always on hand and made to order.
Ambrotype Shields, with solid corners of a new style.
All orders will meet with prompt attention
SCOVILL MANUFACTURING CO., PARK BUILDINGM New York 36 Park Row, 4
Beckman, and 141 Nassau Street.
HARDWICH’S PHOTOGRAPHIC CHEMISTRY AMERICAN EDITION.
A MANUAL of PHOTOGRAPHIC CHEMISTRY,
INCLUDING THE PRACTICE OF THE COLLODION PROCESS.
BY
T. FREDERICK HARDWICH,
LECTURER ON PHOTOGRAPHY IN KINGS COLLEGE, LONDON; LATE DEMONSTRATOR OF
CHEMISTRY IN KING’S COLLEGE.
Last Edition,
The above is the title of this new and valuable work. It is too well
known to need any further comment in this place. This volume contains
nearly 300 large duodecimo pages, bound in red cloth, $1.00. Copies to
be forwarded by mail, $1.18, postage pre-paid.
S. D. HUMPHREY, Photographic Book Publisher, 37 LISPENARD
STREET, NEW YORK,
N.B. Postage stamps taken.