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THE

AMERICAN JOURNAL

OP

PHOTOGRAPHY

AND THE

ALLIED ARTS & SCIENCES.

CHARLES A. SEELY, A. M., Editor.

Sew Scries.— Vol 1.

1858-9.

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S 33 S L "ST Sz GARBANATI

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THE ^LMEFilC^LjST

[MEW SERBI'S.]

Vol. 1.]

JUNE 1, 1858.

[No. 1.

MR. DIXON'S COLLODION FILTER.

BY THE EDITOR.

vulcanized rubber

The very neat apparatus represented
in the engraving is the invention of Mr.
Joseph Dixon, the well known manufac-
turer of black lead crucibles.

The apparatus consists of three prin-
cipal parts or pieces blown from glass,
viz : The pear-shaped funnel, the bal-
loon-shaped reservoir of filtered collo-
dion, and the cylinder-shaped reservoir
of unfiltered collodion at the bottom.
The filtering material, cotton paper or
sand, is represented by the dark band at
the bottom of the balloon. The parts of
the apparatus are carefully adjusted to
each other, and fitted air-tight by being
ground, or by suitable packing.

The operation of the filtering will now
be readily understood. The collodion
is introduced in the opening at the top
of the apparatus, passes down the fun-
nel tube into the lower reservoir, up-
ward through the filter, into the balloon
from which it may be drawn off by the
stop-cock The air in the pear-shaped
funnel is connected with the air in the
balloon by means of a tube of glass or
in order to equalize the pressure.

THE AMERICAN

The advantages of this method of filtering are that inas-
much as the liquid passes upward through the filter, the filter
will not so easily get foul, and that, the whole liquid being
confined, nothing will be lost.

The contrivance has been in successful use for several
months

WHO MADE THE FIRST PHOTOGRAPHIC PORTRAIT ?*

BY DR. JOHN W. DRAPER.

University, New York, May 3d, 1858.

Gentlemen :

Your letter of April 29th has only just come into my
hands, owing to my absence from the city for a few days.
In answering it I cannot refrain, in the first place, from
expressing surprise that any question should arise respect-
ing priority in taking Photographic portraits. It will soon
be twenty years since I took the first one, and during that
time I have uniformly laid claim thereto in various publi-
cations,— in my chemistry, which is commonly used as a
text book in schools and colleges, in the Philosophical Ma-
gazine, in lectures, and in various other ways, — and I have
not learnt that there was any question upon the point. I
will however, without any hesitation, furnish you with
such facts as you ask for, and shall also be happy to give
you any further explanations which your proposed enquiries
may appear to render necessary.

It will shorten very much what I have to say, if you will
refer to an article published in Mr. Snelling's Photographic
Journal for December, 1854, p. 381. It contains a short
statement of my early connection with Photography. From
it you will learn that for nearly ten years before any one
in America had turned attention to the subject, I had been
occupied with the chemical effects of light, and had pub-
lished in the Journal of the Franklin Institute and else-
where, a good deal in relation to it.

For years before cither Daguerre or Talbot had published
anything on the subject, I had been in the habit of using
sensitive paper for investigations of this kind. It was thus

* The letter of Dr. Draper is the answer to the request of the Committee of the
American Institute, for information on the subject discussed. For the origin of the
correspondence see "Photography at the American Institute," p. 11. — [Ed

JOURNAL OF PHOTOGRAPHY.

as 3^011 will find by looking into the Journal of the Franklin
Institute for 1831, that I had examined the impressions of
the solar spectrum, proved the interference of the chemical
rays, investigated the action of moonlight and of flames,
either common or colored, red or green, and also the effects
of yellow and blue solutions, and other absorbing media,
You will notice that in these experiments I was using the
preparations of bromine, about which so much has of late
been said. The difficulty at this time was to fix the impres-
sions. I had long known what had been done in the copy-
ing of objects by Weclgewood and Davy, had amused my-
self with repeating some of their experiments, and had even
unsuccessfully tried the use of hyposulphite of soda, having
learnt its properties in relation to the chloride of silver from
Herschel's experiments, but abandoned it because I found
it removed the black as well as the white parts. This want
of success was probably owing to my having used too
strong a solution, and kept the paper in it too long.

To come to the point of your more particular enquiry, —
When Mr. Talbot's experiments appeared in the spring of
1839, they, of course, interested me greatly, as having been
at work on the action of light for so many years. I re-
peated what he published and varied it. This was whilst
I was professor at Hampden Sidney College in Virginia,
and before anything had been published by Daguerre. I
tried to shorten the long time required for setting the pic-
ture of a house or a tree, by using lenses of large aperture
and short focus, and this was the germ from which the art
of portraiture eventually arose. I may mention among
such experiments that, not being able to get a lens of
aperture enough to suit me, I tried a reflecting mirror or
rather a reflecting telescope belonging to that college, and
I presume, is there still. It was a Gregorian one, the mirror
from four to five inches aperture and perhaps 3J feet focus.
(I speak from recollection not having seen it for nearly
twenty years). My plan was to protect the small mirror
from injury by putting in front of it a piece of a cigar box
the size of a cent, on which the bromine sensitive paper
was fastened. I expected to be able to focus by looking
through the hole in the great mirror and moving the little
one by hand, but on trial found it unmanageable and not
answering so well as the common refracting camera.
Nevertheless I could get images of any brightly illuminated
object, though too large and too faint. There was no diffi-
culty in getting the outline of a part of a person standing
against a window, but then it was a silhouette and not a
portrait, like those spoken of in Mr. Talbot's paper.

THE AMERICAN

It was during my repetitions of Mr. Talbot's experiments
that I recognized the practical value of the experiments I
had made in 1835, and published in 1837 respecting the
chemical focus of a non achromatic lens, and saw that the
camera must be shortened in order to obtain a sharp pic-
ture. It is the experiment of passing a cone of light
through a known aperture on sensitive paper. It was from
considering the difficulty of getting an impression from
colored surfaces as red or green, that I saw the necessity
of enlarging the aperture of the lens, and diminishing its
focus, so as to have the image as bright as possible ; for
it was plain that in no other way landscapes could be taken
or silhouettes replaced by portraits. And when I had failed
altogether in these particulars, I knew it was owing to in-
sufficient sensitiveness in the bromine paper, and waited
anxiously for the divulging of Daguerre's process, respect-
ing which statements were beginning to be made in the
newspapers.

The first that I knew of the particulars of Daguerre's pro-
cess was the publication of it in the London Literary Gazette,
which contained Arago's report of the meeting of the Academy
of Sciences on Aug. 19th, and this I saw at the time of its
arrival in New York. I do not recollect the date, but it
strikes me it must have been in September. However it
would be very easy to ascertain by looking in the newspapers
of that time. I bought at once some of the common silver-
plated copper, and next day tried Daguerre's process. I be-
lieve I was at that moment the only person in America who
had any practical skill in experiments with light, but then I
had had ten years' experience in such matters. Those of you
who know the failures and disappointments incident to photo-
graphic experiments, can appreciate thoroughly the value of
such a schooling, in a delicate operation like Daguerre's. I
succeeded with no other difficulty than the imperfection of
the silverplating in copying brick buildings, a church, and
other objects seen from my laboratory windows

I now returned to the attempts at portraiture, and upon
the principles I had already ascertained before the publication
of Daguerre, resorted to a lens five inches in diameter and
seven inches focus, which I still have. I dusted the face of
the sitter with flour and pushed the back of the cimera to the
violet focus. At this time I did not understand well the
manner of illuminating the object, and making the trial in a
room, succeeded however in getting an impression, but observ-
ing that the dark parts of the clothing impressed themselves,
I saw it was altogethor unnecessary to whiten the face, and
on trial found that the forehead and cheeks and chin on which

JOURNAL OF PHOTOGRAPHY.

the light fell most favorably, would come out first. By in-
creasing the illumination and prolonging the time I could get
the whole countenance. But as you will gather from the size
of the lens I used, though it was a combination of a pair of
convexes, nothing like a good picture was possible, so I ex-
changed it for one of four inches aperture and fourteen inches
focus. As improvement went on from day to dav, I found
that a common spectacle glass would answer if the sitter was
in the open air, and with such a one fastened into a cigar box
I obtained many proofs ; but since it was necessary with such
an aperture to use so much light, all the proofs I had obtained
were defective about the eyes

At this stage the problem of portraiture must be con-
sidered as solved. It had become a mere question of ob-
taining a suitable achromatic lens, and good plating. As
respects the latter, I had for some time used a piece of
pure sheet silver, which answered perfectly while it lasted,
but with so often heating it on the spirit lamp it became
crystalline, and broke to pieces.

About this time I became acquainted with Prof. Morse,
and we subsequently had a building on the top of the Uni-
versity in which we took many portraits, at first with my
four inch lens, and then with a French achromatic and
French plates which we imported. We also gave instruc-
tion to a number of the earlier artists. I could relate to
you many interesting incidents of our conjoint trials, dis-
appointments, and eventual success, which would doubtless
interest you, but they are perhaps what you are not looking
for now.

In March, 1840, 1 sent a note to the editors of the London
and Edinburgh Philosophical Magazine, mentioning my
success in solving the problem of portraiture, and in Sep-
tember the same year published a detailed account of the
whole operation. I had sent to Europe, in the meantime,
specimens, and had received letters of acknowledgement.

In 1840 I was informed that Mr. Wolcott had succeeded
in making an elliptical mirror of seven inches aperture and
fifteen or eighteen inches focus, and had obtained portraits
with it. I alleged against it the limited size of the plate
that could be worked, the impossibility of preventing its
being stained in an open camera, its unfavorable position
in front of the mirror, though admitting its advantage in
correcting the lateral inversion of the image. But some
years subsequently, one of his instruments coming into my
possession, I found that I had been altogether misinformed
as to his success in producing an elliptical mirror. It was

THE AMERICAN

only spherical, and was not as good as the telescope mirror
I had myself used and rejected in making silhouettes. I do
not think that any of those instruments are now employed,
and believe that in the present state of mechanical art, even
at this day, no one can grind and polish a piece of metal of
such dimensions, to that figure, as was then asserted.

From what I have said you will therefore gather that
my connection with portraiture elates back to the summer
before the publication of Daguerre's process, and that both
as respects the use of mirrors and lenses, that I met with
various partial successes, but that within a day or two
after the Daguerreotype was made known here by the
London Literary Gazette, I had accomplished the object.
If there is any question of priority it must be reduced to a
few hours, and when your inquiry comes to that, I think
you will find a reliable guide in ascertaining whether there
was any one in the United States known, by the publications
he had before that time put forth, to have the necessary
practical skill in these manipulations to bring such a deli-
cate operation as Daguerre's to a successful result without
hesitation, and to apply it in a case in which Daguerre him-
self had failed.

Photographic portraiture, as we understand it, implies
the use of a lens of large aperture and short focus, it implies
a knowledge of the correction for the chemical focus, and
perhaps the use of bromine. All these things I knew before
the name of Daguerre was mentioned on this side of the
Atlantic, having been occupied with experiments on the
chemical action of light for ten years. How any doubt can
be now entertained as to who took the first portrait, passes
my comprehension.

Yours truly,

J. W. Draper.
Messrs. Stetson, Cohen, Seely,

Committee of Mechanics' Club.

NEW METHOD OF RECTIFYING THE NITRATE BATH,

BY THE EDITOR.

Acid is considered by many as the sovereign remedy for a
foggy bath. But there are cases when the use of acid is im-
practicable, and indeed totally ineffective In my own ex-
perience I have had little trouble from a foggy bath, and

JOURNAL OF PHOTOGRAPHY.

I believe that the causes which produce that mishap may
always be prevented. Fogginers may generally be traced to
carelessness of the operator, impurity of chemicals, or unsuit-
ableness of the material of the containing vessel. Yet the evil
is common, and a cure is sought by many.

The new remedy I propose is the exposure of the nitrate
solution in a colorless glass bottle to the sunlight. The first
trial of this method was made about four months since, and
with such success that I have recommended it to correspon-
dents and others in all cases where acid would not immediately
be effectual. In every case the trial has been satisfactory.
When all other remedies failed this succeeded.

The theory is evident. By the action of light the nitrate
of silver, destroys and precipitates the injurious organic mat-
ter. When the operation is complete the solution is perfectly
colorless, and devoid of smell. The time required for the ex-
posure would evidently depend upon the conditiqn of the bath
and intensity of the light . Probably one week would be suffi-
cient for any case that might happen. If the impure bath is
already acid it should be made neutral by carbonate of soda
or potash, before the exposure.

From the London Times.

A NEW DRY COLLODION PROCESS,

Having lately made a series of experiments to find out
some less complicated process than any at present in use
for preserving the sensitiveness of collodion plates, I have
discovered one which is so simple that I venture to hope
you will deem it of sufficient value to the photographic
world, to give it publicity in your widely circulating
Journal.

The plate, being collodionized and sensitized in the usual
manner is washed, with rain water, and after draining for
about half a minute, I pour on the collodion film some
plain albumen, which has been obtained by the well beat-
ing up the white of one egg with a quarter of an ounce of
water, and allowing to subside. After half a minute, the
albumen is washed off under a gentle stream of rain water,
enough remaining in the pores of the collodion to answer
the purpose of preserving its sensitiveness. The plate is
then allowed to dry, and is fit for use.

The advantages of this process are : — 1st. Absence of
blisters. 2nd. Absence of bubbles in the albumen, these

THE AMERICAN

being washed off with the surface albumen. 3d. The re-
sulting negative is remarkable for softness. 4th. The
plate requires only one sensitizing. 5th. With some collo-
dions which will be mentioned in the next number of the
Journal of Photography, much less exposure is required
than by any other keeping process known to me. 6th. The
negative requires only a few minutes in developing by us-
ing (after previously moistening the plate) from 1% to 2
grs. of pyro-gallic acid to the oz. of water, and the usual
amount of acetic acid.

The only disadvantage I have yet encountered, and that
not often, is a tendency of the developer to get under the
film. As yet, however, I have had but one picture slightly
impaired but not spoiled by that circumstance, and I think
the evil may certainly be prevented by rubbing the edge of
the plate after the last washing with the finger dipped in a
little albumen. From six to nine drops of liquid ammonia
added to each egg seems to increase the sensitiveness of
the film. But, at present, I recommend trying the plain
albumen. I believe plates may be kept an indefinite period
when prepared with care. I have kept some a week with-
out the slightest loss of sensitiveness.

I have the honor of subscribing myself

Yours, obediently,

Thomas Fothergill.

8 Inverness Road,

Londox, Jlpiil 2ith.

AN INCIDENT.

BY W. CAMPBELL.

In photographic rooms curious incidents sometimes occur.
The following, which has something of the serio-comic about
it, is a veritable case. Being an actor in the piece, I can
vouch for every word of it.

Some years ago (we were daguerreotyping then) a visitor
presented himself for a picture, he was an Irishman, his brogue
and his brogans too, both alike, told his country ; we inquired
if we could do anything for him, as he seemed to hesitate, and
a spasmodic jerking at his hat betrayed a troubled mind.
" Sure an do ye take pictures here," — we said, " we do,'' —
" An could ye take the picture of my wife." " Oh certainly."
— '' But she is dead and buried, plase sir." "Ah, indeed !

well ?" (here we had to take back something of our assurance.)
no doubt he observed our hesitancy, for his head sunk, and I
have no doubt his heart too. " She 's dead and buried sir," —
and his affection appeared about to show itself in a flood of
tears. So condoling with him as well as we could, we ex-
plained to him the necessity of having the object by us that
required our skill. Suddenly a ray of hope seemed to lighten
up his features. "An sure sir, plase tell me, can ye take the
picture of anything?" "Oh, yes, that is" (here we were very
guarded this time) " if the thing you want a picture of is in
existence, and we can get at it." " Ough, an ye can get at it,
sure I'll fetch it to ye " So with this he started for the door,
but he had not got his hat on before he turned back ; "Now,"
said he very seriously, "ye said ye could take the picture of
anything I'll bring." The poor fellow was evidently under
the impression that we could only take the picture of the
human face, so we assured him that he could bring nothing
that we could not take a picture of, and with this he left. He
was gone about half an hour, when he returned and brought a
basket, and, without saying one word, proceeded to place the
contents on the floor ; first came a woman's bonnet, then a
shawl, a gown came next, a pair of stockings and a pair of
shoes emptied the basket, no ; not quite, a small parcel care-
fully laid on one side was next unrolled, and two oranges, one
of them half sucked was laid beside the apparel. Amazed, we
looked on in silence ; there was nothing there we could not
take a picture of that was certain.

"Now then" said he, "ye said ye could take a picture of
anything I'd bring, them's the old woman's clothes ; it's all I've
left of her, au' if ye can give me a picture of them I'll be
pleased." At first we were at a loss to know if he were really
serious, bnt there was no mistaking that when we looked in his
face, so we proceeded to arrange the clothes in as artistic a
fashion as our skill and the subject would permit,. We took
two pictures, both good, and after colouring them, with an extra
touch to the orange, at his own request, he took one, and we
kept the other- " Thankee Sir," said he, as he left, fc' them's
all I've got of the ould woman, they're sure to get scattered
about, but when I looks at this, I shall think I see my wife.
Thankee Sir." And he left, as happy as a heart full of grief
would permit.

I have never looked back on this little incident of life
without an uncontrolable desire to laugh at the idea of taking
a picture of old clothes, but a better nature always rose in
stern reproach, an uncomfortable feeling within, with desire to
pay great attention to my nose, whilst my eyes kept winking

10 THE AMERICAN

at nothing, appeared to trouble me as if it were a punishment
for my ill-timed mirth, and yet I could not — no ! no ! there is
no excuse.

The incident wants no comment — he who rightly reads the
human heart will understand that poor man's feelings. He
who cannot, I sincerely pity him

Jersey City, May 12, 1858.

PHOTOGRAPHY AT THE AMERICAN INSTITUTE.

At the session of the Mechanics' Clnb of the 14th' April, the
subject of Photography discussed at the previous meeting,
reported in this Journal of April 1, was continued. T. B
Stillman, Esq , Chairman, Hon. H. Meigs, Secretary.

It was explained that owing to. the illness of Mr. Dixon,
the promised exhibition and discussion of the methods of en-
larging photographic pictures would be deferred.

The Chairman extended an invitation to all who had any-
thing of interest pertaining to any branch of Photography, to
address the meeting.

Mr. John Johnson gave a detailed history of the early
attempts at daguerreotype portraiture, illustrated by the
apparatus used in 1840, specimens of pictures, and original docu-
ments of that period. He was the Johnson of the firm of
Wolcot & Johnson, who commenced their work on the first
mention of the daguerreotype in this country. First portrait
was made on the 6th or 7th October, 1839. The date was
established by entries on the partnership book, of the pur-
chase of chemicals. Under date of March 21st, 1840, he
found the entry of money first received for a portrait. John-
son, Sen., sailed for England, Feb. 4th, 1840. Exhibited the
American apparatus in London, March 23d. English patents
enrolled June 14th. Paid Daguerre £50 for the use
of the process, and afterwards £200 for the privilege of using
three cameras. Mr Johnson read from journals of 1841, to
show that accelerators were then in common use. He ex-
plained the methods then used of preparing accelerators and
sealing them hermetically in glass bulbs.* Mr. Johnson con-
cluded by offering a resolution to institute enquiries on the
early history of the daguerreotype.

* A specimen of these bulbs may be seen at our office.— [Ed.

JOURNAL OF PHOTOGRAPHY. 11

The action on the resolution was deferred to the close of
the meeting.

Mr. T. D. Stetson made some complimentary remarks on
Mr. Johnson's process of etching daguerreotype plates for
printing purposes. Some prints were exhibited executed
in 1843.

Mr. S. L. Tillman thought that no kind of photographic
etching could yet compete with the ordinary methods of
engraving. In all specimens he had seen there were pal-
pable defects. He called for information on Pretsch's
process.

Mr. C. A. Seely explained Herr Pretsch's process in detail.
A photographic engraved surface was made up of elevated
parts and cavities, corresponding to the lights and shades
without the lines or dots of a common engraved plate by
which the gradation of shading is produced. This was a
radical objection against photographic etching.' Yet for
some purposes it was fairly competing with handwork. He
believed Mr. Dixon (a member of the Institute) had first
employed the bi-chromate of potash for photographic
printing with ink. Mr. S. continued the discussion of the
early history of the daguerreotype, especially in regard
to the claim of Dr. Draper.

Mr.H. H. Snelling had held conversations with Professor
Morse and Dr. Draper on the question of the first portrait,
and believed that neither claimed priority over the other.
It was an undisputed fact that Dr. Goddard of Philadelphia,
introduced the use of bromine.

Mr. N. G-. Burgess was in Paris early in 1840, when
the news that daguerreotype portraits were made in Am-
erica was received with astonishment and doubt.

Mr. T. D. Stetson wished to know something of the pre-
sent condition of the Art. It was so rapidly progressive
that he could scarcely keep pace with the names. What
can be done now ? For example, in how short a time can a
photographic picture be made ?

Mr. J. Cady had made daguerreotypes of the ferry boats
in motion, so that all parts were as distinct as if taken at
rest. The paddles of the wheel, and even drops of water in
the air were faithfully depicted. Had frequently made
good pictures of stages in motion on Broadway, and men
in the act of walking. The pictures were made with what
was called Cyrus' Magic Buff. He was one of the very few
who succeeded with it. The greatest difficulty at first was
in shutting off the light quick enough. He described the

12

THE AMERICAN

ingenious contrivance by which he was enabled to make an
instantaneous exposure. These pictures were made about
six years since. He believed he could do as well with
collodion.

Mr. Tillman thought that the criticism of Dr. Draper's
claim was too severe.

Mr. Seely disclaimed any intention, on the part of those
who opposed Dr. Draper's claim, of going beyond the ques-
tion of what credit was due him as an investigator in
photography. His reputation as an eloquent lecturer and
writer, and able experimentalist was everywhere acknow-
ledged. As to the time of producing a photographic im-
pression, three things are to be taken into account : The
light — the lens — the sensitive surface. To produce a pic-
ture in the shortest time possible, — use the intensest light,
a lens of the largest aperture and shortest focus, chemical
substances of the greatest sensitiveness.

Mr. H. G-arbanati exhibited an Ambrotype executed by
J. D. Davis of Brooklyn at nine o'clock in the evening. The
light used was from the burning of photogenic powder.

M. J. S. Jones read from a copy of the London Athenaeum
just received, a notice of St. Victor's recent researches.

Mr. H. Anthony explained the construction and operation
of the solar camera. As to a photographic society, pro-
posed by some of the preceding speakers, he doubted its
practicability at present. The practical operators had tried
on several occasions to unite. But there was no harmony.
Amateurs, he thought, could not spare the time.

Mr. G-arbanati was present at the preliminary meeting of
the London photographic society. It was largely attended
and the deepest interest, almost amounting to enthusiasm,
characterized its proceedings. Sir Wm. Newton presided
and Robert Hunt was among the secretaries. The meeting
had been preceded by a photographic exhibition of the
Society of Arts, an organization similar to the American
Institute. He strongly urged the formation of a photo-
graphic society in New York. (The concluding remarks
were listened to with applause.)

The resolution of Mr. Johnson presented in the early part
of the meeting, after some modification was passed in the
following form :

Resolved, — that a committee of three be appointed to
investigate the following questions, and report in detail to
the Institute.

1st. Who made the first daguerreotype portrait from life ?

2d, To whom is credit due for so improving the process of Daguerre
that it became practicable for making portraits from life ?

Messrs. T. D. Stetson, L. Cohen, and C. A. Seely were
appointed to carry out the provisions of the resolution.

Mr. A. G-. Grant urged the formation of a society. He
would esteem it a pleasure to communicate anything he
might learn in his contemplated trip to Europe.

*

THE WONDERS OF THE PHOTOGRAPHIC ART.

BY H. GARBANATI.

When first it was noised abroad in the scientific' world, that
a Frenchman had succeeded in affixing impressions of objects
on silver plates, by means of chemical combinations, and that
old Sol believing there was nothing new under his dominion,
had resolved upon something new himself, and had positively
turned engraver, without graver's tools, and by no other means,
than shedding his influence over, and casting his rays upon the
said silver plates, and thereby decomposing the chemical upon
the surface, in exact proportion to the time it was exposed
to his full gaze, or rather, slighting it, in proportion to its
being shaded from his gaze, and then cunning old dazzler that
he is, hiding the secret of his action until the said plate was
exposed to the heated vapor of a liquid metal, thus malnng
quicksilver a chorus, and then the fact (exacting task-master as
he always was, leaving it for men to puzzle out, and thereby
prove their scientific attainments,) that it was only a portion of
his light after all, and by no means the full force of his bril-
liancy, that he allowed to act for their benefit, but that on the
contrary, his light possessed certain properties, some of which
only could they use in producing photographic pictures, but
all of which they might turn to account, by due course of
study and trial in the pursuit of their art ; that the blue or
chemical rays were the rays that acted on the plate, and that
if they thought proper to strain out the red or heated rays,
or the yellow or radiant rays, just leaving enough for him,
u01d Sol," to see what he was about, he would make a picture
for them, just as well as with the full force of his powers, and
that knowing thus much, when a window or skylight faced a
Southern or any other unfavorable aspect, they might just
regulate and modify his powers to suit, by using blue tinted
glass, and when they wanted to work in rooms supposed to be

14

THE AMERICAN

required dark, that is exclusive of blue and violet rays of light,
— they could use yellow glass, or paper, or muslin, and when
they wished some warmth, did not wish to exclude warmth,
they might use red or white light just as it suited, — Didn't
folks begin to wonder and more to wonder what next was to
come, and whether they could not have exact portraits of them-
selves on pieces of silver of at least six inches square, and then
when the fugitive impressions of Daguerre and Niepce, were
rendered permanent pictures by the result of the study of
Fizeau, surely numbers of people began to rush into the art
as a business, and several people in cities no larger than New
York actually expected to make a living by it. and then when,
the use of " Accelerators" and "Any Quicks", and myriads of
fancy chemicals enabled its votaries to take excellent impres-
sions of living persons in a few minutes, and next in a few
seconds, and trades and factories spring up to supply apparatus
and materials to the now living business, and acknowledged
permanent branch of art ; not then, nor long after then,
(though the whole age of the art is youth,) did its practi-
tioners and votaries imagine even the present extent of its
attainments much less the future realization of what it is yet
to do.

The great impetus to photography was given less than
seven years ag'o by the labours of Frederick Scott Archer,
who amidst the many claims and patents for trifling im-
provements, and often actual practices of his own process,
seems almost forgotten, as we judge by the seldomness of
the use of his name. And now behold the suddenness with
which his process has come into general use, and almost en-
tirely banished the beautiful daguerreotype. Almost every
practitioner in the old and new world uses collodion in some
form. Negatives on paper are entirely banished, excepting
for occasional experiment. Amateurs, and their name is
legion with increasing numbers, entirely use collodion, and
the results are, most minute and beautiful details of every
object of interest, the likeness of which is handed down to
posterity, are tablets, or paper portraits and views. Ob-
jects still and in motion, clouds and waves, cascades and
mountains, torrents, race horses, and ships in full sail, steam
boats and fire engines, animalcule and gigantic remains,
modern architecture and buried cities, all, all are searched
out, and their peculiarities transfixed by the truth-telling
camera, and remain as witnesses as what was, is, and ever
will be. Now, not an army goes forth to peace-making des-
tructiveness, nor a navy to inflict vengeance or inspire awe,
but take their corps of photographers to depict in unlieing
traces what was and is ! strength and weakness, defieing

JOURNAL OF PHOTOGRAPHY. 15

and destroyed. Not an exploring expedition for scientific
purposes, nor band of savans, or tour of discovery, nor ge-
ologists, nor botanists, nor mineralogists, nor any other ists,
or other terminating syllables attached to the vocations
of curious and prying men, but must have their camera and
chemicals, and prove they are not "traveller's stories"
they are telling, nor sailors' yarns they are spinning, but
veritable and incontrovertable facts they are giving to the
world of what is and was, on this habitable globe.

Yet amidst what has been done and is doing, minute
things rendered gigantic by megascopic or solar camera,
and gigantic minute, by microscopic, it is curious to think
of what may yet be done.

I was recently handed two small pieces of glass, in the
centre of each was a square dark object, about a quarter
inch square ; in the centre of the square, of one of which
by dint of close and painful examination, I discovered a
speck about one sixteenth inch diameter, which bore some-
what the resemblance to a portrait of a head ; in the other
was also a speck about one-eighth inch, and some other
very minute specks in the one speck, but which I could not
reeognize as any particular objects. By holding the first
piece of glass up to the light, and looking through a pow-
erful magnifier, I discovered a perfect portrait of about a
sixth size, and in the other a group of five equally perfect,
of about half size. To what use might not this mode of
photographing be put. In war the most elaborate instruc-
tions might be carried in a button or head of a pencil case,
and the general or secretary of war needs but a magnifying
glass to save the use of spies, and men from hanging ; the
whole archives of a nation might be packed away in a
snuff-box. Had the art been known in the time of Omar,
the destruction of the Alexandrian library would not have
been a final loss.

EMTOfflAL MtSCEtUNY.

The present issue inaugurates a new era in the career of our
Journal.

Out of the experience of publishing six volumes, we have
brought many useful things about such business, — knowledge not
to be acquired otherwise. It taught us better notions than we had
at first, and we desired to put them in practice. Hence the
changes — the new series, — the starting afresh, — the rejuvination.

16 THE AMERICAN

We trust the changes will prove to be reforms, and agreeable to
all concerned.

It is our chief est aim to make the journal worthy of its name
— really American, and the organ and representative of our Art in
the United States. When it has established that character, it will
take the highest rank among publications of its class. We believe
there is the ability here, which through this journal may engage
the attention of the photographic world. America has been the
last to enter the lists, but she may prove nimbler than all her
rivals.

The improvement in the mechanical department scarcely needs
the comment, that it makes the journal the most comely of its
kind, — thanks to our improved pecuniary resources, and. the skill
of our printer.

Some of the notions we had of conducting a photographic pub-
lication are not changed. We have thought from the beginning
that an Art journal should be entirely independent of private and
personal interests ; that truth should be told plainly and error ex-
posed without fear. The readers of the six volumes already pub-
lished, will attest how we have steered clear of our own private
affairs, and how boldly we have attacked humbug pretensions in
all quarters, never making allusion to individuals except for the
interest of the many.

For the future, our friends may expect the same policy on our
part with this modification. It is well known that the writer is
one of a firm who manufacture photographic materials. We have
studiously avoided allusion of any kind to that firm or any of their
operations. In some respect by such silence we have not only
done them injustice, but the art. The photographic community
have unmistakably decided that they are the originators of some
valuable improvements in many articles of apparatus and materials
designed for their use. We shall deem it proper in future for them to
describe in our pages anything originating with them which we
deem of service to the public. At the sametime we shall freely
open our columns to all other manufacturers, who can communicate
anything new and useful. Of course we shall allow no puffing or
advertisements.

The editor desires to conduct the journal in such a way that his
other interests shall never appear in it.

The customary variety of the editorial department — as well as
some valuable contributions of correspondents are deferred for want
of space.

THE AMEEICAN

Unticaat of ®fiolognap|^

LMiW Sift BIS.]

Vol. 1.] . JUNE 1£, 1858. [No. 2.

ON CASEINE FOR PHOTOGRAPHIC PURPOSES,

BY P. C. DUCHOCHOIS.

To prepare soluble caseine, add about 15 drops of pure
sulphuric acid (diluted in one ounce of water) to a quart
of skimmed milk; let it stand 10 or 12 hours; collect on a
filter the precipitate which is coagulated caseine; wash it
three or four times with pure water, and mix it with newly
precipitated carbonate of baryta : the acid will soon be sa-
turated and the caseine dissolve in water; then filter the
solution and evaporate carefully to consistence of syrup,
(or to dryness, if you want to keep it) at a low tempera-
ture.

The caseine possesses all the chemical properties of al-
bumen and is isomeric with it.

As a substitute for albumen in photographic preparations
I have found the following advantages :

1st. It does not desiccate so completely as albumen, is
consequently less liable to scale, to split, and can support
a larger proportion of iodide without fear of crystalization.

2d. It coagulates less strongly, and gives a film less
tenaceous, more porous, hence proofs more harmonious, and
preparations much more sensitive than those of albumen.
They are not however as rapid as collodion, but by adding
to the caseine some of those substances which give more
sensitiveness to albumen, (honey with soluble starch), I
have obtained a good negative (in operating with the dry
film) in 75 seconds, the collodion requiring one minute.

3d. It is excessively fluid, easily filtered, and always
free from those mucous threads which form in albumen.

18 THE AMERICAN

Solution of

It is also a very good varnish for collodion-negatives,
and can be used to prepare positive paper. Until now I
have not been able to coagulate evenly the caseine on
glass, having every time a film full of marbling lines, like
those which take place on a collodion-film sensitized with
a too weak silver-bath, or which does not contain enough
pyroxiline.

I think to overcome soon that difficulty.

By uniting caseine with albumen I have obtained perfect
proofs as harmonius as those on collodion, and in a time of
exposure twice more rapid than on albumen.

The formulas were ;

A. — Solution of caseine, as thick

as albumen, 3 fluid ounces.

Albumen, [from duck-eggs] 2 "

Pure water, ------ 4 drachmes.

Honey, crystallized, - - - 50 grains.
Soluble starch, -----15 "

j Iodide of ammonium, - - - 40 "

Bromide of ammonium, - - 10 "
Ticture of iodine, [new] - - 5 drops.
B. — Rain water, ------ 4 fluid ounces.

Nitrate of silver [crystallized] 125 grains.

Nitrate of zinc, [fused] - - 10 "

Acetic acid No- 8, - - - - \)4 fluid drach,

C. — Rain water, - 1 quart.

Acetic acid No. 8,- - - - - \% fluid, drach,
Gallic acid, -10 grains.

Pyrogallic acid, ----- 15 "
Solution of nitrate of silver at 4 per cent in water added
to the developer in very small quantity when required.

The operations were conducted the same as for albumen.

In the collodion-albumen process of Mr. Taupenot the
above formulas are the best I ever found for sensitiveness
of the preparations, cleanliness and beauty of ihe proofs;
never any blistering or rising of the film. The process is
therefore a sure one, provided the collodion is not very
tenaceous and contractible. I do not hesitate to recommend
it in preference to any other. The caseine can also be em-
ployed alone for dry collodion; here again it is very superior
to albumen, gelatine or metagelatine. The caseine solution
must be very fluid, so as to filter easily throug'h paper.
The modus operandi is absolutely the same as for those
processes : wash the sensitized collodion film, let drain a

JOURNAL OF PHOTOGRAPHY. 19

few seconds, pour upon it the caseine, let dry, set,
develope.

The preparation of pure dry soluble caseine is not very
easy for those not well acquainted with chemical prepara-
tions, but I believe it will hereafter be found in any place
where photographic chemicals are sold.

New York, May 25th, 1858

NEW METHOD OF PRESERVING COLLODION
PICTURES.

BY E. K. HOUGH.

Ever since the advent of collodion positives, artists and
manufacturers have been searching for some means of pre-
serving the finished impression, with undiminished lustre
and beauty, against atmospheric influences.

The countless methods with balsam and varnish attest
the secret dread with which they commit their "gems of
art" to the hands of Time, and their want of entire satis-
faction in. any "crystal" or "diamond" yet discovered.

With similar motives I have been experimenting in a di-
rection whicn has not yet been explored, and I take this
means of interesting artiste, that in many hands, what good
there is in it may be fully disclosed.

It is simply the use of plain collodion as a varnish for
collodion pictures.

This would seem a paradox, but it is solved by adding
seven or eight parts of alcohol to one of ether, in which
condition it will not dissolve the dried film, and can be
turned on and off, as the sensitive collodion, then left to
dry of itself, or be hastened with a gentle heat from a lamp
or a stove.

The effects produced are not equal, as yet, to those with
good benzine varnish, but in instances where beauty alone
is a minor consideration, and the pictures are exposed to
rough handling, it is much better, for it will bear any
amount of hard usage. Moreover, the fact that the white
portions and the high lights are left with undiminished
lustre, while all flat and woolly appearances are removed
from the shadows, encourages the hope that by some modi-

iO THE AMERICAN

fication or addition, we may be enabled to use it with the
best effects for all kinds and sizes of collodion-photographs.
Some of the difficulties to be overcome, are, first the
avoidance of a slight changeable coloring of green and red
which the finished plates present; and second, the manufac-
ture and preservation of the plain collodion, free from acids,
or other agencies, liable to dissolve the reduced silver. The
iridescence can be partially removed by adding two or
more coatings.

Sufficient has been said to give the general idea, and I
should be pleased to hear from any of my brother-artists
who have tried this method before, or who shall think it
worthy of their attention now.

Chautauque Co., N. Y., May 28th, 1858.

THE NITRATE ' BATH.

BY THE EDITOR.

The nitrate bath has been the source of the greatest* vex-
ation to photographers. It practices upon many the most
malicious tricks. It hath a very bad character. Had
Shakspeare been a photographer, he scarcely would have
written : —

" Fickleness, thy name is woman. '»

Many of my photographic friends are always in trouble,
although they try to use the greatest care. They take
extraordinary pains to procure pure nitrate of silver, and
use only distilled water. One day they have the most
brillant success, only to blacken the disappointment and
despair of the next.

Sometimes the collodion is under suspicion, but it be-
haves beautifully in the neighbor's bath.* The bath must
be put through the routine course of neutralizing and filtra-
tion, as tedious as the Thompsonian lobelia and steam, and
perhaps to as little purpose.

♦ Collodion is a more unstable compound than the silver bath; but being left
alone in a bottle, if it is spoiled, the elements of its destruction are within itself. The
silver bath in use is constantly gaining or losing something. Collodion will not spoil
in a day or a week, if left by itself

JOURNAL OF PHOTOGRAPHY. 21

Now, there is a reason for everything. Senseless matter
has no whims or freaks, except in our imagination. Laws
just as inflexible and immutable govern the action of a
nitrate bath, making it work well or ill, as the law of gra-
vitation. If we cannot control its action we only display
our ignorance or lack of power. Matter is more servile
than any slave ; we only need to know its capacities, and
how to manage it.

I propose to examine a few points in relation to the ni-
trate bath, in the light of some of the laws which g-overn
its action.

I shall take it for granted that a perfectly compounded
nitrate bath is a solution of nitrate of silver in water, sa-
turated with iodide of silver, of a strength adapted to the
collodion; all the materials composing it being chemically
pure.

It is evident that the original chemical composition can-
not be preserved, for by every dip of a collodionized plate,
we substitute another nitrate, also add ether alcohol, &c. to
it. No doubt, these changes do harm proportioned to their
amount. The problem is only to maintain such a chemical
constitution as fits the bath for photographic purposes.
The solution of this problem requires us to consider :

1st. The varying proportion of nitrate of silver.

2d. The foreign substances introduced into the bath
necessarily or otherwise.

The amount of silver at first introduced into the bath is
known with certainty. If the bath is to be constantly used
with the same collodion, the amount of silver best suited
to it must first be used, and the proportion kept up. Some
test or measure is evidently needed of the silver abstracted
by use. This want was early appreciated and experienced
and observant photographers soon learned to judge by the
appearance of their pictures, or by the amount of collodion
used, if the bath needed strength. This also gave birth to
what is called the actino-hydrometer of which thousands
have been sold, although a most ridiculous instrument in
view of its use. It only indicates properly the proportion
of silver in a bath just made, when the information is
superfluous. A hydrometer only measures specific gravity.
It is a good enough test of a solution of nitrate of silver in
water, but the nitrate bath solution is changing in specific
gravity more from ether, &c. alcohol introduced, than from

22 THE AMERICAN

variations of the silver. In an old nitrate bath specific gra-
vity is not a reliable test at all for its value. I have al-
ways been satisfied that these actino-hydrometers are only
useful to those who sell them, and to gratify the vanity of
photographers who wish to appear profound, like the solemn
doctor with his golden headed cane. The skillful photo-
grapher generally needs no instrument. Yet a simple con-
trivance for estimating exactly the value of a bath is
desired by many, and I shall take an early opportunity of
describing such a one.

The foreign substances unavoidably introduced into the
bath have at first no appreciable effect in working. A very
large quantity of nitrates of cadmium-magnesia-potassium,
&c. may get in it before they do damage. But the ether alco-
hol and other organic elements from the collodion soon show
themselves one way or another. — Generally a scum on the
surface, or a variation of the intensity under development.
Finally although the proper proportion of silver has been
maintained, fog and all sort of streaking. This ultimate
ruin may of course be retarded (but only retarded) for
many months.*

But the foreign matter, got in by no necessity, is what
generally does the mischief. Sometimes it comes from the
containing vessel, especially if of gutta-percha, but more
often from dirty plates. A small fraction of a grain of sul-
phate of iron or hypo-sulphite of soda will disorder a large
bath. Is it wonderful that slovenly men have what they
call ill luck?

I have discussed my subject briefly, and I am only at a
convenient starting point of many diverging paths. These
I shall pursue. In future numbers of the Journal I shall
endeavor to give : the best means of testing the nitrate
bath; the best method of cleaning plates; of removing
foreign matter from the bath; of recovering silver from
waste solutions.

PROCESSES vs. JOURNALS.

BY H. GARBANATL

The human mind is a homogenous paradox ; some mean men
are generous by fits and starts ; Steven Girard was one of those.
And some generous men are mean. But this is a mere phase

* I have known a bath in constant use, to be servicable for a year.

JOURNAL OF PHOTOGRAPHY. 23

and also a digression. Photographers generally are paradoxical
and inconsistent, they all have the accumulative spirit, — for
dollars. All wish to be A 1, fast sailors in the profession, yet,
amidst the eight to ten thousand photographers, taking all
branches, employers and employees, not one in ten takes a
journal devoted to the interests of their art, though some
take all that are published.

Says Smith, what do I want with a journal, it only leads me
into experiments and bothers me. Now Smith is ingenious, it
bothers him, — but then, my dear Smith, some of the experi-
ments are proven advantages, will economise your time and
material, and enable you to compete with your neighbors But
I take as good pictures as any of them. — Unhappy Smith, to
think yourself perfection ; unambitious Smith, why not surpass
them — Smith, your objection is untenable. Says Brown, the
various experiments only lead to expense. Now there is some
reason in Brown, provided he has no cash to experiment with ;
provided also none of the experiments are proven 'facts, pro-
vided also that Brown thinks them mere experiments. But
Brown, my equally dear fellow, you cannot attain perfection
without cost even though you — Brown — can do so with it, but
look to the advantages, Brown, and see if they do not outweigh
the cost. Use your common sense, Brown,, and do not try
every experiment published, nor take all for granted. Adopt
well-tried and reasonable experiments, and avoid quackery,
that's it, avoid quackery, or you will be done — Brown. But
Jones must have a say, must give his reason why he shall not
take in a journal, even at $1.50 per annum, semi-monthly,
containing all the useful hints, &c &c. Jones must put his veto
on such useless things, they take up his time, bother him, cause
him to spend money, — Jones likes money, and will make it, and
keep it too. — Don't Jones take tip top pictures ? Ask his
neighbours. Don't he know all the dodges ? What can he,
Jones, learn ? — Jones was a tailor six months ago, and took to
picture-taking because his trade was dull, or he thought pic-
ture taking easier. — Yes, what can he learn, his chemicals are
in order, and he knows enough now, to venture to buy cheap
chemicals, why should not an experienced operator try and
economize ? Jones don't want a journal, not he, when he gets
in a ufog" he can puzzle his way out again ; — yes, he can
puzzle his way out.

But Jones, my good sir, if every one supposed himself
perfect, there would be no such word as improvement Did
Daguerre suppose chemistry had reached the acme of perfec-
tion, you would not be practising his art Did mechanics, one
hundred years ago, suppose the world knew all it could know
about machinery, there would be no steam engines now.

24 THE AMERICAN

Did Morse expect that lightning performed its functions
faithfully, by descending steel tipped rods, at the command of
man, and electricity was a very useful fluid, certainly, in shock-
ing batteries and nerves, but there its advantages ended. We
should not now be on the eve of talking with our cousins over

the water, over the electric wires. Did Stop, say Smith,

Brown, and Jones, all in a breath, what has that to do with
journals ? Everything. You, with your pretenses, refuse to
subscribe to a journal, yet buy a process. Does a dull practi-
tioner, fancy bi-chloride of mud will give an intensity of tone,
he instantly starts on a tour with an accidental picture, to sell
a " right" to every artist (as he says) througho t the country

Does a sharp fellow read in a foreign journal, that three
grains of nothing added to two grains of something, produces
a much finer picture, than two grains of nothing, added to
three grains of something, he also makes a living by selling-
formula.

Does il a regular brick " relying on a true aversion of the
Profession to taking periodicals, read some really interesting
process of positive utility He knows he can make a good thing
of it. and seeks a patent from commissioners who know nothing
of photography, and Smith, who will be bothered by a journal,
Brown who can't afford to make experiments, and Jones, who
is a know-everything in the art. pay from three to three hun-
dred dollars for the information known only to " the brick,"
and thev brick does make money, yet the really useful hints
would surely be published in journals if they had not been
already, the quackery have been exploded, and the knowledge
obtained, all for a small yearly subscription Nevertheless
the Smiths, Browns, and Joneses will buy processes, and
eschew journals, though every number will contain the value
of each yearly subscription, and save them many dollars, and
dolorous feelings. If a journal could be rendered interesting,
devoted to the art of catching rats, I should recommend every
rat catcher to take it in

PHOTO-LITHOGRAPHY.

BY JOSEPH DIXON.

Mr. Seely— Dear Sir, — In answer to your request, that I
furnish you for the journal, the facts relative to my experi-
ments in Photo-lithography. I have only to say that daring my
residence in Taunton. Mass., where I was engaged in litho-
graphy, &c, I conceived the idea that bichromate of potash

JOURNAL OF PHOTOGRAPHY. 25

might be made available in puttiDg a sketch on the stone
which was to be drawn in crayon, ccordingly I covered a
lithographic stone with a solution of bichromate and exposed
it to the sun, but found no action, as I had hoped to have
seen, for the bichromate was unchanged, and readily washed
off the stone I found that I had overlooked the essen-
tial ingredient in the compound for securing chemical action,
viz : the organic substance for the chromic acid to act on.
Asolution of gum arabic being at hand, as used in litho-
graphy, I mixed some with the bichromate and again placed
the stone washed over as before, part of which I should have
said was hidden from the light in order to watch the progress
of the chemical action, and when this had advanced as I
thought far enough, the stone was removed and submerged in
the water trough, in order to remove the unaltered bichromate"
when to my astonishment, I observed that the water would
run off of some parts readily, while others remained wet. This
fact gave place to the idea that as the stone behaved so much
like a drawing made with crayon it might possibly print or

" take ink." Accordingly I put the stone on the press, and
tried to " roll it up," but although the impression was still
there, and gave strong indications of its readiness to receive
ink, yet it was too faint, or in other words there was not
affinity enough to cause the ink to leave the roller. I, there-
fore, as in the case of feeble transfers, had recourse to the
" washing " process This is merely rubbing over the stone a
solution of a composition made by mixing wax, soap, ink, &c ,
and dissolving the mixture in spirits of turpentine. A little of
this solution put on a piece of rag is rubbed over the stone
with gum water, and when the drawing is thereby blackened,
the roller is passed over, when it will be found to have an
increased affinity for ink ; or, in technical language, " it comes
up well."

Some account of my experiments was published in Taunton
and Boston papers in 1840, and in the Scientific American, in

1854 I regret that I am able at present only to furnish you
a copy of the latter. Yours respectfully,

Joseph Dixon.

Jersey City, June 1th, 1858.

[From the Scientific American of April 15th, 1854 ]

"On reading in a late number of the " Scientific American," of
a discovery recently made in France, by which a lithographic stone
may be prepared, by the action of light, to print, it occured to me
that a description of a process invented by myself, in 1840, may
be of some interest to your readers, and perhaps be the means of
leading to greater results. My process was simply to polish a stone
in the usual way with a fine surface, as for a transfer, and when

26 THE AMERICAN

dry, wash it over in a dark room, with a mixture of bichromate
of potash and gum arabic ; wipe the superfluous liquor from the
stone with a fine soft sponge, and the stone is then prepared for the
picture. If put into the camera in this state, as a silver plate is
for a daguerrian picture, and left exposed to the light for twenty
or thirty minutes, then removed and submerged, face up, in a trough
of water, for a few seconds, then rolled up, it will produce a nega-
tive picture of the character of a mezotint This may be afterwards
changed to a positive or natural one, by various methods known in
the art, such as light biting with acetic acid, washing well in pure
water, rilling in with "composition wash,'" then carefully rubbing
down the surface to remove the first (light drawn) picture, and the
stone is then ready to receive the common preparations of acid and
gum, and is soon ready to work. The above will give a general
idea of the manner of proceeding ; a skillful workman will soon see
what will be the best mode of working. In some few .trials made
at the above period I had very hopeful results, but various other
things of more immediate importance occupied my attention and re-
quiring all my time, 1 laid this subject by until a more convenient
season, which has not yet arrived. Seeing no better prospect for
resuming it, I have hopes that some one will take it up and perfect
it. Before giving the rationale of the process, I will add one variety
of my experiments.

I took a small picture of convenient size, varnished or oiled it, in
order to render it as translucent as possible ; this was laid with the
printed side on the prepared stone, and a piece of plate glass on
the top, to press the picture into as close contact as possible ; the
whole was then laid in the sun, and after an exposure of some
fifteen minutes, treated as before in the water, &c.

You will readily perceive the causes active in the production of
photography. Chromic acid in combination with an organic sub-
stance as gum, is rapidly decomposed by the action of light, into
green oxyde of chromium, with the destruction of the gum, while
the base (potash) is left in the stone. By this operation the gum
which resists the ink from the roller is removed and a strong mor-
dant for the ink left in its place. Joseph Dixon.

Jersey City, April 3, 1854."

A LETTER FROM BUFFALO.

Mr. Editor, — You perceive I hail you from another place,
being amongst the Buffaloes, and quite a big Buffalo it is,
considering how few years ago, what a mere calf it
was. Now these Buffalonians are quite good fellows —
some of them being expert photographers, and quite a
number ardent patrons of the same. — The Buffalo belles
— bless them. — How they do sound the praises of good pic-

JOURNAL OF PHOTOGRAPHY. 27

tures, and " ring" their sweethearts into the galleries to
have themselves nicely painted and hung up in frames.

And you, I perceive have made quite a change, come
out in a new rig. I used to " rig" you myself, sometimes,
about certain typographical errors, but you seem deter-
mined to cut my cloth, and spoil my sport.

Amongst your changes you seem to have almost entirely
banished the fruits of foreign gardens, and now cultivate
your own, and what is more, every gardener hangs his own
name over his production. If this is not a "presto
change" a metamorphosis quite, with better paper, better
type, better workmanship, and original articles of home
manufacture, I am no judge of matter.

But if this is a rule you have established, farewell to
my native modesty. I must " show" or be obscured, the
latter I will risk, and venture this log on the literary
waters to see if it will be taken in tow. Talking "of being
obscured, I see you have made the " camera obscura" a
camera obscured. Your megescopic not only obscures the
" mammoth," but is itself obscured, doing its work in the
dark. By the way, I see there is another "journal"
besides yours which has a vast correspondence from all
parts of the United States, done up in New York, said
questions being carefully compounded, that the answers
may be filled with deprecations on neighbours, or nau-
seating self eulogies on quack nostrums for the beautifying
of all ugly pictures, and the furnishing of the balm of
universal life to the otherwise fadeable and perishable, is
quite typical of its proprietor. Neighbour Sidelight thinks
you ought to shrivel him up, but I insist that would be
infra dig, and just what would be relished. You know if
you handle a certain substance, your fingers will not smell
savory. Any one can tell the difference between a skunk
and a inuskrat.

What a terrible hubbub you are managing to get up
about who took the first portrait. What matters it,
whether the camera was first pointed at a man, a house,
or a horse ? We might as well quarrel about what was
the nature of the cargo carried by the first steamboat.
Methinks the steamboat of the first consideration. Is
Daguerre nobody ? Is he to be entirely ignored in the
discussion? Forbid it, Photo's! Forbid it, Typos! What
I principally took up the pen for, was to tell you that your
mode of recovering the nitrate bath has been of much
advantage to me (and some disadvantage to you by the
way, as I was about to " waste") and make no doubt it

28

THE AMERICAN

will prove a source of much economy to the Profession. I
will tell it in Buffalo, and publish it in the galleries of
Rochester, and spoil your profits : for you might have
given me the chance of selling the recipe, — it's the mode
you know, — and I would have shared the " plunder." Side-
light paid ten dollars for a less valuable piece of informa-
tion than that the other day, "A new method of coloring
pictures." The new mode showed wrinkles, its age was
past telling, its teeth didn't look as if they could bite any
more. But Sidelight is a knowing one, and knowing ones
are sometimes bitten.

But I started with the intention of asking you a
question. Now I, of course, feel quite complimented at
your publishing my twaddle, but as my twaddle always
contains a question of importance to my success, you will
much oblige by answering. Some of the pictures I have
been taking are very beautiful, but have a thin scum
over them, this scum I can "lick" off, but as I neither like
to give or receive a " licking," please tell me the cause
and remedy, and if not a remedy for the cause, can you
state what will supersede the licking. Yours, Gossip.

Buffalo, June 7th, 1858.

[" Gossip " will please to observe that " the hubbub" covers more surface than he
seems to suppose.

Our friend will find a sure '' remedy for the cause " in the exposure of his bath to
light. He cannot have been obliged to " lick" anything since he adopted our sugges-
tion. Gently rubbing with a tuft of cotton or soft brush, may also " supersede the
licking." The " cause" we consider is the presence of a deoxydizer, or developer in
the bath. We shall discuss the matter fully, hereafter. — Ed ]

A NEW CAMERA STAND.

BY THE EDITOR.

None of the wooden camera stands with
which I am acquainted possess the neces-
sary firmness and solidity to support the
weight of the ordinary { camera. The fold-
ing tripod can scarcely be improved, yet it
was found impracticable to use it for a
larger than the half-size apparatus —
Moreover the cheapest iron stand costs
$10.

The apparatus represented by the wood-
cut is the result of an attempt to make a
servicable stand at a little expense

The top is triangular. Each of the
three legs are composed of two strips of

JOURNAL OF PHOTOGRAPHY. 29

wood about one half inch square, fastened to each other at the
bottom by screws, and attached to the top by hinges, opening
outward. The legs are also connected with each other by
means of small chains of such a length that the legs cannot
open so far as to allow the camera to fall. If the stand is
used on a smooth floor, the ends of the legs should be shod
with sharp iron points. The raising and lowering and tilting
of the top is easily effected by properly moving the legs out
or in.

Since the engraving was made, I have adopted some mani-
fest improvements. I prefer to have the top circular, and
at the centre a projecting peg on which the camera box is
fitted, thus preventing the possibility of its sliding. Also,
instead of the chains I have substituted thin and narrow
strips of iron or brass, sliding on each other and passing
through a clamp, in which they may be fastened by a thumb
screw.

I have had the stand as last described in use for several
weeks. Its performance is entirely satisfactory. It has the
firmness of a rock. It will support the weight of the largest
instruments without the slightest trembling. I know of no
other way by which the same amount of wood can be arranged
to afford the same solidity.

Any carpenter could put together such a stand in a few
hours. Three dollars would procure one even somewhat
ornamented.

EMTOJUAt MtSCELUNY.

We intend to lay a heavy hand on the peddling worthless

receipts at photographic galleries, and especially the doing the
same dirty business by circulars through the mail. The practice in
our art, it will be remembered, originated with the Rev. Hill, who
carried it on zealously and successfully, lining his own pockets,
as we may judge from the Barnum-like confessions and boasts in
his great work on the Hillotype. Latterly it seems as if there
had been a general overhauling of old books and journals of pho-
tography, and out of them every forgotten process was flying
about in the mails, — some for a dollar, — some for ten. No won-
der we read of mail bags groaning. The respectable U. S. carries
on a great deal of iniquity, unconsciously, no doubt.

30

THE AMERICAN

Now we would not: deprive any one of the fruits of honest labor.
Let the successful explorer be rewarded with fame and money, as
much as he deserves. The invention of an art, or an improvement
in an art, is worthy of the highest kind of remuneration, for it is
a service to posterity. [" Art is long."] But we have yet to
learn the name of one of these dispensers of circulars whose stock
in trade being new was useful, or being useful originated with
him. Of course we do not deny the possibility, that a valuable
process might be disposed of by the inventors in the method under
consideration. But we never expect to see a wise man whose ob-
ject is only money, do such a foolish thing, when thirty dollars at
the patent office will make all secure for his life time.

Frauds and swindles of all kinds have latterly increased to such
an alarming extent, that vigilance committees are considered by
many good men more safe than the authorized executors of the
Jaws. All respectable citizens praise our Mayor for going beyond
the routine duties of his office to cripple the strong arm of vice.
It is the fashion to expose false pretentions, and many a quack
laments that "his sands are nearly run out." Now, can we purge
our profession of this receipt peddling ? Is not public exposure
the pill that can do it? At least as far as our readers are con-
cerned, the nuisance may be abated. They may learn to show
the itinerant peddler the door, and warn their neighbors.

Will our subscribers assist us ? Like bogus lottery tickets,
love powders and quack medicines/ photographic processes are
advertised and sold chiefly in the country. It is seldom indeed
that the authors of these circulars have the impudence to address
them o us. We must therefore depend upon our friends. Send us
the circulars, and we will do the rest. We have the facts in three
cases, which will appear in our next,

We shall be pardoned for a little vanity, in calling special

attention to the varied and interesting contents of the present num-
ber of the journal. We believe all concerned will soon be satisfied
that a useful and original photographic publication is possible in
the United States

-We have repeated some of the experiments of Mr.

Duchochois on caseine, and readily agree with him, that it will
prove a valuable material for 6ur purposes. The chief obstacles
in the way of its successful use seem to be the difficulty of pre-
paring it of sufficient purity, and the apparent impossibility of
preserving it without change. The pure solution coagulates
almost as rapidly as it can be filtered. By the addition of

JOURNAL OF PHOTOGRAPHY.

31

ammonia, however, it may be kept indefinitely. Whether the
ammonia has any injurious effect we are unable to say. — Of course
metallic iodides cannot be used as excitants.

A very speedy method of preparing the ammoniacal solution, is
to carefully wash the curd precipitated in sour skimmed milk, and
dissolve in water' to which a small quantity of ammonia has been
added. By filtration, or allowing it to rest, the solution becomes
quite clear and fit for use. A small quantity of lactate of am-
monia is the chief impurity. The ordinary methods of purifying
caseine leave it insoluble.

Besides the uses suggested by Mr. Duchochois we have found
that caseine makes a good varnish for positives on paper. Will it
turn yellow ?

The varnish of Mr. Hough is worthy of trial. Get gun

cotton that will make a perfectly transparent film, and dissolve it
in ether and alcohol free from water. Water can be removed frcm
ordinary ether and alcohol by shaking them in a bottle with pow-
dered quick lime or dry carbonate of potash.

The communication of Mr. Dixon is particularly valuable

as it shows that there is at present no restrictions on the practice of
all known photo-lithographic processes. A patent (!) recently issued
to Mr. Cutting of Boston is dec idedly invalid. Moreover, it appears
that Mr. Dixon is the original inventor of the process, which has
been many times re-discovered and published as new.

We learn from conversation with Mr. Dixon, that the photo-
graphic use of bichromate of potash was suggested by his obser-
ving in manufacturing chrome yellow that when it was not per-
fectly freed from organic matter, it was speedily spoiled by the
light of the sun. His photo-lithographic experiments were begun
in April, 1839. He soon completed the process as given in his
communication. Specimens were made and exhibited to many
scientific gentlemen of Taunton and Boston.

Many of our subscribers will be pleased to hear from our

old friend u Gossip.'' He will be found as lively and good
natured as ever.

The Committee of the American Institute, reported pro-
gress at a recent meeting of the Mechanics' Club. They have
before them a large mass of documents pertaining to their enquiries,
and many interesting facts will shortly be published for the first
time. In order that justice maybe done the subject, and the parties
concerned, the Committee will keep the subject open for many

32 THE AMERICAN

months to come Their final report will probably be the most
valuable contribution to the history of our art ever published.

If our readers have any facts in their possession relating to the
history of the Daguerreotype, we hope they will address the Com-
mittee at the American Institute's Repository, 351 Broadway.

The art of photography is by no means perfected We

shall hear of improvements and applications, of which, at present,
we can have no notion.

But there are well-defined problems which offer themselves to
us for solution, and which are worthy of the most careful attention
and study. Among these we place foremost a process for making
permanent impressions on paper. Photographs as at present made
with silver salts must fade ; no tyro in chemistry can doubt it.
Photo-lithography and photo-galvanography may prove practical
solutions of the problem where many copies are wanted. — Printers'
ink will endure under all circumstances as long as the paper on
which it is impressed. But these processes, on account of the
expense and experience required, cannot be available to photo-
graphers generally; — the people cannot have engraved portraits.
What is especially desired is a substitute for the ordinary process,
which shall not be much more expensive and troublesome, and
will ensure permanent results.

From recent European journals we learn that the grand de-
sideratum is in a fair way of being discovered. Prints in carbon
have been exhibited for some time. The process is not published.
Mr. Sutton, editor of Photographic Notes, suggests that the ma-
terials employed were bi-chromate of potash, gelatine and carbon
in fine powder.

We have been making some experiments in the same direction,
with considerable success. The partioulars will be given m our
next.

We shall publish in the next, number of the journal

what will prove to be a new, and the best application of photo-
graphy to engraving : also valuable papers from Dr. Von Der
Weyde, Messrs. Duchochois, Campbell and others.

Will our friends, who are pleased with the journal,

have the goodness to mention the fact to their friends. We are
tolerably satisfied with it ourselves, but desire to do better, and
accessions to our subscription list will materially assist us in car-
rying out our intentions.

Mrs. Archer, the widow of Frederick Scott Archer (the discov-
erer of Collodion for Photographic purposes), died April 22d, 1858.

THE AMEEICAN

Hoinmat dI l^ofoqcaplit!.

[WfW 81R0E9.]

Vol. 1.] JULY 1, 1858. [No. 3.

DRY f 0LL0DI0X.

BY P. C. DUCHOCHOIS.

Every photographer knows how difficult it is to find a
collodion suitable for the collodio-albumen-gelatine, or
metagelatine processes : id est, a collodion giving a film
neither tenaceous nor contractible, but very porous, friable
and adherent. Old collodions are recommended as posses-
sing such properties, but, besides they are often too much
iodized for that purpose, it is to be remarked that if the
collodions prepared with alkaline iodizers answer very well,
those iodized with metallic salts (cadmium generally)
do not always work as well ; for although the collodion be-
becomes colored, the film however keeps for a long time all
the characters of the collodion one or two weeks old.

Believing from observations that the alkaline and metal-
lic bases re-acted on pyroxiline in different manners, desir-
ous to explain that fact, and also to have a formula by
which I can surely prepare good collodion for the dry pro-
cess, I made the following experiment to study the action of
alkaline bases in collodion.

To a plain collodion giving a thick strong film, very con-
tractible and easily lifted up in long rays, I added liquid
ammonia : immediately it was troubled and after a few
hours gave a thinner film, very porous, rotten and
opaque ; it took twenty-four hours to clear up, became of a
fine amber color and left a white precipitate of decomposed
pyroxiline (cellulose.) Caustic potash and caustic baryta
in small quantity acted nearly in the same way. Hence
alcaline bases react powerfully on pyroxiline ; it is disor-
ganized and a part is decomposed.

34 THE AMERICAN

This is very important. It explains, — 1st. The great
fluidity of collodions prepared with alcaline iodizers, (par-
ticularly when iodide of ammonium is used) and partly their
instability. 2d. Why those collodions give a film with less
and less body, and the causes of insuccess resulting from it.
3d. The advantage of alcaline collodion for Mr. Taupenot's
and Norris' processes, and generally for all dry preparations
on collodion. It will be observed that the amount of am-
monia added to the plain collodion, ought to be propor-
tioned according to the kind of pyroxiline, that is, to the
more or less tenacity or contractibility of the collodion ;
and that ammoniacal collodions cannot support as much
iodizer as other ones : 4 grains to the ounce is a good pro-
portion for the collodio-gelatine process, and 2 grains are
enough for the collodio-albumen.

But since it is easy to prepare a collodion with all the
proper qualities for dry preparations I have adopted a truly
dry collodion process, (without any kind of preservative
coat) which is very sensitive, and has the advantage of
great simplicity, The preparations are :

Collodion. Ether cone 6 fl dr.

Alcohol, 95 deg. 2U "

Seely's pyroxiline 5 grains.

Iodide of ammonium 4 "

Liquor ammonia 3 drops.

Silver bath. Water 1 fl. ounce.

Nitrate of silver 27 grains.

No. 8 Acetic acid 2 drops.

Developer.*

Gallic acid 1 ounce.

Alcohol 4 "

No. 8 Acetic acid 1 drachm.

Camphor 15 grains.

After sensitizing, immerse the plate in water for 3 or 4
minutes, and having washed it with distilled water, let it
dry in the dark.

To develope : first wet the collodion film with water, and
then spread upon it a mixture of 1 drachm of the developer,
and 3 or 4 ounces of water ; — afterwards add a small quan-
tity of a solution of nitrate of silver, at 3 per cent., to
strengthen the negative. — Fix with hyposulphite of soda.

As it has been said, this process is very rapid, and the
failures often arise from an excess of exposition : if it was

Modification of Mr. Scheurer's developer, published 1850.

JOURNAL OF PHOTOGRAPHY. 35

too long-, the sky does not blacken ; the picture is too
equal, and does not take enough intensity in the high lights.

N. B. I willj by further experiments, study the action
of pyroxiline on the metals zinc, iron, cadmium and their
oxides.

PHOTO-LITHOGRAPHY.

BY H. GARBANATI.

Since the issue of the last number of the Journal, Mr.
Dixson has favored me with a 'proof of his claim, as supported
by an extract from the Scientific American of April 15th.
1854, and which he showed, with an evident degree of satisfac-
tion, because, as he said, he always liked to be right.

When writing his communication, he felt sure he must have
some reminiscence of his experiments, more, than the printed
statement, and resolved to furrage amongst his store of vener-
ables, his large accumulation of fruits of many years' labors for
the same.

" At length, an old oak chest, that had long lain hid,
Was found in the Garret, they raised the lid,"

And diving to the bottom of his experimental medley, he
found a piece of metal.

And a queer piece of metal it was. It was blackened with
age, and might have been a grave companion of Sesostris, for
aught its color would belie. Indeed, from its appearance I do
not know at this moment its metallic name.

It was dated " July 2d, 1840," and had the words " Comb,
of Matches," u Bichromate of Potass."

On its surface was depicted the outline of what Mr Dixson
said was a "shilling," and also the " Comb of Matches," the
latter of which (the very name is strange to many of the present
generation) was the form in which " Lucifer" matches were
first introduced, to supersede the old " flint, steel and tinder
box," and has of course been out of date a number of years.
All the jagged outline of the saw cut was clearly defined, and
happily illustrates photographic priuting on metal or stone
(the same process). The odd article was used for obtaining

36 THE AMERICAN

an impression, simply because it happened to be conve-
nient, when trying the experiment with bi-chromate of potash,
but its very oddness is strength to the proof that photo-litho-
graphy was successful long before any patent was granted for
a variation of the process. The process as patented by Messrs.
Cutting and Bradford of Boston is scarcely an improvement,
but being more generally known by being patented, than Mr.
Dixon's mode, simply answers the purpose of placing this
branch of the art in exclusive hands, or causing those who wish
to practice, to buy a right to do so, by which they have so far
thought the only mode.

The practice of the Commissioners granting to almost all
who apply, patents for the products of other mens' brains,
because of some trifling, and perhaps, valueless variation, is
becoming of so serious a matter, that it almost necessitates a
" Vigilance Committee" to examine into the various claims
No branch of industry has suffered more than the photographic,
and it is really worthy of consideration whether its members
should not subscribe to a general fund for mutual protection
in keeping open all the various channels of improvement in
the art.

Messrs. Cutting and Bradford, in applying for a patent for
the simple use of sugar and soap in photo-lithography, either
must have carefully eschewed all publications detailing the
progress of their art, not to have known that the same results
were obtained both here and in Europe before their claims,
or, anxious to originate something themselves, have plodded
over the well beaten track, and taken a vast deal of trouble to
arrive at the point they might have started from ; nevertheless
as they have claimed, on the use of the sugar and soap alone,
it would appear as if they were cognizant of the previous
success of photo-lithography.

Mr. Dixon did not publish his communication solely with
a view of obtaining the mere fame of priority. He is too old
and distinguished a laborer in the photographic field, and has
given his discoveries too freely, and unexacting of the slightest
recompense to have any such desire. He is simply an earnest
and scientific amateur and investigator in photographic phe-
nomena, and loves the art so well, that he will not allow what
has become public property, to be excluded from public use.
Amateurs have so far been the most valuable and unselfish
contributers to the store of knowledge, that has accumulated
rapidly in the art, and we must not be surprised if they
jealously guard to its uses, what they have freely given away.

JOURNAL OF PHOTOGRAPHY. 37

A PORTABLE TENT.

Mr. Editor, — Let me suggest a photographic use, of those
skeletons of grace, and flowing beauty, which we see

idle in the wanton summer air,

And yet not fall,"
viz- hoops.

I use them as a portable dark closet, in taking views in
the open air. I cover them with two thicknesses of yellow
muslin, with a margin of a foot around the band, which ex-
cludes all actinic light, insert a piece of yellow glass on the
top, or on the side, two sleeves of yellow muslin on the sides,
and prop up the whole by four iron skewer-like supports,
sticking them, when in use, in the ground.

I insert the glass between the two layers of muslin, cutting
a hole a little smaller than the glass, and then sew the layer
together, around the edge of the glass.

The mode of using it is thus :

Having extended the hoop, placing the bath, plate, shield
chemicals, &c. upon the ground within. I put my arms through
the sleeves, look down through the glass at the top, and mani-
pulate as easily and as well, as at home in my working room,
the glass enabling me to see when the plate has been long
enough in the bath, watch the progress of the development, &c.

To wash off the developer, &c, use an india rubber bag,
with a tube and stop cock, keep the bag outside the hoop,
lead the tube within it, by pressing upon the bag with your
foot, or knee, and you can force the water in as you may
need.

For a small instrument, a couple of rings of bamboo, two
feet in diameter, covered with muslin as above, and about a
foot and a half apart will answer very well.

The advantages of lightness and portability of this Hoop-
tent over the ordinary tent are obvious, and over the dry pro-
cess very great, as no laborious previous preparation of the
plates is necessary, and the mortification of returning home to
develope under or overtimed views is avoided.

I gain a little space and lightness by discarding a separate
shield for the ground glass, putting a piece of ground glass
into my plate shield, when focusing.

Truly yours,

A. P. Jr,

THE AMERICAN

AMBROTYPES PERMANENT,

BY W. CAMPBELL,

There appears to be a considerable doubt as to the
durability of positive pictures on glass, or "ainbrotypes," (I
hate the word ambrotype) as well as a desire on the part
of many to return to daguerreo typing- again, on that
account. Now there really can be no objection to those
having daguerreotypes who desire them, but to make a
sweeping condemnation of glass pictures before they have
had a fair trial, or because the majority insist on sending
these pictures forth unvarnished, and open to every delete-
rious influence that may affect them, is, in my opinion,
arriving at too hasty a conclusion. Suppose these same
individuals, who do not varnish their pictures, were to send
out their daguerreotypes not gilded, what would they say?
or what conclusion would they draw ? why, evidently that
the daguerreotype would fade. Why, then do they expect
exemption from a law in one case, which in the other case,
they are certain will operate ? for both pictures are made
on silver. The daguerreotype is in fact an amalgam of
silver and mercury on copper, whilst the glass picture is
pure silver ; of the two, the latter has certainly the advan-
tage, because being a noble metal, and pure, we should
naturally imagine that it would withstand all injurious in-
fluences, especially if protected from atmospheric changes,
whilst the daguerreotype, protect it as you will from ex-
ternal influence, is still subject to galvanic force always
existing between bodies, but especially so between metals.

Few daguerreotypes, indeed I believe none, will last out
the half century of their existence, even if they have a
protecting film of gold. We know that gold is a very
stable metal, and that gold covers the picture, but there is
mercury underneath, and mercury is a very unstable metal :
it will first combine with the g'old, and ultimately fly off,
leaving dark dim shadows, where it once gave lustre and
beauty. This is the reason why so many have to complain
of their daguerreotypes not possessing that brilliancy they
had when first made.

Now some may think that half a century is long enoug-h ;
not so. It ought to be our aim to give length of days to
our works, a thousand years if need be, aye, more thousands
of years. Is it unreasonable to desire this ?

The ancients have sent down their works to our day,

JOURNAL OF PHOTOGRAPHY.

and the old masters, painting for posterity hundreds of
years ago, in these days present us with their works, entire
in their substance, and faithful in their performance. Why,
therefore, should we despair ?

So far as the knowledge we now possess, I believe the
positive picture on glass, will, if properly prepared, and
faithfully finished, last as long as the glass it is made on,
and glass will last a long, long time.

Now, I do not think the trouble of making a picture
permanent is very great. A good white varnish, if it be
hard, is easily put on, and I feel certain that it will be the
means of keeping the picture good a very long time. If
the picture be varnished with a white varnish, and after-
wards with a black one over the white, it will surely crack;
the unequal expansion of the two will surely ruin the pic-
ture. If it be sealed with Canada balsam, the same effect
will be produced, because the two glasses expand unequally,
and blisters are the consequence. I have seen a great many
very good pictures totally ruined by this cause; besides
which, the Canada balsam, so long as it is m6ist will
keep oozing out, and if it dries, it becomes a resin, and, of
course, opaque. Time is required for this, but not a very
long time.

The reprehensible practice of sending out pictures un-
varnished, without anything to protect them, is disgraceful.
It is true the ruling prices hardty warrant a careful finish,
but whose fault is this ? certainly not the fault of the pub-
lic ; they are willing to give a fair price for good work,
but the operators have led them to believe that a good pic-
ture can be had for something next to nothing, and,the peo-
ple— careful of their money, lending a willing ear to what
is so much to their interest — disdain to enter the door of the
higher priced but honest artist, flock to the cheap shop, and
get cheated for their pains. But I am digressing. What
objection can there be to the white varnish ? The only ob-
jection I ever heard, was that it would get yellow. Well,
— I must submit, — I suppose it will in time, but what then ?
It will not crack as the black varnish picture will. It will
not blister as the patent, or fir balsam picture will. It will
not " get small by degrees, and beautifully less," as the
unvarnished picture will. No ! it may get a little yellow,
and that is all, and really there is not a great deal to be
made of this ; we must not compare the thick coating of
varnish which covers the paintings of the old masters with
the thin yellow which is put upon the glass. The canvass
on which the painting is made will of itself turn yellow,

JOURNAL OF PHOTOGRAPHY. 40

and so will the paper, but ages will not alter the glass, nor
will the slight color to which the varnish may turn, ever
hide the beauty of the face beneath, or alter one line of the
charming picture painted there.

A LETTER FROM LONDON.

47 Leicester Square, London, June 3, 1858

Mr. Editor, — I have made a tolerably good use of my few
days residence in the metropolis, in pursuit of knowledge per-
taining to photography and in making preparations for the
future, I have looked in at many galleries, stock dealers' estab-
lishments, and have made pleasant acquaintance with gentle-
men who only amuse themselves with the art Picture shops
are as plenty as in New York, and of all grades except of the
first class American galleries. There is nothing here to com-
pare with Gurney's or Brady's in convenience and elegance of
decoration.

The processes practiced are substantially such as given by
Mr. Hardwick and the Journals. The objection immediately
raised to our methods of working, is the increased expense.
" If good photographs can come out of a 20 or 30 gr. bath,
why use 40 or 50 ?" But you know, sir, they are wrong, and
I am sure I shall convince some of their error.

"We can buy stereoscopic pictures everywhere, — at the stock
dealers, galleries, opticians, bookstores, picture stores, and toy
shops. And ridiculously cheap, too, for I have purchased a fair
specimen for a dime

I had the pleasure a few evenings since of attending a meet-
ing of the London Photographic Society As you will shortly
receive in their Journal a minute and accurate report of the
proceedings, I offer for your readers only an outline sketch.
After the usual formalities of opening the meeting, Mr. T. F.
Hardwick was introduced, and read a long paper on the use of
bromine in collodion, blaming it much for often producing
solarization — but admitting it might assist in rendering half
tints The Secretary read a petition to her Majesty praying
that the copyright laws may be so amended as to protect the
photographer ; also a paper on solarization, recommending the
use of citric acid in hot weather, and acetic acid for cold wea-
ther, with the developer. Another gentleman recommended
chloride of ammonium in collodion.

We are as poorly off as you, regarding photographic paper.
There is no good plain paper to be had I have reliable
assurances, however, that in the course of a month we shall
have plenty of the very best quality.

I have taken some pains to introduce the Niellograph to
the English people. My pictures have elicited some quite
flattering notices from the press. I have found it worth while
to secure the invention by patent — a different affair, you
know, from your cheap American rubbish of thirty dollars.
The process is worth the money I pay, and I trust I shall at
least lose nothing. . I remain very respectfully, &c.

A. G. Grant.

A LETTER FROM BUFFALO.

Mr Editor, — What do you think of humbugs ? The ques-
tion you may think superfluous, considering you have so often
been 4< down" on the humbugs in photography. You will,
perhaps, point to losses of subscribers and customers, because
you have exposed some quackery, precisely so ; but then I
want to introduce my opinions, for I am "down" on photo-
graphic quacks and humbugs. Now it is quite possible 1 may
be a humbug myself in something or other, possibly, also unwit-
tingly, in some other thing. But I am most uncompromisingly
hostile to photographic quacks : fellows who insiduously draw
some cash — too often but illy spared — out of Brother 'Photos',
and not only lead them into useless and expensive experiments,
but do damage their business and reputation, and in so doing,
cause them to experimentalize themselves back into the
straight and easy path they were pursuing, and thus bother
them most egregiously. A correspondent of yours, in your last
number, was very severe on process pedlers, so much so, that
did I not know the man, I should have thought he had been
bitten His article it was that led me into another on the
same topic, and should I be trespassing on his " Preserves "
I trust he will not shoot me, but cry out " peccavie." The
fact is, I know some of these fellows, and have an especial one
in my mind's eye.

But I started to give you the modus operci7idi, by which
this immaculate denouncer of humbugs managed to peddle his
process The process itself may be worth something, but the
manner of inflating the price is what I object to, and how he

42 THE AMERICAN

managed to get the lion's skin, (I was about writing, sharej
is what 1 wonder at. though that is none of my business I
have been over the scene of some of his exploits out West,
where cash and cameras, and anything obtainable were taken
as initiation fees into the process. If a large amount was not
to be had, why a small one must suffice, the thing must go off
at any price, though Snigs paid more than Snooks, and Snooks
paid less than Brice, and if no cash, why something must be
bartered They do say, that in addition to a silver watch,
gold pencil case, and pair of pants, he once accepted a second
hand shirt, but that I do not believe, unless he happened to
fall short of one. But one thing I do know, — amidst the
marshes of Michigan, it happened in this wise : A party had
given a one-quarter camera and instructions for two or three
hundred (I forget which) acres of land, this land turned out)
to be valueless A mere swamp, in fact,— and the pur-
chaser " jackassibus in swampo" dear, even at a one-quarter
camera and instruction. In. short it was a source of annoy-
ance to its new owner, who had offered it in vain for $20.
The learned "Professor'' coming along was offered the land
for " a right of process, with a candid acknowledgment of its
" valued The " Professor" resolved to go in for a bold-win, and
in due process resolved to give three county rights, provided a
deed was made out at the nominal value of $900, which was
accepted, and with the deed, bearing the transfer of a man
known to be shrewd, and a first class operator, the " Profes-
sor" traveled the county, and proved the hig-h value set on
his mode Hence the heavy contributions of cash, cameras,
&c, to obtain the wonderful process, levied on ambitious
photographers in the country. This, Mr Editor, is only one of
the modes of process pedlers, and as it happens to be the
worst I heard of, and probably which has occurred and will
occur, I give it first. But I am on the watch. There are
plenty of others equally successful in a small way, going about
seeking what they may devour, and who I will yet catch and
skin, and hang up as scarecrows for the benefit of the pro-
fession.

But I have missed my budget, and am already too long,
but strike my camera, — a strong oath — if I do not despise these
men, who, rushing into the art with a mere desire to make
money honestly, if they can but make it. would degrade it with
quack nostrums, and make it a matter of mere mechanism
instead of a noble and- difficult art. Yours, Gossip.

JOURNAL OF PHOTOGRAPHY.

43

•'THE COMPACT CAMERA STAND."

BY H. GARBANATI.

It is just as important that apparatus shall be perfect as
chemical processes, and any means that will economize
time, and simplify manipulation, or give lightness, dura-
bility* strength, beauty or economy to photographic appa-
ratus, is of interest to the photographer.

The " Compact Ca-
mera Stand," therefore,
combining the above
qualifications is worthy
a description.

When extended* it is
a tripod, with the three
legs, concaved inside,
suitably to clasp the con-
vex of the centre pole
which holds the toj}, and
depressess and elevates
as usual, to suit the
required height.

The legs are kept ex-
tended, by three stout
wires, fitting on the one
end, to each leg a pin
passing through an eye,
and fastened in the leg,
and on the other end,
fastened to a movable
ring, which passes up
and down the pole.

When closed, the stand — without the top — looks like a
stout stick-, with an iron top, which is used to connect the
upper parts of the legs by means of pins serving as hinges.

The whole may be carried in the hand-, like a walking
stick, and is strongly suggestive to the traveling artist
as an anti-garroter.

To open it, it is only necessary to pull the legs apart,
when the ring — which with its connections has been snugly
ensconced between the legs and the pole — will descend to
its place and keep the legs extended — the movement is very
much like an umbrella. — To close, the ring has simply to
be pushed up. There are two qualities that need especial

44 THE AMERICAN

mention. The one is, that instead of a screw, (which is
necessary to keep the top at its required height J pressing
against but one part, to its damage, there is a band inside
the connecting iron, with a slight space, against which
band the screw presses, the band closing, presses equally
all around the pole, and this keeps it much steadier, and
without indentations. The other we mention, is that the
screw tilting the top, being placed nearer the centre than
the common mode, tilts it in much less time than the com-
mon mode.

Upon the whole, this stand is one of the most complete
articles in the art, and weighs but little more than half the
common tripod. It is the invention of Messrs. Seely & Gar-
banati, who intend patenting it. The price of one suitable
for half-size camera is $3.

THE NITRATE BATH. (Again*)

BY THE EDITOR.

I propose in this paper to discus s some of the methods of
removing foreign substances from the bath.

If the bath has been but little used, and has a proper
strength of silver, and you have used a suitable collodion, you
may be sure, if it works ill, you ha^e got something in by
carelessness. Try the remedy given in page 6, at the same
time resolving to be more careful in future. Also, on first
mixing the bath, if it does not suit you, try the same remedy.

Moreover the exposure to light will prove effectual in all

cases where the foreign substances have injurious effect from

their chemical power. All organic matter, and all deoxydizers,

wh ether morganic or organic, will be precipitated by the action

f light, and the bath be left photographically (?) pure.

Although I consider the exposure the best and almost so-

* Sec page 20

JOURNAL OF PHOTOGRAPHY. 45

vereign remedy for a diseased bath, I shall do injustice to
others if I omit the method commonly practiced.

Mr. Hardwich recommends, to evaporate the nitrate solution
in a suitable porcelain vessel, and fuze the nitrate of silver,
by which operation the organic matter is consumed. The
fuzed nitrate is dissolved in the proper quantity of water, and
filtered, when, by the addition of a few drops of nitric acid, the
bath may again be in working condition.

For another method, I am indebted to Kruger's " Vade-
mecum des pracktischen Photoggraphen." Kruger's process
consists briefly , in precipitating the nitrate of silver as car-
bonate, and after washing, re-dissolving the precipitate in
nitric acid. Or, to be understood by all, filter the bath solu-
tion ; add carbonate of soda or potash till no more precipitate
falls ; wash the precipitate carefully in clean water ; when well
washed, add pure nitric acid till the precipitate is nearly dis-
solved ; and. finally, water sufficient to make the solution of the
original bulk. Mr. Gaspar Lucacsy, late of Caraccus, S. A.,
informed me that he has frequently, during the past two years,
treated his bath by this method with perfect success.

With reference to these methods, I would observe that the
first especially requires too much dexterity in chemical manipu-
lations to be serviceable to photographers generally, and that
the second will not effectually remove the organic matter,
unless the precipitate of carbonate of silver is ignited. Mr.
Kruger's process has, however a special advantage which I will
shortly point out.

Thus far I have not alluded to the influence of other
nitrates, constantly replacing- the nitrate of silver. Pre-
cisely how these nitrates act, I am not prepared at present
to say. But I venture the suggestion, that they act only
mechanically, and they do damage only where they exist in
such abundance as to cramp the nitrate of silver in its
otherwise free operation. I have seen collodion pictures
with a peculiar mottled or sandy appearance. — Was it
caused by foreign nitrates in excess ? It is an appearance,
I should expect, especially if the film had been allowed to

46 THE AMERICAN

dry too much on coming out of the bath. (I intend to
settle this matter by experiment shortly.) At all events,
a way, if possible, of removing foreign nitrates is desirable.

The exposure to light, or the evaporation to dryness,
removes none of them. But Kruger's process, it will be
readily seen by chemical readers, will eliminate all alcaline
nitrates, and those only for the metallic will be precipitated
as carbonates. If collodion sensitized only with alcaline
iodides (ammonium, magnesium, potassium, &c), has been
used, the bath may be readily converted into a pure solution
of nitrate of silver. Moreover, if the iodide of a volatile
metal (cadmium or zincj Was Used, the carbonate of silver
may be purified by ignition in a crucible.

In reference to the exposure to light, I should have
before remarked, that the bath is left in the alcaline condi-
tion, and requires the addition of a drop or two of acid
before it will work clear.

8WT0WAU tttSCElUWf*

-— Some of our friends have misinterpreted our promise

regarding exposure of photographic quackery. To forestall any-
future misapprehension, we will say that we shall never make the
journal a medium of personal interest of any sort, it cannot be the
arena for petty wrangling. We desire to publish a journal worthy
of a noble art, and which may be looked upon in future times as
history ; that the names which occur in it shall merit the fame it
confers. We cannot dignify any process publisher with mention
of his name till his operations assume the stupendous dimen-
sions of the Hillotype. Moreover, by the course we propose
to take, We shall not be so much annoyed by the " corrections '' and
" explanations " a la injuredinnocence, which are sure to follow the
publication 6f the name of a swindler.

Now, c'orisisliently with the above, we are going to record the
fact as emphatically as possible', that at the present time, process
pedling is an evil that exists to an alarming extend and so' Viewing

JOURNAL OF PHOTOGRAPHY. 47

it, we are going to make it a special labor to exterminate it. We
shall write about it in these pages, talk about it in public and pri-
vate, and get the co-operation of every one, who will assist. We
shall not rest content till the pedler of stolen processes will not
only not thrive anywhere, but be considered disgraced.

The cases alluded to in our last are as follows : —

Circulars are issued from a western city, in Pennsylvania, announ-
cing the invention of three or four new styles of pictures. The
style of the circular and the Greek names of the pictures are im-
mense in the extreme. We are requested to state that the author is
an enterprising young man, and really believed himself, that he
had something new. In proof, it is said, he actually applied for a
patent. The pictures are simply transparent positives on glass.
Since our publication of a similar process in 1855, it has been re-
discovered and re-published in all imaginable ways. Any recent
volume of a photograph journal will probably sell a dozen of the
same sort, and as valuable as the one peddled.

A man who answers to a very funny name ' out west' has
discovered "the grained ambrotype" and a wonderful "black
varnish" " grained ambrotype" will recall to our daguerrean friends
the grained or matted daguerreotypes, and half a dozen ways of
graining an ambrotype. some of which would be better than what
the man out west had discovered. The new black varnish is com-
pounded with a solution of " old india rubber shoe" and the ordi-
nary black varnish.

A Trojan has been itinerating with a process for coloring ambro-
types. He was unwise enough to come to New York, where there
is no demand for his kind of talent. His manner of coloring, be-
sides being useless, has for a long time been secured to others by
patent. The colors are alcoholic tinctures, and penetrate the film so
as to show on the glass side. The particulars have been published
over and over again.

The process of Mr. Duchochois on p. 33 will be found of

especial interest to landscape photographers. The preparation of
gun cotton suitable for dry collodion has been quite thoroughly
studied, and we have known for a long time what qualities were
needful. But the ready and cheap way of securing them we believe
is now first offered to the public.

48 THE AMERICAN

■We are constrained to agree with Mr. Campbell in the

sentiment that collodion pictures only are permanent. Among pho-
tographers at least the truth should not be disguised, but rather
should be so appreciated as to serve as a stimulus in the search
after improvements. The invention of a process for making photo-
graphs on paper permanent, will deserve to rank with Niepce,
Daguerre, Talbot and Archer.

The following is the claim covering the photo-lithographic

process of Messrs. Cutting and Bradford. We are obliged to reserve
any discussion of its merits to a future period.

" The employment of gum arabic deprived of its power of inti-
mate union with the stone, by means of sugar or its equivalent. And
in combination with the above, the use of soap for the purpose of
readily removing the unlighted portions of gum, and of forming the
printing process."

We are in possession of quite a number of Foreign Publi-
cations devoted to the art. Not only do so many prove the vast
fields for research and discovery yet unexplored, but also that our
European competitors are far ahead of us in endeavors to make
the art scientific and really artistical.

At present with us, Photography is almost solely used as a
means of making money, and though in the pursuit of the cash,
we have necessarily brought the mere manipulations to almost per-
fection, yet it cannot be denied that we neglect the higher and
nobler uses it is now available for.

We are too mechanical, we pay little or no regard to composition,
and though we may group admirably, it is with the only considera-
tion, of how we can best dispose of any given number of persons
wrho think proper to sit in company. But to tell stories wilh the
camera, to depict sympathies, remind of joys and grief, and picture
scenes of home by its aid, is something we have not yet even
thought of.

Photographers, do not merely learn " processes" and "face map-
ping," but strive to be artists also. Depend upon it there is fame,
aye, and money in it too — that photography can and will rank
as one of the " fine arts."

Artists, why not oftener become photographers ? there is space
enough to develope your talent, and a readier mode of becoming
known, and what is better, you may bend the art to your own use
and double the productions of your works. More anon.

THE AMEEICAN

[NEW SiRDES.]

Vol. 1.] JULY 15, 1858. [No. 4.

ON THE METHOD OF ENLARGING PHOTOGRAPHIC
AND OTHER PICTURES.

BY P. H. VANDERWEYDE, M. D.

As the above subject is now attracting much general
attention, some information concerning the first invention
of the apparatus used for this purpose, and on the disputed
question of diffraction, will be welcome to the readers of
this journal.

We will commence with a translated extract from an
article on the camera-obscura, in a Journal of Natural
Philosophy, published by the writer in Holland, 1840.*

After devoting some 30 pages to the theory and construc-
tion of the simple camera, invented by Baptista Porta, of
Naples, 1550 (or after others even by Roger Bacon, 1280;,
and its diversified constructions, and later improvements
with the Prism, by Soleil in Paris, called by him Phonio-
graph, the variety for magnifying the objects is treated
and attributed to Baltkasar, in Erlangen, Germany, who
gave the theory of it in 1710, and Lieberkuhn, a celebrated
optician, who exhibited publicly a solar microscope, before
1740.

Weickardt, also a German optician, was the first who
about the same time constructed a camera to enlarge
opaque images ; this was of course long before the achro-
matic lenses were invented. He used, however, also two
lenses in the way we use our double lenses for portrait, as
he found it gave a larger and better defined field ; and for

* Tydsehift for Wis en Natuarkaude. Amsterdam, Holland ; can be found at the
Astor 1 ibrary.

50

THE AMERICAN

objects very near, to be enlarged much, he added a third
lens, or changed the two with others of shorter focal dis-
tance. He gives the description of an apparatus for copy-
ing drawings and paintings of every size, and also the way
to draw the so-called anamorphosen, or distorted pictures
(as much in fashion in the last century as now the stereo-
scope), by placing the picture to be copied and the field
both in a corresponding oblique position.

This apparatus, fit to give enlarged images of small
objects was later manufactured in Neurenberg, Germany,
on a small scale, in large numbers, and very cheap, too ;
it was adapted for transparent objects. It was (as we all
know) called a solar microscope ; and if it was adapted for
opaque objects and small drawings to be enlarged, it was
called (as we do not all know] a megascope or megalascope.

Aepinus, Euler, and Zeiher had proposed such contrivances
already under the name of a solar microscope for opaque
objects, but the first who exhibited one in public was
Marten, in England, who illuminated his small objects with
reflected sun-light in the focus of a concave mirror.

The article of which this is a very abridged extract,
gives now a description of a copying apparatus, which the
writer made in 1837, serving for the same purposes as that
of Mr. Moore, mentioned page 139, vol. vi.,(of which I, how-
ever, do not know the particulars), and remarks, at the same
time, that Adams, the manufacturer of the once celebrated,
but now antiquated, microscopes, proposed a similar appa-
ratus 100 years ago.

After this, is given the description of the lamp micro-
scope, hydro-oxygen microscope, magic lantern, phantas-
magoria, as being all instruments belonging to the same
category as the animal eye,

The third and last part of the article treats of a different
class of cameras, where the first inverted image is taken
up by a second lens placed behind it, and so a second
upright image is formed. The purpose of this arrange-
ment is twofold : 1st, to have an image on the ground
glass not inverted ; and 2nd, to have an enlarged image
of very distant objects,

Scheiner, the German astronomer, constructed about 1600
apparatus of this kind to make an enlarged image of the
sun, in order to observe its spots ; and we all know that
the same can be done with every astronomical telescope
elongated a little over the length used for observation,

JOURNAL OF PHOTOGRAPHY. 61

fitted in a hole in the blind of a darkened room, and provi-
ded with a reflector outside, and that this contrivance has
been used by several photographers to obtain pictures of
the spots of the sun and moon.

A portable apparatus of this kind was called a Helioscope,
and Hevel made many observations with it on the solar
spots (1T50J as it gives an easy way to measure the posi-
tion of each. Eimart) in Neurenberg, observed eclipses
with it, and Keestner gives all the calculations about its
use in astronomy, in his Astronomical Treatises, vol. 11,
p. 362.

A modification of this arrangement is the apparatus of
Cayeux, called Eugraphe, which gives an upright image of
any object at any distance, and also of any desired size.
The arrangement is this :

The first or objective lens, has about 8 or 10 inch focus,
4 or 5 inch aperture, and is movable in a tube in which the
first inverted image is formed, on a ground glass, behind
this are one or two combined smaller lenses of short focal
distance, which transfer the first inverted image upright
and enlarged on the second ground glass ; the first being
removed, as the image exists in the air just as well with-
out a glass.

By elongating the distance of the two small lenses, or
diminishing their distance to the first lens, an increase in
the size of the second image is of course obtained. Later,
this apparatus has been improved by adding a so-called
intermediate lens behind the first large one, to contract its
image but at the same time making it better defined,
clearer, correcting aberration, &c.

The article from which this is extracted ends with this
description of the Eugraphe of Cayeux, which he intended
in particular for portrait painters, and which in 1840, when
most of the above was written, was the latest improve-
ment in the camera.

Since that time the camera has been improved in another
direction by applying achromatic lenses for the use of pho-
tography, as we all know ; and no doubt if these improve-
ments in their lenses, were applied to the Eugraphe of
Cayeux, the most perfect instruments for copying on an
enlarged or diminished scale would be produced.

In a following number I will write about the subject of
diffraction in enlarging transparent photographs.

52 THE AMERICAN

ON COLLODION.

BY P. C. DUCHOCHOIS.

Collodion is a solution of pyroxiline in a mixture of ether
and alcohol, to which is added, for photographic operations,
a small quantity of soluble iodide, of bromide, and some-
times also of chloride.

In principle the ether gives the solidity of the collodion
film, and the alcohol adds to its sensitiveness, and to the
softness of the proof, by destroying the tenacity that the
ether gives. However, it will be dangerous to force the pro-
portion of alcohol, for a little solid, glutinous and unequal
film will be the result. — The presence of alcohol is also
necessary to dissolve the pyroxiline, iodide and bromide,
which are insoluble in absolute ether, and to prevent a too
quick evaporation of the collodion that opposes the forma-
tion of an equal film free from striae.

If the amount of alcohol employed to prepare the collo-
dion is too small, the iodide and bromide of silver, instead
of being formed in the body of the film, are entirely formed
upon its surface and easily washed away. — The same
effect is also produced by a too weak silver bath, and if it
is concentrated enough, it will be necessary to add a few
minims of acetic acid, even when the bath is not alcaline,
and does not give any reduction ; the acid in that case
appears to help to accelerate the combination of the iodide
and bromide with silver. Sometimes also a collodion pre-
pared with iodide of ammonium gives birth to the same
kind of imperfection ; then the addition of a few drops of
water is often a good remedy.

To prepare photographic collodion, netural and an anhy-
hydrous sulphuric ether only mus tbe employed, and contain-
ing very little alcohol, and newly distilled on potash, in
order that it may be free from oxydation and from that
peculiar property, which it acquires by long keeping, of
decomposing the metallic or alcaline iodide and bromide of
the collodion. — The alcohol must be very concentrated and
well purified from any essential oils which destroy the
sensitiveness of the preparations. However, its specific
gravity ought not to be over 0.809, for an anhydrous coll
dion is far less sensitive than when it contains a
water ; 2 or 3 per cent ; a larger quantity will give a col-

JOURNAL OF PHOTOGRAPHY. 58

lodion not very fluid and a wavy film, liable after fixing,
to tear or peel off in drying.

The proportion of alcohol and the quantity of pyroxiline
vary according to the temperature : the higher it is, the
more the quantity of alcohol augments ; the lower it is, the
larger must be the proportion of pyroxiline. — The propor-
tion of ether to alcohol and the amount of pyroxiline are
generally formuled as follows for the different temper-
atures :

At 59 deg. minimum Ether, sp. gr. 0,72 4 parts. — Alcohol, sp.

gr. 0.809 3 parts.— Pyroxiline 1 per. 100.

At 41 to x 59 deg. Ether sp. gr. 0.72. . . .3 parts. — Alcohol sp. gr.
0.809. . . .2 parts —Pyroxyline 1 1-5 per 100.

At 41 deg. maximum Ether sp. gr. 0.72.... 4 parts. — Alcohol sp.
gr. 0.809 2 parts.— Pyroxiline 1 3-10 per 100.

The dose of iodide in the collodion must be proportioned
in such a manner that the sensitized film presents by trans-
parency a deep opal color, which does not permit to read
through, although easily penetrable to light, for any opaque
film is not very sensitive and gives gray proofs (too equal),
on the contrary a film too little iodized gives too much
vigor (contrast). — In good conditions the collodion con-
tains per cent, about one part of Iodide combined with a
metallic or alcaline base. — If a bromide is employed, its
addition does not effect sensibly the proportion of iodide,
and the dosage varies, according to the effect required,
from 1-6 to 1-2 of bromide for one of iodide.

The following table will facilitate the preparation of
collodions with the iodides and bromides of any base, in
order to have always the same amount of iodine and
bromine :

The Iodide of Magnesium contains 91.86690 parts of Iodine per cent.

" Aluminum " . . . .90.07092. ." »« "

". . . .Ammonium " 87.58620. .«■ •• "

•« Sodium '• 84.66666 . . " " "

"....Iron " 81.93548.." " «■

"....Nickel "....81.41025.." « "

" Zino " .... 79. 87422 . . " «■ «

" Potassium '♦ 76.50602. ." " •«

" Cadmium ". . . .69.39890. ." " "

" Barium « 65. 1 2820 . . " " "

64 THE AMERICAN

.." «

1.

««

It

(1

««

.."...

it

(.

(<

The bromide of Magnesium contains 86.95652 parts of Bromine per cent.

". . . .Aluminium " 85.10638.

"....Ammonium " 81.63265.

"... .Sodium "... .77.66990. .

" . . . . Iron " . . . . 74.07407

"... .Nickel "... .73.39449.

"....Zinc... "....71.42857.

" Potassium «■ 67.22689 .

< ' . . . . Cadmium " 58.82352 ■

" Barium " 54.05405 . . <• " "

The thickness of the collodion depends on its prepara-
tion and the manner of bringing out the picture. With a
collodion prepared only with iodide, and but little iodized,
or in developing with pyrogollic acid, thin films are prefer-
able ; — those a little thick give better results i and more
intense negatives with a collodion bromo-iodized, or when
the sulphate of protoxide of iron is the developer used. —
The density of collodion depends also on the size of the
glasses to coat ; the larger they are, the thinner ought to
be the collodion ; since the evaporation being more consid-
erable on a larger surface than a small one, the collodion
leaves necessarily a thicker film. The progressive decom-
position of collodion is determined by the acidulation of
the ether resulting from its oxydation in contact with the
oxygen of the air, or with a powerful oxydizing base, such
as potash, soda, ammonia — either, if they are in excess
in the iodide and bromide, or even in combination with
them. — It is also to be observed that these bases react
equally on the, alcohol and decompose it. — On pyroxiline
the action of the alcalis is very powerful, it is partly de-
composed, the collodion becomes very fluid and gives a
thinner film like rotten collodion, often opaque, and with
less and less body.

The acidulation of the ether determines the decomposi-
tion of the iodide : iodine is set free, reacts on the ether,
and alcohol, and gives birth to new compounds (iodoform,
iodhydric and iodic acid, etc.) which bring about the com-
plete deterioration of the collodion.

By way of decomposition, the collodion loses its fluidity
(if prepared with alcaline compounds) and forms a film
thinner, having less body and powdery, and gives more
intense and vigorous proofs, a property that it loses after-
wards, and becomes less and less sensitive.

The insensitiveness is easily explained by the iodic acid,
which at the time of the sensibilization is transformed in

JOURNAL OF PHOTOGRAPHY. 56

the body of the film to iodate of silver, and by the formation
of nitric acid, which takes place every time that free iodine,
iodic and iodhydric acid are in contact with nitrate of
silver.

The augmentation of intensity would be in part the
result, according to Mr. Hardwich, of the formation of an
organic compound ( formed by decomposition of the pyroxi-
line in presence of an alcaline iodine*) containing some ele-
ments of the pyroxiline combined with a base, and having
properties like those of sugar, to form organic compounds
with the salts of silver, reduced by light. — According to
Mr. Maxwell Lyte, that would be owing to the presence of
nitrous ether, formed by the nitric or nitrous acid, mechani-
cally held in the fibres of the pyroxiline. — At least it would
not be unlikely that this augmentation of intensity and
vigor be also determined by some acetate resulting through
the decomposition of the iodide which leaves the base in
presenee of the acetic acid of the ether. The same causes
which produce the decomposition of the iodides, produce
also that of the bromides, and the deterioration of the collo-
dion rendered so much more active by it, as free bromine
reacts on ether and alcohol more quickly than iodine in
forming like compounds.

As well as the alcaline, the metallic iodides and bromides
are decomposed in the collodion, either by the oxydation of
the ether in contact with the air or the acid in excess in
the pyroxiline, or by reaction of the ether on the metal, for
it is well established that not only the potassium, sodium,
and barium, oxydise themselves in ether, but that some me-
tals undergo the same effect principally in presence of the
air.

The deliquescent metallic iodides and bromide sare not gen-
erally very stable, and are easily altered by the air and damp-
ness (such are the iodide and bromide of magnesium, zinc, iron,
&c.) and give a collodion which does not keep as well as with
other metallic iodides — It must be also remarked that contra-
rily to the alcaline, these iodides and bromides, and even those
of cadmium (which gives the most unalterable collodions)
produce a thickening of the collodion giving a more or less wavy
film before any apparent decomposition takes place.

The collodion is more quickly decomposed by the iodide of
iron than by any other metallic iodide ; it thickens in little

* Is it not the alcaline base that form this organic compound ? If to a plain
collodion, modified by ammonia, and a few days old, some iodide is added, one obtains
immediately a photographic collodion having the property of giving intense negatives.

60 THE AMERICAN

time, and becomes like a jelly in two or three days, if the pro-
portion of iodide of iron is large — It is at least, to remark, that
the pyroxiline is rapidly altered in a collodion prepared with
pure iodine ; this seems to confirm that theory which admits
that, like the protosalts of iron, the iodhydric acid reacts on
peroxide of nitrogen and regenerates the cellulose.

Heat hastens the decomposition of collodions The action
of light has been studied by Mr. Tiffereau, who observes
that a collodion exposed to the direct rays of the sun during
one to three days acquires a great fluidity and a sensitiveness,
and is able to give instantaneous proofs even in an unpropitious
condition of light, but that it loses afterwards 'these properties
and becomes worthless in a few days.

Conclusions. — A. — In the preparation of photographic
collodions, 1st. to employ ether and alcohol, perfectly neu-
tral and newly distilled, on caustic potash ; — 2d to neutralize
by washing with very weak* ammoniacal water, the acid that
the pyroxiline may retain between its fibres, and to dissolve
it only at the moment of preparing the photographic collo-
dion ; — 3d to keep the collodion in well corked bottles without
emptying, and sheltered from light and a too high heat —
4th. When the collodion assumes a coloration turning to red,
to put in it some thin pieces of pure cadmium, to which com-
bine the iodine and bromine in proportion as they are set
free.

B — For very fluid collodions, to iodize with alcaline iodide
and bromide : the collodion will not keep a long time, but
when the decomposition is not very advanced, it will work as
well as any other.

C. — To obtain a collodion giving a powdery, rotten filmf
as required for dry processes, to add a few drops of ammonia ;
the decomposition of the pyroxiline being very rapid, the col-
lodion will be worthless in a week or two, even with a little
amount of alkali.

D — To prepare very stable collodion : 1 . To proscribe
any alcaline iodide and bromide, especially those containing
an excess of base and the iodide of ammonium, which by its
instability retains always iodine, and releases ammonia ; — to
prefer metallic iodides and bromides, with the exception of
those of iron : the iodide and bromide of cadmium give the
most stable and quick collodion.

* A too strong alcaline solution will render the pyroxiline insoluble.

f Old brown collodions prepared with alkaline iodide possess such properties.

JOURNAL OF PHOTOGRAPHY. 57

NEW MODE OF PRINTING. -AMBROTFPES IN
COLORS.

BY W. CAMPBELL.

Mr. Editor,— I do not know if the following be new er not
I am inclined, however, to believe that few are aware that the
fumes of strong ammonia, when applied to plain nitrated
paper, have the same effect as ammonio-nitrate on paper. If
you will be good enough to direct the fraternity to this fact, it
may be turned to some advantage. The experiments I have
made lead me to believe that much handsomer tones are
obtained, deep rich colors being the result of strong ammonia
applied to the nitrated paper. The principal trouble I have
experienced is the want of a proper recepticle for t^e ammo-
nia, an old 4-4 daguerreotype mercury bath, being the best I
could find I pour my ammonia into the bath, cover it with a
very thin gause to prevent the paper falling in, then cover the
whole with the wooden top. You will see that this is a very
rude mode of proceeding, but I am in hopes that some one
may devise a better, if the experiments are found to be
deserving

The obtaining of color on the plate is a matter of intense
interest to every one, and we are tantalized every now and
then by someone telling us they have succeeded in impressing
a plate with certain colors Now, although I have never
seen any of these, 1 am quite prepared to believe it ; for I
happen to have a plate of this description of a decided green
color, if seen by reflected light, but of a decided red color if
viewed by transmitted li<rht How I got it, I cannot very well
say, as it is twelve months ago*. The bath, however, was
anything but orthodox. It is one I had been experimenting
with, and contained a large quantity of acetic acid, and a very
large quantity of carbonate of soda had been added to neu-
tralize the acid. There was no trouble in getting the green
color, and by a longer exposure (about one minute) I got a
yellow, the most beautiful I ever saw ; unfortunately it faded
when drying the plate over a spirit lamp, and I could not get
another.

I mention this as showing that color may be had, but it is
not the " genuine," the real " simon pure," the •• Hillotype"

* We have a specimen on exhibition presented by Mr. Campbell, more than a year
since. — Ed.

58 THE AMERICAN

THE STEREOSCOPE.

BY JOHN F. MASCHER.

It is surprising to see the apathy existing among our artists
with regard to stereoscopic portraiture. It was on the tenth
day of June, 1852. that the first stereoscopic picture was
taken in the United States, — said picture is a portrait of the
writer. Over six years have therefore elapsed since this
wonderful instrument has been introduced among us, yet how
few, comparatively speaking, are in the hands of our citizens.
Whose fault is it ? Is it the want of appreciation on the part
of the public, or is it negligence on the part of the' artists, or
can it be that the instrument has not yet received that conve-
nient, portable and efficient form required to recommend itself
to the favorable consideration of the public ? I think it
can be shown that the fault lies with daguerreotypists, who
generally speaking possess less enterprise and business quali-
fications than any other class of our citizens, — they are a grasp-
ing and penurious set of men. They hold the sixpence so
close to their eyes, that they fail to see the pound in the dis-
tance. They adopt improvements provided they are cheap
They never contribute to elevate the art It cannot be
expected that such men supply themselves with an assortment
of stereoscopic cases for their customers to choose from.

These liliputians eagerly grasp at the 4 or 5 dollars
which they charge for a stereoscopic portrait, but demur
against paying a dollar for the case ! They charge $2
for a plain 1-4 size daguerreotype and case, whereas they
charge $4 for a stereoscope portrait without the case ! —
The materials in a 1-4 stereoscope picture cost the artists
50 cents! the case costs $1 50, total, $2 for which some
artists charge $4, some $5, and others $6. Is not that
a prohibitary tariff upon the introduction of the stereoscope
case ? Would they not sell more and realize a larger amount
by charging $3 ? Most certainly, they would. Let me not
be understood as complaining against all our artists, nor as
being uncharitable to any. My object is to endeavor to
stimulate all to renewed action We have in this country
every facility of disposing of stereoscopes. We have the
stereoscope locket, uases from the 1-9 to the 4-4 sizes, the
stereoscope book, portemonaie and workboxes ; we have them

JOURNAL OF PHOTOGRAPHY. 69

at prices from fifty cents to twelve dollars each, of patterns
to suit all tastes.

Volumes have been written upon stereoscope angles, yet
there exists as much diversity of opinion upon the subject as
ever. I was the first, three years ago, to demonstrate that the
stereoscopic relief of the picture depends upon the diameter
of the lens of the camera with which they arc taken, to show
that the relief is increased by a diminution of the size of the
lenses of the camera, and actually to take pictures showing
proper and abundant relief, with lenses 1-8 inch in diameter,
situated 2% inches apart, and incidentally to demonstrate
by the same experiment, that pictures taken with lenses larger
than the human eye, are not correct likenesses. A picture
taken with the ordinary 1-4 size camera, is a conglomeration
of 144 pictures as seen by the eye.

The human eyes are 2\ inches apart, yet they see objects
in proper relief, and it is well known that pictures taken in
the ordinary camera, at an angle of only 2% inches base, do
not show relief. To make such pictures show sufficient relief,
requires the cameras to be separated 30 inches.

Pictures taken with large lenses at a great angle, produce
contortions of the eyes of the observer in the stereoscope,
whereas those taken with 1-8 inch lenses, and at the natural
angle of 2% inch base produce no contortion I desire your
readers to remember that fact, for some persons viewing
stereoscope pictures complain of the aching of their eyes,
and attribute the same to the lenses in the stereoscope.
The fault is in the picture, not in the instrument,

All the imported stereoscopes that I have ever seen, are
defective in construction ; they do not show the whole pic-
ture in relief, because the lenses therein, are not whole
lenses, they are half or even quarter lenses, and do not
show sufficient field ; their defect may be briefly stated
to be, that they do not show the position of the picture in
relief. Again, I have seen stereoscopes with lenses of
enormous size, they show too much field, and require and
contain a diaphram, to prevent them from showing three
pictures ; one in relief, and two flat ; none of these faults
exists in the stereoscopes of my make ; they all have
whole lenses of sufficient size to show the whole picture,
and no more. In conclusion, allow me to put in a plea for
the daguerreotype. I will ask any artist whether the
daguerreotype is not superior to the unsightly ambrotype,
or the coarse and fading paper, photograph ? Surely, the

60

THE AMERICAN

daguerreotype is as superior to these pictures as the sun
is superior to the moon ; the only improvement to be de-
sired in the daguerreotype, is in the mode of sealing them.
We want a sealing' paper that will not perish ; the glue and
molasses, on the common sticking paper, engendering ani-
malculse, which in time consume the paper ; remedy this,
and the daguerreotye is as perfect as could be desired.

Philadelphia, July 10th, 1858.

THE NEW CAMERA STAND.*

Mr. Seely, Sir,— I must confess, that among all the jour-
nals and various processes and improvements in apparatus, &c
sent by mail at from one to ten dollars, I have never met with
anything so cheap and simple, and that served the purpose for
which it was designed, so perfectly as your new camera stand
— a cut of which is found in the last number of your journal.
Nothing but hard times and the money pressure has prevented
me for the past six months from sending to New York for one
of the heavy iron stands, which would cost me, delivered here,
not less than $25. I have an extra 4-4 camera, that by prop-
ping up with an iron head rest, I have managed with great
perplexity and trouble to get along with, mounted on one of
the ordinary wood stands, with cast iron sockets. On seeing
your cut, I was indeed skeptical, and could not believe so light
an affair capable of holding my large camera with any firm-
ness. But on reflecting that I had already found several
suggestions you had made, prove exactly as you said they
would, (and none that I had tried ever failed) I resolved
at once to try the new stand, but was still too weak in
faith to try the half-inch legs. I made mine one inch, but
I am now convinced that half-inch legs will support the
required weight ; yet I prefer 1 inch for a large instrument.
Having wrought considerable in wood, I sat at once to
work making the stand. The structure as it now stands
complete, made of black walnut (our common timber here)
cost me twenty cents — 15 cents for 3 sets inch bntts and
screws, and 5 cents for lumber, and it is more firm than any
camera stand I ever saw, and I could not be induced now

* See page 28.

JOURNAL OF PHOTOGRAPHY. 61

to use the best iron stand manufactured, if I could have it
at the same cost. And had I all the patents within reach,
I should take this in all cases, except for standing- pictures.
I made it in less than half a day's work, and could easily
make three, and I think four, per day. I made the top
hexagon shaped, and let the standards straddle three
points and put a cleat on each side, and one across the
front end, in advance of where the legs were fastened
beneath, to keep the camera from sliding off — When com-
pleted, I placed my camera upon it, and then sat upon the
top of the camera myself, and it seemed the more weight I
got upon it, the more firm it stood. I think it far more
worthy of a patent than any other stand in use. Nothing
will induce me to be without your journal hereafter. This
one saving to me will pay for it at least ten years. Your
suggestion about the iron strips, I think a good one, and I
intend to attach them. My plan is thus : two, straight
strips of iron, each eight inches long, one having a slit,
nearly the whole length, and the other solid, except a hole
in one end for a wood screw, and one in the other end, for
the thumb screw. The wood screws not being turned up
tight, will leave each end of the irons (as they are fastened
to the legs about where you represent the chains attached)
to turn as the thumb screw is loosened, and the irons slide
back and forth on each other.

It many times so happens that the artist would like his
photograph lighter in spots than can be printed from his
negative without leaving other parts too light and faint, as
of persons' faces taken in an out-door view, in sunshine,
the person standing in the shade, also in forming light
clouds in the sky, or in representing the water more cor-
rectly, &c. In all cases if a small brush be put in a weak
solution of cyanide of potassium, and the photograph
touched with it, the spot touched will very soon become
white. The paper should be dry when the brush is thus
used, and should be thoroughly rinsed or soaked after
using-. Many photographs that are thrown aside as worth-
less, may be saved by this simple means.

Yours truly,

G. L. Reynolds.

Des Moines, June 25, 1858.

62

THE AMERICAN

THE CAMERA,— ITS PROPERTIES, QUALITIES AND
SELECTION.

BY H. GAR BAN ATI.

It is almost needless to state that fine pictures are impos-
sible with a poor camera, and though the remark will also
apply to any chemical, yet the latter may be a temporary
evil ; an inferior camera is a standing one. It is always with
you, penetrates through all your operations, and influences all
their results ; no matter what your skill, you cannot get the
credit of it ; your productions are against you How foolish,
then to buy a poor camera, which lessens your profits by limit-
ing your business, when a few dollars more, would give you the
benefit of all your talent, and the profits of one day might per-
chance pay the few dollars. A poor camera, can at best be
tolerated to obtain mere chemical effects. But those who are
able to test chemical effects, want to produce works of art
also ! Very superior cameras are made in the United States ;
probably they will average with those made anywhere else.
The essentials of a first rate camera are — sharpness, field, and
depth of focus, these qualities are rarely found in perfection
combined ; indeed, opticians assert, that to produce all those
qualities in perfection combined, is impossible, and that one or
more must be modified. Hence different makers aiming at
the nearest degree of perfection, vary their modes, and fix
their standards according- to their own notions. Never-
theless, cameras sre sometimes made so near perfection,
with the objectionable qualities so little obtrusive, that they
are quite good enough for all practical purposes. In their
desire for perfection, however, the best makers sometimes
turn out inferior instruments.

The leading camera makers in the U. S , artists have
by universal consent, acknowledged to be, C. 0. Harrison,
and Holmes, Booth & Haydens, and though there is but little
difference in their productions, }^et each, having a theory
of which combination of qualities is the best for producing
desired results, reproduces the same characteristic of
divergance, when any is visible.

The characteristic of the cameras of Mr. Harrison, is
sharpness combined generally with depth, though that
combination is seldom attained. In the desire of obtaining1

JOURNAL OF PHOTOGRAPHY. 63

this end, the field is often limited to the extent of requiring
a much larger camera to take pictures of the size the
name of the camera indicates. Messrs. Holmes, Booth &
Haydens, on the other hand, aim at depth and field, a better
combination, yet seldom sacrifice the sharpness sufficiently
to disadvantage the result ; indeed their cameras are usu-
ally sharp enough for artistic results, sometimes as. sharp
as those of any competitors ; but when it happens one is
very " sharp," it is at a slight sacrifice of field, their theory
appearing to be, never to lose depth.

The desire for mere sharpness appears peculiarly Ameri-
ican ; it is the quality first sought after, and often is
sufficiently attractive, to obtain the good will and cash of
many, without further examination.

But the desire does not display the artist, since it limits
position and confines limbs. How often do we see pictures
— portraits of features, certainly not of expression and
ease, — with the head stuck up as if a skewer were run
through it, the hands, if shown, (why will most people
insist on it ?) forced close against the body, the feet thrust
under the chair ; and why ? because the operator is no
artist ? not always — because the sitter is awkward, and
won't be " fixed ?" sometimes, but generally because the
camera has no " depth " and any projecting limb would be
vague and out of focus. In an artist's hand, a deep focus-
ed camera will allow position ; he wants sharpness, but not
mere sharpness — it's not natural. Whoever saw a man at
a distance with every feature as sharp as required in a
1-6 size picture. There's a lady sitting just ten feet off,
can you see every hair in her head as distinctly as if you
were close enough to fix it against that stiff unyielding
head-rest, that makes her look so starched, and renders her
nervous with its pressure ? Certainly not, distance softens
distinctness, and you have no right to demand it, more than
is required in a perfect and distinct likeness, a likeness
that will cause every one to say in an instant, "There is
Miss Pretty," or the youngest child to cry out "Mamma."
You don't want to show in all perfection, her freckles, in
preference to her face, or the contour of her features, or her
may-be-not-over-clear-and-smooth-yet - very - white skin, in
preference to her lady-like ease. Sharpness, my good Sir,
is not the only requisite in an artistic picture ; there are
other requisites.

Neither can you sacrifice " field," without rendering your
outline dim, or placing your " outsiders" in a group, deci-
dedly in the shade, their features shapeless and unknown.

64 THE AMERICAN

There's Mr Bromide at this moment arranging for a
group of seven, —three sitting, and four standing — is that
just what they require, or is he at a loss how to dispose of
them ?— Just look again, there's one with a hand on his
knee - his right one-* the man at the other end, has his
left just to match, you know ; the middle one has a hand
on each knee, the backs carefully fronting the camera, — it
would not do d'ye see, ever to show the inside, even per
accident, because the convex would show a shade. — The
four standing have their heads thrust forward between,
and on the side of the heads of the sitters so as to be on
the same plane ; that one has his hands on the shoulders of
his fellows, because they are in the way, and it would not
do to cut them off for the occasion, and besides, it gives a
careless (decidedly), and easy look. That one; has one
hand thrust in between the heads of those below him, and
appears to be adjusting the collar of one of them, 'his other
hand is lost in space ; the two " outsiders" have their
hands hanging down by their sides, so as to round off the
group. See how carefully Bromide arranges his sitters in
line, like a platoon of light infantry ; now he goes to one
end and squints along the line, as a carpenter will along a
board. He wants to see that no nose projects, aud was
about telling that gentleman in the middle to fall back,
when he discovers his nose is longer than his neighbor's,
so allows its point to be " out of focus " And why all this
care for getting into line ? simply, because the camera has
neither field nor depth, though it is wonderfully sharp,
(still he might arrange them into a slight arc, to counter-
act the want of field. )

So, Photographers, you have my opinion as to the relative
merits, of the merits of the Variations of the three qualities
that constitute perfection in the camera. If you intend
purchasing a camera made by one of our celebrated
makers, get a Harrison's ; if " sharpness" is your chief
consideration, and if depth or field, a Holmes, Booth & Hay
den. For my own particular part, though I desire sharp-
ness, depth and extent of field are my desiderata, and a first-
rate optician will not sacrifice too much sharpness in their
attainment. I am borne out in my choice by the chief
artists in Europe. And the best opticians there so make
their instruments, though whether to follow or lead taste, I
know not, still Europeans have done most to render the
photographic art scientific, and we are apt to say they do
not make their pictures as sharp as ours.

JOURNAL OF PHOTOGRAPHY. 65

EDITORIAL tttSCEOANV*

Our European friends must look to their laurels.

Photography surely had its birth in Europe, was carefully nursed
through its tender age. was a great pet with all classes, and has
always been rugged and healthy. But its parents (like all parents),
sometimes display a fondness which is unbecoming in others' eyes.
They seem jealous of attentions of strangers, however innocent
and well meaning they may be.

To read some French books on photography, one migrit suppose
that the art exclusively belongs to France, — that Frenchmen alone
had invented it, perfected it, and were capable of practising it. [n
such books you find French names, with now and then a men-
tion of Talbot and Archer as claimants of French inventions. Gen-
erally in foreign photographic publicatons, American photography
is altogether ignored, or is named with a sneer, and associated with
Hillotype pretensions.

Now, receiving reproaches with proper meekness, we ask justice.
Very bad men are willing to give the devil even his due. Will not
some of our foreign cotemporaries sometimes declare that a little
good may come out of America ? Please consider a few statements,
and say how much they are wanting in truth.

American photographers are entitled to praise for their practical
skill. Photo-lithography was invented by Joseph Dixon, an Ameri-
can, in the year 1840. Whole lenses were first used for stereo-
scopes, by John F. Mascher, an American, in the year 1852. Pho-
tographic portraits, full length, and larger than life, were first made
in America. American apparatus is generally superior, m fitness
for use, to that of any other nation. Photography was first made a
business in America

Our claims to notice are by no means exhausted. On some
future occasion we may extend the catalogue.

The article by Dr Vanderweyde. on page 49, will prove of

interest to those who are curious about the history of the camera. It
is reprinted from the old series in order that our new subscribers
may have the full benefit of what the author proposes to write.

Of late a great deal has been said in foreign journals about a
so-called " orthoscopic lens'' claimed as an invention of Petzval or
Voigtlander. The new lens is composed of a convex mounted proper-
ly in front of a concave. By the following extract of a letter from
Sir Henry Wotton to Lord Bacon it appears that the illustrious Kepler
had invented the same thing more than two hundred years ago. The
letter was written in 1620, Kepler died in 1630.

66 THE AMERICAN

" I saw in his" (Kepler's) "cabinet a landscape sketch on
paper which puzzled me very much, and which was made by the
hand of a master, I asked him who made it, — he answered me with
such a smile that I infered it was himself ; and he added that in
making the drawing he had not acted as painter but mathematician.
This perplexed me. He informed me then, that he had a small
portable tent, of what material is of no consequence, which could
be easily set up in the open field, and when he pleased, turned like a
wind-mill in any direction, carefully closed and dark, with the excep-
tion of a small hole of an inch and a half in diameter, to which is
fitted a long perspective tube, in which is set at the outer extremity
a convex lens, and a concave lens at the other, which penetrates into the
interior of the tent, and by which the visible radiations of all ex-
terior objects are introduced and fall upon a sheet of paper stretched
to receive them. Nothing is more simple than to trace with a pencil
or pen all the outlines of the picture, and to reproduce it in its
natural truth ; when it is finished turn the teat gently, and take a
new view. Thus you may draw the whole horizon. I send this
description to your Lordship as I believe this apparatus may render
good service to Chorography. It would not be very generous to
apply it to landscape, for no painter could compete with nature."

The above is translated from the French. The italics are our
own.

The following curious epistle was sent to us anonymously.

The original document may be seen at our office. We value it as evi-
dence that we have done some good. Could any other than a humbug
or patent process pedler have written it ?

" We do not think it is usual to increase the price of goods at the
same time their quality is deteriorated. Yet this is your case— your
Journal has its price raised, and its quality, so far as the new volume
goes, is beneath criticism. M. S's lachrymose lamentations on the
small circulation of his former volumes was bearable (because the pieces
from the other Journals made up to its subscriber's for any inauimity in
the " original matter") but the crude vulgar wit in the original H.
Garbin — are intolerable — the more so as there is no redeeming matter
in any single page of the new volume. — Did it never occur to you that
to those who take your paper, such insinuations (' sic!') are insulting,
an to those who do not they are useless, as they never see them ?
Praise your own goods as much as you please, and puff your own inven-
tions with any amount of hyperbole you please, people can take them
with the proper quantity of salt to digest them properly, and you need
not fear any of your assertions (however mendacious), can be contra-
dicted in your own Journal, seeing you can stop them in transitu.

It is not possible that the publishers of " Good News and Glad Tidings"
can be put out of counntenance by anything that can only reach their
own eye or ear

Our subscription for the year is paid — but we would gladly receive as
the equivalent of. and substitute for, the balance of your Journal, any
foreign publication of the value of 25 cents, or failing that, one of the
cheapest spelling books."

It is generally understood in the United States, that Mr. John

P. Mascher first used whole lenses in stereoscopes. We shall probably
henr from him with particulars on the subject.

I

THE AMEEIOAN

tmcital of ^ologcaplg.

(5J1W 8ISHI8J

Vol. 1.] AUGUST 1, 1858. (No. 5,

[Second Article.']

ON THE METHOD OF ENLARGING PHOTOGRAPHIC
AND OTHER PICTURES.

BY P. C. VANDERWEYDE, M.D.

In the first article on this subject, (p. 49) the reader will
have observed that all the difference between the apparatus of
Mr. Dixon, and that of Mr. Moore, mentioned page 140, of
the former volume, is, that the first is a solar microscope^ the
second a megascope The apparatus made by me, and men-
tioned in page 50 above, was intended for both, and for a
colupal magic lantern, besides being furnished with a great
number of different lenses.

I intend to prove, now, that the inflection and diffraction^
spoken of by Mr. Dixon in the article page 139, does not
exist in any degree to influence the obtained photographic
picture at all.

First, I will destroy one of his strongest arguments. Mr. D.
says, page 140, that all photographers know that if the glass
negative is placed in the printing frame, with the collodion
side np, and the paper at the other side, an imperfect impres-
sion is obtained by reason of the inflection of the light along the
dark edges of the picture ; — that the impressions by this ar-
rangement becomes imperfect by the ordinary way of printing
is true, but only because in exposing to the sun or daylight, a
great quantity of light comes from all sides of the sky, ob-
liquely, and enters between the collodion and the paper ; — but
try only to have the light to proceed from a single point,
(just the light you want to produce the phenomena of diffrac-
tion) for instance, place your printing frame in the conical
beams of sunlight proceeding from behind the focus of a lens
fitted in the shutter of a darkened room, and your print will

68 THE AMERICAN

be sharp, even if the collodion is at a distance from the paper.
Or try to print on a wet sensitive collodion plate ; here day-
light is not preferable, first because it is so strong that the
time of exposure becomes inconveniently short, and second,
you cannot lay your collodion negative in contact with the
sensitized collodion without spoiling both ; some distance must
be left, and daylight will in this case again come between ;
here lamplight is preferable ; now if your lamp or gas flame
is small and steady, in a few minutes a beautiful sharp posi-
tive is obtained, (to be seen by transmitted light) but if the
flame is large or glittering, the product is a woolly picture. —
I can show many products of both processes to prove this. So
we see inflection has nothing to do with it.

I will not deny that, mathematically speaking, there may
exist some inflection of the light around very sharp opaque
edges of a negative, but the distance must be much larger
to make it all appreciable, and the want of sharpness in
the print is certainly infinitely more attributable to the
source of light not being a mathematical point, than to any
inflection of the rays.

That the magnified picture of Mr. Dixon's apparatus is not
well defined, does not arise from any stubborn law of inflec-
tion, but to the apparatus itself; the editor of this journal
already mentioned such causes, page 144. The usual philo-
sophical experiments to prove inflection [see pp. 139, 140] is
a different case altogether ; I have only a few facts to remem-
ber to make this clear.

Professor Draper, of N. Y. University, was, if I am not
mistaken, the first who made enlarged daguerreotypes with the
solar microscope of transparent, and with the megascope of
opaque objects. The illustrations of his work on human
physiology are mostly made after daguerreotypes and photo-
graphs, some of them magnified 250 and even 500 diameters.
I am prepared to show any one interested in it, daguerreo-
type specimens obtained by transmitted light, with all the
outlines as sharp defined as any one can desire, (where is here
the inflection ?)

What now is the cause of the sharpness, while the common
enlarged photographs are so imperfect in this respect ? the
cause is twofold •

1st. We all know that small lenses are in proportion much
better than larger ones, so that to enlarge very small objects,
100 diameters, the result will always be more satisfactory than
to enlarge large objects only 10 diamters.

JOURNAL OF PHOTOGRAPHY.

2d. The objects I speak of, of which daguerreotypes were
obtained, were nature's production of the most minute perfec-
tion, of a so admirable finish in detail, that the present collo-
dion or any negative made by its help is comparatively rough
and course, and cannot bear to be much magnified.

I cannot omit, to suggest, finally, that Mr. Dixon will ascer-
tain if the difference in the action of his apparatus with that
of Mr. Moore's is not in the lenses themselves, and modify his
to use reflected light, which is very easy done, or to use Mr.
Moore's with transmitted light, perhaps both will work always
in their own way, the first never well defined, the last nearly
as well with transmitted as reflected light.

If this is only found partially so, experiments have to be
taken with different large lenses, to illuminate the transparent
object from behind ; a long experience with the sun micros-
cope and similar instruments, has persuaded me, (and proba-
bly a great many others), that it is of the greatest importance
that the large lens, or lenses which illuminate the object, bear
a certain proportion in focal length and size to the small
lenses, and that to have perfect sharp images of any object,
the surface intended to receive the image must be first equally
illuminated by here placing the object in focus ; and I have
no doubt that inflection or diffraction cannot be so much as
to prevent transparent pictures being taken very near, perhaps
entirely as sharp as opaque ones, provided the right arrange-
ment of lenses is hit upon.

THE POSITIVE COLLODION PROCESS.

BY D. C. P.

Collodion.

Sulphuric ether, sp. gr. • 0.720 6 fl. drach.

Alcohol, sp. gr. - . 0.809 4 "

Tincture of iodine, cone - - - 1 drop.

Iodide of potassium, - - - - 4 1-2 grains.

Bromide of cadmium, - . . 2 "

Pyroxiline, 6 "

Silver Bath.

Water, 1 fl. ounce.

Nitrate of silver, - 35 grains.

Tincture of iodine cone, - - 1 drop.

70 THE AMERICAN

Developer.

Water, - - - - - - 1 fl. ounce.

Sulphate of protoxide of iron, - 30 grains.

Acetic acid, No. 8, 45 minims.

Fixing.

Water, - - - - - - 1 fl. ounce.

Cyanide of potassium, - - 17 grains.

Black Varnish.

Spirits of turpentine, - - - 1 fl. ounce.
Asphaltum, - &0 grains.

Yellow wax, - 15 "

Lamp black - - - - 15 "

Generally the negative processes are founded on the
principle of deep impregnations, id, est. the sensitive film
is very thick, contains a large proportion of iodide and
bromide, is sensitized with a concentrated silver bath,
often containing some very easily reducible salts of silver,
or a reducing agent that gives birth to them ; also in those
processes, the sitting must be a little lengthened, and the
developer uuited to an excess of nitrate of silver, in order that
the amount of reduced silver which forms the negative im-
pression— being in a deeper and more opaque layer, that the
proof acquires a great intensity. In the process of direct
positive on collodion, which are nothing but a weak nega-
tive, the opposite principle must be followed : that of thin
preparation, less iodized and sensitized, with a silver bath,
relatively weak and that far from containing an accelerator,
contains on the contrary an acid exercising a retarding
action and preventing the formation of silver salts, more
easily reducible than the nitrate. — In fact, the picture being
formed by reduced silver deposed in fine powder of differ-
ent thickness, it is easy to conceive that if the developer
united to a small quantity of nitrate of silver, find a film
with a small amount of iodo-bromide of silver, acidulated
by nitric acid, its action being limited* and slacken in the
parts impressioned by the high lights of which the action
was retarded by the nature of the film) permits those
less impressioned to develope without the first ones be so-
larized and can give but a very weak proof even if the
sitting has been lengthened.

* The reducting action of the gulpfate of protoxide of iron ia limited by the amount
of nitrate of silver free on the film : as soon as the nitrate is reduced, the sulpfate
ceases to act.

JOURNAL OF PHOTOGRAPHY. 71

The principal difficulties of the positive process are all
in the developing and the time of exposure, which ought to
be as precise as for a daguerrean proof.

The developing cannot as far as negatives be pushed until
the sulpfate of protoxide of iron does not act an}' more on
the impression, that would always determinate very gray
whites, and more or less of that superficial veil, like that
under which is concealed every negative developed with
sulpfate of iron, when it is viewed by reflection — it must be
stopped long before its reduction be exhausted ; thus the
exposure must be a little more prolonged than it is ne-
cessary.

The over-exposure, like the over-developing, gives solar-
ized proofs, altogether too much out in every part. By
excess of exposure, the whites (provided the developing
has been well conducted), are always white and the proof
remains limpid and clear ; whilst a proof too much developed
loses always the brightness of its whites and is more or less
overcast with a superficial reduction that gives it a veiled appear-
ance. A too short exposure, as well as an insufficient de-
veloping give proves with great oppositions of lights and
shades, and want of details in the black and coloured parts
of the model. However, it is very easy to distinguish
between the want of developing and that of exposure ; for
the latter will never give harmonious proofs whatever by
the time of developing. The brightest whites and the
purest blacks are always obtained by the shortest possible
exposure to bring out the details in the blacks with a
developing of fifteen or twenty seconds, id est in about
half the time that the developer would act.

The exposure varies for a likeness taken in a sky-light
from 2 to 10 seconds ; in full sunshine, it is rigorously
instantaneous. The picture is developed in following its
coming, not by transparency, but by reflection : as soon as
the high lights are well accused and the details of the
blacks commence to appear, to stop the developing by a
thorough washing.

Collodion. — Silver Bath. — When the collodion is not
enough iodized, or the silver bath too concentrated, the
proof generally wants harmony, the whites are very
fine, well modeled, but the blacks are without any grada-
tion, any details. With an over iodized collodion, or a
weak silver solution, the iodide of silver being no more
perfectly formed, the preparations are not very sensitive,
and the positive is unequally developed. It can even
occur that the iodide of silver instead of being in the

72 THE AMERICAN

body of the film, be entirely upon its surface, and easily
taken away by a gentle rubbing.

A silver bath too acid, renders the preparation less sen-
sitive and gives a film not wholesome, which comes off
and tears itself when in the bath, or during the developing,
fixing and washing.

Sensitized with a neutral bath, the film is very sensitive,
but easily solarized or veiled — the proof being generally
not very harmonious.

The silver bath is very slowly acidulated with collodion,
prepared with cadmium compound. It is neutralized with
oxide of silver, newly prepared, and when yet wet.

Old silver baths determinate gray proofs, without vigor
and brightness ; that effect is owing to excess of the nitrate
of the bases, of the iodide and bromide in the collodion, that
prevent an equal developing, and to the organic matters.
When a bath is old, and out of order, it is better to not try
to fix it, but to make a new one ; for it will never work
well again.

Sulphate of Protoxide of Iron. — The action of the
sulphate of iron is exceedingly great, on the beauty of the
tone ; often it is believed the causes of failure are in the
collodion or silver bath, when they entirely exist in the
developer. With impure ammoniacal sulphate it is not
possible to produce good proofs, as tone, and coming out,
and all the signs characterizing an old silver bath, con-
taining very reductable silver salts, or a developer acidu-
lated with sulphuric and nitric acid will appear. Pure
sulphate of protoxide of iron must be employed, and it is
good to dissolve it some time in advance in order to let
it settle the sulphate of peroxide, which action is very
prejudicial.

The developing solution must be prepared every day —
an old developer gives too vigorous proofs, and metallic
whites when it is very colored.

- Acetic Acid. — The impurities that this acid generally
contains are sulphuric acid, and acetate of soda. — All
exercise a hurtful action on the direct positives ; the
sulphuric acid gives metallic tones and cool. White with-
out velveted (voloute); — the presence of acetate of soda
hastens the developing and determinate proofs more or
less contrasted, solarized — often veiled, and with gray
white ; — the muriatic acid is the most to fear for precipita-
ting silver of the nitrate in chloride, it deprives the im-

JOURNAL OF PHOTOGRAPHY

pressioned film from a part of the nitrate of silver so
necessary to develope the latent impression ; thence proofs
unequally developed, and having a dull and blackish ap-
pearance.— For that same reason the water employed to
make the solution must be free from any salt precipitating
the soluble salts. — The direct position being, as it was
said, nothing but a too weak negative making positive by
a reflecting light (n'acquirert devaleur que) viewed or colored
grounds which( fait ressorter) render the details of the obscure
parts quite invisible by transparency, the lights being pro-
duced by a deposit of reduced silver, forming little trans-
parent whites that' cannot alter the colored ground. This
ground is obtained either in framing the proof upon a black,
brown velvet or in making it on colored glasses, japanized
paper, and sheets of iron (in these cases the picture is
reversed) or at last in coating the proof with a black
varnish.

The bitumen of judoc varnish ought to be applied on the
proof only after having varnishing it with a thin dissolu-
tion of tender copal in alcohol, or better in benzine.

If the proof is to be colored, it will be covered with a
layer of gelatine, upon which the wet or dry colors are
applied ; the black varnish is then spread on the back of
the glass.

ON THE AMMOMACAL COLLODION.

BY P. C. DUCHOCHOIS.

The new preparation of collodion which was published
in No. 3 of this journal, can be as well appropriated to
dry processes that I tried to render it as perfect as
possible. — Indeed I employed, with uniodized preservative,
or with iodized gelatine and albumen, as well as without
any kind of preservative, that collodion has often given as
good results in the numerous experiments I have made :
never any raising, never any blistering. However, it will
be found of great instability, for it does not keep in good
condition more than a week or two ; the ammonia decom-
posing the pyroxiline so powerfully, that the film becomes
without consistency, and very opaque. — It is therefore

74 THE AMERICAN

necessary to neutralize the action of the alcali in order
that the collodion can keep as long as any other. The
acetic, iodhydric and bromhydric acids answer very well
that purpose and do not change the properties that render
the collodion so propitious for dry processes. But what is
equally important is, that whether the iodide and bromide
of cadmium (or any metallic base, iron excepted), are em-
ployed in its preparation, it does not thicken as collodion
prepared with those iodides, according to the ordinary
formula ; thus removing the only objection to the use of
metallic iodides and bromides in negative or positive col-
lodions, for wet and dry operations. — Even it seems that the
very poreous and divided state of the film, is more propi-
tious to the sensitiveness of the preparations, and determi-
nate a greater intensity of the negative. — It is also
worthy of remark that the ammonia rendering the collodion
very florid, almost every soluble pyroxiline can be em-
ployed to prepare it.

The new improvements made to the collodion are thus :
— To prepare the plain collodion by adding a few minims
of liquor ammonia, which is left to set 4 or 5 hours ; then,
1st, to neutralize with acetic acid if the collodion must not
be iodized, and serve of support to gelatine or albumen, as
in the process of M.M. Gaume, Bayard, Crookes ; 2d. if the
collodion is to be iodized, to neutralize with iodhydric or
bromhydric acid, and if one fears the effects of an excess
of acid, to add some carbonate, and filter, after having
shaken for one or two minutes. The modified formula for
dry collodion, with or without uniodized preservative is

Ether, sp. gr. 0.T2 6 fluid drachms.

Alcohol, sp. gr. 0.809 2 "

Pyroxiline, (Seely's) 6 grains.

Liquor ammonia, 2 drops.

Bromhydric acid, - - - 4 to 6 drops.

Iodide of zinc, 4 grains

Bromide of cadmium, - - \ " .

Silver Bath, developes as in my first commuuication.

CAMERA SHIELDS-THE SILVER CORNER.

BY H. GARBANATI.

For a Journal, advocating the interests of Photography, it is
just as necessary to make known improvements in apparatus,
as in modes, processes and manipulations.

With the issue of the first number of the New Series of the
American Journal of Photography, an invitation was
freely given to manufacturers having improvements in appara-
tus, to give a description of the same, the Editor reserving the
right ot comment. Now, if manufacturers have no improve-
ments, they cannot of course give a description af them ; but,
if they have and are too bashful ! or modest ! ! why some one
must do so for them, for the interest of the profession is
paramount.

The Plate Shield is one of the most important articles of
apparatus, since it is required to guard tbe Plate from the
least influence of light until the proper time, and also, to re-
tain the various sized plates in the same focus. In hurope,
they are somewhat primitive and crude in this article, and
produce cheap contrivances But we need not boast, in claim-
ing a general advance in articles of Photographic Apparatus.
Our first and most reasonable form of Shield for isolating the
Plate from the wood work of the Shield, — excepting, at the cor-
ners, where a small ytain would be hidden by the " Mat,:' — was
by fastening pieces of glass by means of gum shellac, it was
soon found the pieces become detached, winch, besides roaming-
over the Plate to its damage, were the means of putting it out of
focus and causing stains by coming in contact with the wood ;
and also, the long stream of solution dropping from the Plate,
mingling with the stains of the wood, would be drawn up the
Plate and spoil the impression This was, and now is a serious
inconvenience to operators, especially those in the country,
having but one Shield, their business being much damaged
whilst waiting for another. Messrs. Lewis obviated this diffi-
culty by a solid Glass Corner which they patented, but which
at first proved of very little advantage, by the corrosion of the
screw that held it in place, they now dispense with the screw !
and gum and wedge, yet this narrow piece of wood forming
the wedge must corrode shortly, by the action of Nitrate of

Silver, which renders wood brittle androtton. Messrs Seely &
Garbanati then brought out their Silver Corner Shield : The
silver being pure is entirely impervious to the action of the sil-
ver solution, and is more likely to increase than decrease in
size, the form of it prevents the accumulation of the liquid
in the corners, which is likely to cause stains when the Plate
is quickly put in the Shield, from splashes, which so much
puzzle the tyro, it also, being driven into the face of the frame,
serves as a key to hold the corners of the same, and will hold
it together when the wooden key has corroded away. This
Shield is also furnished with a Vulcanite anti corrosive spring
the brass ones in common use, becoming corroded in a short
time, soon fail to perform their office, and run the risk by their
corroded shortness of breaking the Plate, or at least scratching
it. The other improvement is a Yulcanite Slide, certainly
one of the greatest improvements in the business ; the slide
first adopted was of zinc, which became corroded in a short time,
and at the same time amalgamating with the solution caused
stains, this was very soon rejected for a wooden slide, a decided
improvement, but, which also soon corrodes and is liable to
warp, swell and crack. The Vulcanite being liable to none
of these evils, and capable of outlasting the wood work of
the Shield, appears to be a necessity ; being hard and smooth,
it slides of its own weight into its place, and can be easily
withdrawn without in the least shaking the camera, so liable
in the case where the wooden Shield is swollen or warped. The
silver corner Shield with Vulcanite Slide and Spring is no dearer
than the common glass corner one — with wooden slides and
brass spring, and will be a patented article.

A NEW VISE FOR CLEANING GLASS PLATES.

This Vise, of which
the accompanying is
the cut, is the invent-
ion of Mr Griffin, one
of the pioneers in the
Art ; it is a very sim-
ple and effective con-
trivance, and is but
little longer than the width of a whole size plate, it is made
by a series of two sets of steps, apart the length of the different

JOURNAL OF PHOTOGRAPHY. 77

sized plates, one set of which rests on the ends of two springs,
and is fastened to a base which can be fastened to the bench, the
other set is fastened to the other ends of the springs. When
a plate is to be cleaned, the end attached to the springs is sim-
ply to be pressed down, and the plate put in its respective place,
when it is held tight by the pressure of the springs ; they can
be made to suit any size plate. To loosen it the same opera-
tion has to be performed.

These Vises will soon be in the market.

A LETTER FROM AURORA.

Mr. Editor — You see I hail from Aurora, some folks say
I'm a roarer since I make myself heard, read, I should suppose,
as you know me best by black and white. People do say " A
rolling stone gathers no moss,'' which if I fail in gathering, I
make up for in in getting down, for I'm down again seeking
after my moss, which consists of " rocks."

I took a sudden whim to see if there was an opening in
Cairo ; having heard of Grand Cairo going down, I thought it
quite possible little Cairo might go up by way of equivalent,
but when I arrived I could not find the City, it was lost, miz-
zled, perhaps in a mist, for it was missed one night by the in-
habitants, who, intent on visiting their neighbors, found they
had no neighbors ; or rather their neighbors were in tents.
Some said the city was stolen, as robbers had been known to
ramble in the vicinity with very capacious pockets, others that
it had been sold for taxes, others again, that having met with
a great loss it was pawned and stowed away in the garret of
one Levy, who had levied on it and preferred not leav-
ing it in its accustomed spot for customers to congregate in,
but certainly it had travelled away at a tremenduous gait,
taking with it gates, trees and other improvements. An opera-
tor contended that it had been swapped for a "dry process,"
which I would have believed but for the fact that it was covered
with water, island chimneys, and insulated steeples alone
being visible. Not to be entirely disappointed, I had re-
solved to point my Camera with a view of taking a sight
of the City, only the site was lost to view, and the City
was not to be seen ; after all, the most plausible reason
for its loss is, that after a heavy rain one night, a high

78 THE AMERICAN

pressure steamer passed along its main street and pressed
it out of sight, and thus desolation reigns supreme, and ill
luck showers on its people

By the way. you omitted in my last, my Pen and Ink Por-
trait of a " Process Peddler/' I do not blame you for the
omission, since a man of microscopic mind might be an-
noyingly litigatious, but in omitting my Star Quack, you
should have added stars of your own to prevent the article
looking lame.

By your last number it would appear as if you had shoes
for sale, and one of your customers had got pinched. A man
must be desperately hard up for a channel for spleen,
when he asserts your journal is deteriorated in value, yet
3rou must not feel offended with him, since some of your new
subscribers having through said anonymous man, an exal-
ted opinion of your old series, may buy the back numbers at
the low figure marked. But do let us know when and where
you send that " Spelling Book ?"

An enlightened Daguerreotyper and Photographer in my
travels was anxious to know ail the news. " What's that
new instrument they crack up so now-a-days ? " Asked
he. I suggested a number, real and imaginary, its " Meg
something " says he, " Meg Merrilies " says I at random,
and for fun, " Something of that sort " says he. I took
pity and named " Megascopic Camera." He hadn't seen
Charlotte Cushman. I am under huge obligations to you
for those foreign journals you sent me. You seem to look
after my welfare and I hope you may fare well for so do-
ing. I remark how different the tone of them, so many,
and yet full of contributions, each giving experience, all
anxious to elevate the Art. In Europe they treat the Art
as scientific and artistic, and it certainly partakes of the
nature of both; the Photographic artist have as much room
for groupings as the painter, yea more, since his means are
limited by the want of " depth." In the Art, we Americans
appear quite un- Anglo Saxon, since it is a practice of
the Anglo Saxon mind to grasp at difficulties and overcome
them.

Every week proves the Art has vast scope for science
also, we trust now to the Camera for depicting the results
of explorations rather than the pencil ; the pencil may err,
travellers may spin yarns. - Bruce was doubted, — but the
Camera is confirmation " proof as strong as Holy Writ."
Only think of the "Water Camera," of taking the likeness
of rocks and shrubs under the water if clear enough ; sinners
had better look out, or schemes, plots, treasons and tricks.

JOURNAL OF PHOTOGRAPHY

and all sorts of rascalities will be depicted in their hatch
ment and achievement, and handed in as proof to magis-
trates and science, Then again, these foreign journals tell
us that Photography has given a vast impetus to chemis-
try, that some of the clearest headed men in Europe — some
of the most celebrated chemists, have devoted much time to
its improvement, and discovered new chemicals for its
use ; chemicals also, of likely utility for therpurposes than
Photography, and the clear headed men and Chemists are
appreciated. Pah ! Pm disgusted at our mere money-
sucking uses of the great Art, at the closeness with which
we keep our improvements, the patent-seeking spirit with
which we make known any variation of known modes. I
realty feel as if I could preach a crusade against quacks,
with a view of ennobling the. Art, only fancy " Gossip
the Hermit," I tell you my task would be harder than
Peter's, he had but to arouse natural prejudices and ram-
pant ambition, I should have to wage war against pocket
interest ; I am already appalled though Peter was not, my
courage oozes out, I am merely

Gossip.

URBS IN RURE,

BY THE EDITOR.

A Chinaman's chopstick was once an object of great
curiosity. It is only unfamiliar things which excite our
wonder. The owner of a museum knows its value only by
the interest it excites in others. Strangers are gene-
ally acute observers. We are apt to take a superficial
view of what is constantly before us leaving the interior to
be explored by such as we might esteem ignorant adven-
turers. Is it not always the rule that inventors, leaving
their own trades or professions, poach successfully on their
neighbors ?

Having shaken off the dust and care of the city, I find
myself here among novelties,- -things c challeng-

ing wonderment and study ; yet my good farmer friends
see only hay and corn in the fields and far little under the
earth besides potatoes and angle worms. Some of these
things (much, only speculation) I deem of sufficient perti-
nence to Photography to write out for the journal,

80 THE AMERICAN

I am writing on a spot surmounted on three sides by a
mountain prospect. The hills are mostly at such a dis-
tance that we only see their blank form outlined by the sky
and the intervening meadows and woods. Their color is
outlined by a deep blue without a trace of yellow. But
whenever the sun shines on the hill and not on the inter-
vening objects, the parts illuminated are of a brilliant
greenish yellow. Moreover, in that yellow light the objects
on the hill are clearly discernable. Now in explanation of
this curious phenomena I would only suggest that the re-
flections from dust particles, or*possibly from particles of
the air, may account for the indistinctness when the whole

landscape is illuminated. The reason of the yellow light
from green foliage, coming through blue air is not so appar-
ent. The particular pertinence of the case to Photography
consists in its teaching us that if we desire a clear view
of a distant object, we should seek a time when interven-
ing objects are in the shadows of a cloud.

Why is the sky blue, plants green, flowers and fruits of
such varied hues? are questions which my presence in
this delightful region have suggested. Nature orders eve-
rything for a season. There is no doubt a wise purpose
for every tint we see. Nothing has been done in vain.

Sir Isaac Newton taught us that white light is a com-
pound of seven colored elements, viz : violet, indigo, blue,
green, yellow, orange, red, (named in the order of their
separation or refraction by the prism). Moreover, it is
known that these elements possess, in addition, chemical or
actinic and illuminating power in varying proportions.
We may assume that light performs its various functions
by virtue of its elements and its properties. For example,

where actinic force is specially required there go the violet
rays, — where heat, there red, all other rays being eliminat-
ed and discarded.

Now we know that plants cannot live without the light.
I assume for plainer illustration that light is food for plants.
Plants eat or drink the light especially through their leaves;
but they are dainty, — taking, in first the whole body of
light, then carefully selecting what they can digest or as-
simulate, they discard the rest. The color therefore which
they emit, by which only they are seen of men, are their
forces or excrements. The beautiful hues of the rose
are the only rays which are useless to it. We hence easily
learn what plants most love or hate. Plants are generally
green. They abominate green, — they cling to everything
else. We infer that the chemical and heat rays are gene-

JOURNAL OF PHOTOGRAPHY. 81

rally nutritious. We have found no leaves which re-
jected these — no healthy leaves which were blue or red.
Is the sky blue, that plants may feed from it, or has the
air absorbed the rest to feed the plant in another way ?*
Each plant has properties and color peculiar to itself.
No doubt a careful examination would show that these
bear some definite relation to each other. It is a notable
fact for example, that plants with blue flowers are
generally poisonous. I have noticed in my walks in the
garden, that the plants of most rapid growth, and the
young shoots of plants are of a livelier color, with more
yellow. Such make more use of the blue rays, — and when
plants are dying (fruits ripening) they become yellow,
orange and red. Is it the recovering effort of nature,
or is it the blue rays gradually prevailing to poison the
life?

I have had here an excellent opportunity of confirming
an observation I have made for some years, viz : that the
progressive changes of color in nature, are in the order of
refrangibility, as given above, (violet — red). The Photo-
grapher is familiar with a very interesting illustration. If
a silver plate be placed over the vapor of iodine, it passes
successively through the series of yellow, orange, red, vio-
let, indigo, blue, green, yellow, &c. The first color of col-
lodion is yellow, changing by age into yellow, then red.
Proto and her salts, if of different colors, are in the order
indicated. Any one familiar with chemistry can recall
many illustrations. Now as to plants — the green gene-
. rally turns to yellow, often to orange, and sometimes to red.
How beautifully these changes are illustrated in the pump-
kin, tomato and fruits and berries generally ! Some cases
as in the plum and whortleberry, progressing as far as the
blue. Indeed I know of no exception to this rule of pro-
gression, and I do not hesitate to declare it a law of nature.
No doubt there is a reason, and a multitude of curious
things underly the fact, which observation and study will
disclose.

Northampton, N Y. July, 1858,

* I confess to some indefiniteness here. It may be plausibly contended that red rays
only are absorbed by green leaves. On the basis of the common theory of three pri-
mary colors, the text would have been different.

82 THE AMERICAN

We have received a number of London newspapers

with complimentary notices of the Niellograph as practiced by A.
G. Grant, (Grant & Alcooke,)late of Broadway. Amongst others the
Mechanics' Magazine, after a highly flattering notice, mentions that
Mr. Grant is about obtaining a patent for his mode of working it.

We have all along considered the Niellograph a very superior
picture when made by a skilful artist, and know no reason why it
should not take first rank as a collodion positive.

Its lightness and exceeding pliability render it of much value for
sending in letters to Europe, California, and other distant places.
There was a time and perhaps is, when quite a large express business
was done in the transmission of daguerreotypes, at a cost of one dollar
and upwards for expressage, the certainty of damage rendering it use-
less to send them without properly encasing. Artists need not fear
any decrease in their business, through delivering pictures without
cases, on the contrary, their availability opens an extensive field
for increase, whilst the Niellograph will command as high a price
without a case as the majority of artists in this cheap age obiain
for a cased Ambrotype. Grant & Alcooke made money fast at Neil-
lographs, why not others? Circulate your works, gentlemen, for by
them you shall be known.

Gossip must consider the omission our printer's rather than

our own.

Stereoscopes are at last coming into vogue with us, we are

actually getting up a taste for them, this may be somewhat owing to
the price ; since they can be bought for $1 50 per dozen, it were
strange indeed if many parlors were without them, what is better
adapted to engage the attention of a visitor whilst temporarily
delayed, waiting for the appearance of the lady of the house?
What a better interlude during an evening party than to fill up a
pause with a glance at a fine Stereoscopic view? Certainly nothing
better displays the beauties and marvels of the Photographic Art.
No artist can fail in perspective. The failing of the 'kold masters" —
if he studies the Storeoscopic productions of the camera, and no ar-
chitect in outline, angle and lightness of design. It is mathematics
demonstrated, and geometry an abiding proof.

It is a good sign that the taste has commenced in the right direc-
tion— Landscapes, Architecture and Composition.

Our subscribers will please excuse any deficiency in this number, or want of
punctuality. Serious sickness in the family of the Editor having called him out of
town. This excuse must also apply to the lust number.

THE AMEEIGAN

[NEW 8 I » Bit.]

Vol. 1.] AUGUST 15, 1858. [No. 6.

NITRATE OF SILVER.

Jersey City, July 27, 1858.

Mr. C. A. Seely — Dear Sir, — It seems to me that your
observations on the nitrate bath, as published in the last
two numbers of the Journal, do not go quite far enough ;
you do not inform photographers how or where to obtain
good nitrate of silver. Simple as it may seem to dealers in
photographic chemicals, it is not so to the practical photo-
grapher ; he is, in most cases, not a chemist and purchases
the article according to its label, in the same way as he
purchases other things ; makes up the bath as you direct,
when to his great vexation, he experiences but poor
results where he reasonably expected fine pictures : the
collodion is blamed, then the developer, the water, every
cause of failure is suspected but the right one. The ni-
trate bath is subjected to the usual tests of litmus paper,
and the hydrometer ; it appears all right, the instrument
indicating 35, 40 or 45 grs. to the ounce, and the color of
the test paper is good. In this extremity he calls on his
neighbour Mr. A., whose bath works well ; they compare
notes, and it is found that the two establishments agree
perfectly, but this only adds to the mystery ; he makes a
picture with the suspected collodion in Mr. A.'s bath, and
is astonished at the perfect result, he now concludes that
something is wrong in his bath, and " bottles it up," makes
another with Mr. A.'s nitrate, and finds it to work well,
and lie is forced to conclude that his " nitrate is not good,"
but he cannot tell why, as they both purchase of the same
furnishing house, and both have been told it was the " best
nitrate."

The difficulty is that the "furnishing house" gets nitrate
of different makers, and at different prices, often buying

r

84 THE AMERICAN

the cheapest to be had, and dealing it out for a good article
when in truth they do not know a good article from a bad
one. Let the nitrate be tested and in it will be found
other nitrates than silver, as zinc, potash, lead, &c, which
make up the weight, but detract from the photographic
properties of the solution.

If you will direct the consumers how to make their own
nitrate of silver, or where to get it of the right quality
ready made, you will more than remunerate them for a
permanent subscription to the journal.*

The following is a fair estimate of the cost of manufac-
turing pure nitrate of silver :

One hundred and seventy ounces of pure nitrate of
silver are composed as follows :

Silver, 108 oz •

Oxygen, ----- 8 "

Nitric acid, - - - 54

170 oz.

$151

20

2

00

10

00

10 00

4

00

The cost of

108 oz. silver at $1 40,

Nitric acid,
Labor, rent, &c,
110 Bottles, corks, and labels, -
Weighing, sealing, &c,

Cost of HO ounces of nitrate of silver, $171 20
or at about the rate of $1 04 per oz., while it can be
bought at retail at about $1 05 per oz. at the furnishing
stores.

I suppose they all sneak behind the great bugbear of
competition, and claim that one must sell a cheap -article
because the other does, but it is poor policy in any dealer.
If any one of the furnishing houses will keep only a pure
article, and charge accordingly, that house will have
the trade within a short time. Very truly yours,

Joseph Dixon.

* We believe that any one who is not well skilled in chemical operations, will find
it unprofitable to undertake the manufacture of nitrate of silver. As to " where to
get it" &c , "modesty forbids" &c. Mr. Dixon's experience does not extend to all
furnishing houses. — Ed.

JOURNAL OF PHOTOGRAPHY. 85

WOODWARD'S SOLAR CAMERA.

BY THE EDITOR.

Woodward's Solar Camera has enjoyed a high reputa-
tion and is often considered a new and very ingenious
contrivance, and the only one suitably adapted to its
purpose. Many continue to use it with the highest appro-
bation. One of our photographic journals has made it a
special object of praise for the past year. The only objec-
tion commonly appreciated is the price which the patentee
has seen fit to charge.

Yet, per contra, this Journal has never approved the
Solar Camera. The Editor as well as correspondents, have
on several occasions, expressed a decidedly unfavorable
opinion. I have many times demonstrated the fallacy of
its construction, and even to the editor who has been so
full of praise. The readers of the last volume of this
Journal, and those with whom I have spoken on the subject
are not likely to have been deceived. Chiefly for the
benefit of our new subscribers, I have thought it worth
while to present the matter again, and in a clearer light.

The essential peculiar^ claimed for the solar camera is
a condensing lens, by which the negative being more high-
ly illuminated, an impression is made in a shorter time.
Let it be understood that no other advantage over other
contrivances of working, is claimed for it.

Now admitting the claim, it is of very little value, when,
by other simpler contrivances, any work required of such
an instrument can be done within the space of one minute.
One second is amply sufficient for a picture 22 x 17 inches,
by the megascopic camera. How little then is the advan-
tage of the solar camera, admitting that it can shorten the
time even one half?

But I am prepared to make the admission only momen-
tarily. I proceed to show that the solar camera requires
more time of exposure than other instruments.

The largest condensing lens sold with the solar camera
is 9 inches in diameter. Its available aperture, on account
of its mounting, is somewhat less. Of course no more

light than falls on its surface can be used. It will readily
be seen that the light passing through it cannot cover a
4-4 plate, even if the light were not at all condensed. (A
4-4 plate measures, diagonally, 10 inches). But the light
is condensed, and although the instrument is called whole
size, it is only intended for the half-size plate. Other
instruments permit us to use 4-4 plates, and consequently
more light. Any artist of experience will prefer to use 4-4
plates if he has a camera to make them. Very few smaller
negatives are made ; it is the size convenient to handle,
and with which we are all familiar. Moreover, much of
the light which falls on the condensing lens is dissipated by
reflection, and from that which passes through much
chemical power is absorbed by the green glass. It is only
necessary to add that the actual trial of instruments has
confirmed the above reasoning. The work which the solar
camera does, can be performed by other instruments in a
time shorter by about twenty-five per cent.

It is often supposed that the solar camera can make a
sharp picture. I proceed to show the error of such a
supposition.

We have a perfectly sharp image on a plane surface,
when all the raj^s from each point in the object are brought
to a conjugate focus on the plane. It is generally known
that if a negative be illuminated by diffused transmitted
light, a very sharp image can be made by a good tube.
Now what should be the effect if illuminated by the direct
converging rays from a condensing lens ? The sun is an
object to the condensing lens and its image is formed,
diffused with and overlying the image of the negative,
distorting and obscuring it.. This distortion and obscura-
tion will also be increased by the necessarily imperfect
form of the lens, and the fact that it is not achromatic.
These statements can be easily verified by any one who
has a solar camera. Observe that the sun's rays do form
an image at a point near the front lens from which they
diverge. Slide in a negative and you will find a consider-
able range of distance of the screen in which you can dis-
tinguish no difference of sharpness. Finally remove the
condensing lens, substituting a ground glass, and you will
find that you will have a sharp image when the screen is
properly adjusted. You will have no uncertainty now
about the position of the screen.

It must be remembered that a condensing lens collects
heat as well as light. With a lens of nine inches diameter

JOURNAL OF PHOTOGRAPHY

refractory metals may be melted, and ordinary combusti-
bles readily ignited. Who lias not heard of solar camera

boxes being set on fire and other damage done ? Who
would long trust a valuable camera tube in such a heat ?
Accidents from fire may be prevented, but the injury to the
tube is certain..

The validity of the Woodward patent I consider of little
moment, Whoever originated the, invention (and there
are many claimants), deserved no credit for his knowledge
of optics. The arguments of this paper will soon be gene-
rally understood, and better instruments will take the
place of the solar camera, which will be laid on the shelf
with the magic buffs, Hillotypes and Hallotypes.

[See note on page 90.]

EN KOUTE.

\

Mr Editor, — I'm like you New Yorkers on the first of
May. I'm on the move, though what has moved me to move,
I can't exactly say. Perhaps the spirit prompts me, though
not alcoholic, unless with a desire of using it combined with
ether, but where I am going, I either don't know or can't
tell. The fact is I'm ill in Illinois, by which token I can't
make much noise, this time at least, not that I think my pop
gun makes a cannon's roar, or my pen-whisperings sound like
thunder

There is no doubt I have a slight touch of melancholy, and
thinking I felt poetical, I tried to awaken my muse, but she
was asleep, and could not amuse you, which set me musing,
and made me musical, so here's for a sound on my own trum-
pet. For I was asked the other day who's that Gossip,
'•Gossip the Hermit."

Gossip, my dear sir. is a celebrated observer, censor and
photographic critic. He is supposed to smell a quack a league
off, and see humbug written on the forehead of a " process
peddler," he is decidedly severe, and considered just. He is
engaged by the proprietors of the American Journal of Photo-
graphy, at a yearly salary of ten thousand dollars, payable
when he can get it, (I named this sum it being the exact
amount offered annually for talent by a cotemporary of yours
no doubt able to double it of vast influence ; who is best
known by the practice of informing some imaginary corre-
spondent that " the book is not worth the money." A piece

of information suggestive of a vast fund of knowledge, and
strictness of honesty of opinion.) My querist thought I was
humbugging him, whereat I diifered with him, knowing the
fact.

Now tell, is the Lover of Cleopatra the sole agent for
the solar, and is the Wood worth the price charged ? People
do say, the great Roman had been reading " Marmion," and
stuck at k' charge, Chester, charge. "

Can you inform a rustic, and no donbt others unused to the
ways of " Gotham," what the " Grthoscopic" Camera is, that
Voightlander and Petzval — jaw-breaking, but scientific, — are
fighting a printer's ink duel about Also if the Niello-graph
is named after " Nelly Grey," the pretty young damsel who
used to take daguerreotypes u down East."

I notice in one of your English journals, the case of a party
who had made a contract with a wealthy firm, which firm could
remember nothing about it when finished, and wanted the
evidence, but the knowing contractor not wishing to risk the
only evidence he had, caused the agreement to be photo-
graphed, and sent them an impression, which made such an
impression on the contractees that they paid up without fur-
ther trouble Now I think the photographic art should be
more generally used for such purposes. There are many
documents of vast value a3 evidence, photographs of which,
would answer all purposes of identification, until the real docu-
ments were actually required in a court of law ; indeed photo-
graph of wills and other such valuables might be admitted as
evidence in case of loss or destruction of the original, provided
the characteristics of photography were retained, and no at-
tempt was made to counterfeit the original so that it might
pass for it. Photography might be used much more extensively
than at present, many small towns furnish inventors and
patentees, that are too small to support, a draughtsman,
able to take accurate drawings, and even if they are able,
there is no mistake about a photograph, no exaggeration of
beauty, or additions of ornament, it is perfect evidence of the
real thing. Again, how useful in sending dresses and patterns
of rich laces, shawls &c. The importer or manufacturer
cannot afford to send a piece of lace or a rich shawl to each
of his-likely-to-be-customers, but he might furnish a photo-
graph if the artists would only make a business arrangement
with him ; but unfortunately, whilst they are apt to undervalue
the art, by taking single portraits below paying prices, they
seldom offer facilities to the business man, to issue designs of
his wares. In limited quantities photographs can be furnished
cheaper than lithographs, or even wood-cuts, to say nothing of

JOURNAL OF PHOTOGRAPHY. 80

the time required to cut the block or draw on the stone ; some
things are only of value when done without delay, and photo-
graphy need have the least delay of an}^ branch of the art of
i( counterfeit presentment." Nor let any artist say he may
have to wait for a fine day, or he can't print without the sun.
Let him make photography a commercial art for the purposes
I have suggested, and ways can be found for cencentrating the
light — any but a foggy day — indeed, Gossip himself fancies
he knows some one who could furnish the desideratum.

I must avail myself of contributing a sentence of satisfaction
at the success of the Atlantic Telegraph Cable. We — You and
I etc., Mr. Editor, are amongst those who treat our art as a
scientific one, and must therefore rejoice at the last and
greatest triumph of Science. Photography in its time has
been the dominant wonder, nor has its wonders ceased. It
still keeps pace with its twin sister Electricity, it still is
developing its capacity, it still is contributing to things useful
as well as wonderful and ornamental for mankind, and though
most of us more than once thought the Telegraph Squadron
was an awkward squad, yet there are few but manfully
acknowledge the greatness of the success, and rejoice at the
triumph of the courage and perseverance of its undertakers.
They are undertakers, whose undertaking we are proud of ;
they have buried their progeny in the deep ocean, that from
its metallic nerves may spring thought, the life of intellect,
and we hope the song of its resurrection may never be sung

That the Cable may prove the band of friendship between
the two great pioneer nations of human freedom, and be a
halter around the neck of tyrants, and that it will always be
getting the Despots of the earth " into a line " in their doubts
of the meanings of its oceanic whisperings, is the wish of

GrOSSIP.

[ Third Article.']

ON THE METHOD OF ENLARGING PHOTOGRAPHIC
AND OTHER PICTURES

BY P. C. VANDERWEYDE, M.D.

It may be useful to say a few words more about the
right arrangement of lenses for the solar microscope ; for
to obtain an equally illuminated field, the small image of the

90 THE AMERICAN

sun produced by the first large single or double lens, in
its focus, should be taken up by the small lens or lenses,
and thrown enlarged on the white receiving surface ; it
should be equally illuminated and with sharp defined edges ;
in the upright image of the sun's disc,*the image of the
object should appear, and to obtain this, the apparatus
should be so arranged that it is possible to move the object
between the lenses forward and backward, without dis-
turbing the lenses themselves from their relative position.

Only that part of the object falling within the limits of
the first small image of the sun's disc, will be sufficiently
illuminated to be much enlarged without losing sharpness.
— It is clear from this, that if the object is larger than we
can conveniently make the inverted image of the sun,
it is better to omit the first lens altogether.

Let me, by the way, investigate how large the object
may be to be entirely covered by the sun's image in the
focus of the first lens ; we all know that the size of an
image can be increased by using lenses of long-er focus,
and that the linear increase is directly proportionate to the
increase in focal distance of the lens. But what focal dis-
tance must a lens have to give an image of the sun, for
instance one inch in diameter ? The first elements of ge-
ometry teach that if the size of a distant object is seen
under an angle of for instance 1-2 degree like the sun, the
size of the image in the focus of a lens will be equal to the
sine of 1-2 degree or more correctly to the double sine of
1-4 degree ; now for a lens of 12 inches focus, the sine of
15 minutes is equal to 0.05 inch and its double very near
0.1 1 inch, and for 9 feet focus, 9 x 0.1 1 = 0.99 or very near
one inch ; so we see that it is entirely impracticable to
increase the focal length of the lenses to obtain an imag-e
of the sun large enough to illuminate objects like common
photographic negatives ; a combination of two lenses, how-
ever, may be made so that the second smaller lens placed
behind the focus of the first, takes up the inverted small
image and forms a second upright and enlarged image in
which now the object may be placed.*

* An image from a perfect lens can be sharp and free from distortion only when
the rays which are to form it emanate from the object. Rays transmitted through the
object, and starting from a distance behind it, will not answer the purpose ; even if
they are parallel, or emanate from a mathematical point. The use of a condensing
lens as recommended in the text, although -without doubt as perfect an arrangement
as possible of a condensing lens, effects its purpose only partially. The contmance
used in the megascopic camera appears to us the nearest approximation to perfection,
and is applicable to all similar instruments. — [Ed.

JOURNAL OF PHOTOGRAPHY. 91

Charles Chevalier in Paris, has already, 20 years ago,
made sun microscopes with this arrangement ; his intention
however, was not to take advantage of the property of the
second lens to form a second large image of the first, but
as appeared to me to get rid of the caloric rays. I exam-
ined, about the year 1841, very carefully, and experimented
extensively with one of his microscopes of the above
mentioned kind, and found there two lenses, each achro-
matic, but undercorrected, that is, the luminous rajs of
different color were well enough brought together to make
a pure colorless image of the sun, but the image formed by
the caloric rays (the extreme red is the least refrangible),
was somewhat further from the first lens than the normal
focus The second lens could be so adjusted that if a second
image was made of the first luminous image, this second
image possessed a temperature little above the simple sun's
rays, as the caloric rays were almost made parallel by
this second lens ; this is for the sun microscope a great
advantage, as the delicate objects are so easily burned in
the focus of the first lens ; if now, however, the second
lens was removed a little farther from the first, to take up
the caloric image, and the object also was placed a little
farther than the luminous image formed by the second lens,
(in its caloric image) everything was soon burned up.

Another peculiarity of Chevalier's microscopes is, that
there may be added a large achromatic concave lens at a
little distance behind the small lens, between it and
the screen ; this enlarges the size of the image greatly,
without making it necessary to increase the distance of
the screen, which is very convenient if the experimenter
operates in a room too short to make large images in the
usual way ; it is the same combination as Kepler used for
a camera (see page 66 this volume) and in principle an
opera glass with a large concave lens ; this combination
has been used by others, but was lately almost forgotten
till Petzval and Voigtlander recalled it to the scientific
world, by their general quarrel about it. Petzval's merits
about it are : not its invention, but having this combination
brought to its utmost achromatic perfection, by mathemat-
ical calculations, a feat which very few of the greatest
mathematicians may attempt.

I mention these facts because I think it useful to bring
such matters just now under the eye of the experimenting
opticians and photographers ; a great deal of time could
be spared by many, if they before commencing experiment-

92 THE AMERICAN

ing on any subject, carefully investigate what others had
done in the same matter ; they ma}7 do something to the
progress of the science in starting from the point where
others left it, but if in the place of this they repeat and
often very imperfectly) what long ago by others, was done
(often in the most perfect style) the result cannot be
but imaginary inventions, the inventor being unconscious
that the thing is old ; and he feels happy till he knows that
he has walked in an old track, often he will not be per-
suaded, it is so hard to give up an agreeable illusion, but
in the end he has to do it.

If we knew what large amount of time, labor and
money are thrown away in this manner, it would startle us ;
in the same time this consideration proves clearly that it
is very wrong to make secrets of the discoveries we make ;
we may suppose them to be of some little advantage to our-
selves, but we injure society ; I want only to remember that
if Daguerre's invention had not been given to the world by
the liberality of the French Government, photography would
not be what it is now ; but I must not say more about the
last subject, I should walk in a very old track myself.

I never found much difference in the sharpness of images
formed from transparent or opaque objects, provided the
transparent objects were only equally illuminated ; we have
seen that to obtain this one lens is not sufficient, and it
is perhaps best to leave it off altogether ; in copying
transparent stereoscopic views with my son last year, I
found that it was best to leave the ground glass behind
them, or, to place one there if it was not there already, and
so I obtained very fine specimens ; both pictures being
copied at once, natural size, with a camera arranged so as
to contain the whole glass slide or two daguerreotype
plates. I am willing to leave at the editor's place of busi-
ness samples as well as negatives and positives, copied from
transparents, and as sharp as anything that exists.

Page 140 of the last year is spoken of : " a blurred image
colored on each side by fringes, in the same manner, and those
mixing with the fringes of the circle, give rise to that indistinctness
which may be seen in all images thrown on a screen by the solar
microscope. Every device that mathematics could suggest has
proved ineffectual in correcting this species of imperfection." In
reply to this I must simply declare that a good solar micro-
scope used by skillful hands, does not show such indistinct-
ness but gives perfect satisfaction to the observer, every
outline being sufficiently sharp.

JOURNAL OF PHOTOGRAPHY. 93

In conclusion I will remark that my collossal* magic
lantern and megascope mentioned in the former article, has
been described by me with the necessary drawings in some
scientific journal in Europe, in 1840 ; I will try to hunt up
this description, and if successful will give a translation of
it ; it was only used for experiments at lectures on optics
and never used' for photography, the last art being at
thst time in its infancy, but which worked equally well for
all kinds of objects, opaque, transparent, large, small, &c ,
only by the arrangement of suitable lenses. I may be in-
duced, if time permits me, to have one made of the same
kind for photographic purposes ; this will be a universal
camera.

NEW APPARATUS AND UJMON CASES.^-

A NEW STYLE OF HEAD REST.

BY H. GARBANATI.

A rest for the head is one of the necessities of photographic
portraiture

Many artists fix the head of their sitters firmly, a great
error, as pressure against a nerve will cause a person to vi-
brate unconsciously or at least cause him to look as stiff as a
maypole, The object of a rest is simply to remind the sitter,
that the head is to remain in a certain position, the least touch
with an intelligent person is sufficient to allow of ease and
grace.

The ordinary " iron independent head rest," is admirably
adapted for permanent galleries there being nothing left to
desire to suit all heights and positions, yet it will not suit
all purposes. In arranging groups the broad bases occupy
too much room, and also occupy too much time in adapting
to the space convenient, when some of the group have to
stand, it is exceedingly difficult to find room for their feet
between the bases of the head rests of the sitters.

The reader will please excuse the printer's mistake in the former No. , page
using colupal for collossal, and page 69, prevent collodion for purest collodion.

94 THE AMERICAN

The greatest difficulty, however, is with the travelling
artists — and their name is legion — it is no joke to carry
some twenty or more pounds of iron from town to town, to
say nothing of the risk of packing that amount of metal
among bottles.

There is a head rest in vogue adapted to the backs of
chairs, but it is both heavy and inconvenient. The last
style introduced, the self-adjusting head rest of Seely &
Garbanati, has the advantage of being light and easily
adapted. A piece of cast iron is adapted to the shape of
the average run of parlor chairs, and hooked on by two
springs ; through the center of the iron work is passed a
bar of wood, which contains the part for supporting the
head, this bar acts as a lever, of which the iron work, with
the springs is the fulcrum, and the lower part of the bar
resting against the lower rail or seat of the chair, is the
counterpoise. When the rest has to be elevated 'or depres-
sed, the iron work is to be slightly raised when the lower
part of the bar is detached from its pressure against the
chair. The bar can then be readily raised up or down, and
is again held fast by the letting go of the iron work ; the
whole of it weighs but 1 1-2 lbs., and costs one dollar and
a half.

An Improvement in the " Bellows Box." — Mr. E. Gordon,
of New York, has arranged that the bellows when not in use,
shall pass into, and be protected by the woodwork. This is
a great improvement, as the points of the bellows are liable
to be worn off, and thus not only look shabby, but let in the
light.

Mr Gordon has also an excellent improvement for a" turn "
shield, i. e. for allowing pictures to be taken upright or land-
scape. An average is made of the various sized plates, and
a double corner, made of a material peculiar to the maker, is
fitted in, so that the lower spaces shall take the landscape pic-
tures, and the upper ones the upright, by this arrangement,
the camera box need not be made larger for " turn" shields.

Union Cases. — It is now some seven years since the Union
Case was introduced to the daguerreotype profession, one of
the first and best patterns being a sixth size with two
pretty jolly-faced little girls ; afterwards, very many pat-
terns were introduced, varying from senselessly ugly to neat-
ness of design, some as slightly embossed as if the material
were of gold, and the maker were afraid of wasting it,
others so bold as if intended for distant observations, or bases
of columns. After some flourishes of prettiness of design came

JOURNAL OF PHOTOGRAPHY 95

the literary period, with sharp- featured Sir Roger De Coverly,
a libel on Addison's hero, The appointment, some family and
domestic scenes, &c, good and bad, interspersed with the short
lived mania for chequered patterns, which the makers would
persist in sending, and people in not liking. After which
were issued some really choice and elegant designs, — a credit
to the purpose for which they were used. Now, we have the
historical period. The history of the United States is being
impressed on the rising generation, and is furbishing up the
memories of sober citizens, from the covers of daguerreotype
cases. We have Marion sharing his mess of sweet potatoes
with a British officer, The Capture of Major Andre, Washing-
ton Crossing the Delaware on a whole size case, &c The
material is admirably adapted for the purpose, and let us hope
the manufacturers will persevere, only asking them to have
purity of design, and no exaggeration of nature.

AN INSTANTANEOUS PROCESS*

BY THE EDITOR.

For ordinary photographic works no more sensitive prepara-
tions than those commonly employed are needed. Most per-
sons who sit for a portrait can keep still ten or twenty-
seconds. Photographic effects are more under our control,
and otherwise more satisfactory, when the time of exposure is
easily counted

Yet every photographer at some time feels the want of a
more rapid and certain process than any now in use. For
moving objects, as in a sea or cloud view, the common methods
do not answer well ; and especially for making portraits of
children or nervous persons do we want to make an impres-
sion instantaneously.

Collodion prepared with iodide of iron, has been found to
be the most sensitive of all photographic preparations. Such
collodion, however, has not come into general use from the
fact that the bath, after the dipping of two or three plates
becomes unfit for use ; the collodion also deteriorates more
rapidly than any other. If these objections to the use of
iodide of iron can be removed or obviated, it should soon

96 THE AMERICAN

come into favor. The following plan I consider a fair solution
of the problem :

The derangement of the bath cannot be prevented ; but if
its good qualities can be immediately restored after the
derangement, our purpose is effected. For such a method of
recovering the bath see page 6 ; in this case the remedy of
exposure to light is peculiarly prompt. — The rectifying the
bath may not require more than ten minutes, when it is again
fit for use. It would be advisable iu many cases to have two
or even three bath solutions, so that while one is being res-
tored another will be in working condition. To lessen the
expense the bath holder may be very narrow so as to cover
the plate with a small quantity of solution. As to the collo-
dion, I would recommend, that a stock of plain collodion
should be kept on hand well settled, and that only a small
quantity be sensitized at the same time.

LETTER FROM HAVANA,

Havana, June 28th, 1858.

Mr. Seely — Dear Sir, — Inclosed please find receipt
of a Mestreotype portrait which I have forwarded to your
address, per Express, in order that you may examine a new
system invented by me, which consists in changing the
shade of the plate on which the Arnbrotype portrait is
made, the color of a sly white, or sometimes pure white paint,
used, beingvery unfavourable for likeness of persons of dark
complexions and light coloured dresses, making them appear
still darker than they really are besides being apt to
become stained from the cyanide of potassium used in its
preparation.

Dresses with light colors not only favor portraits, but the
color never changes, and particularly when the person taken
is of a dark color, and that is generally the case with the
inhabitants of our island where also many light colored
dresses are used, the transparency of this description of plate
invented by me produces the most beautiful effect.

Our Government last April conceded to me the Royal
Patent for this Island of Cuba, and I am happy to say that it
already enjoys the preference.

As I believe you to be a patron of fine arts, I have taken
the' liberty of addressing myself to you, trusting you will find

JOURNAL OF PHOTGGRAPHY.

time to examine the picture, and describe it in your paper as
something new.

I take advantage of this opportunity of placing my services
at your disposition and remain a subscriber to your paper
and Your most obedient servant,

ESTEVAN MESTRE AULET.

[The portrait sent with the above is a very fine specimen
of Ambrotype ; Sr. Aulet is evidently an accomplished pho-
tographer. The novelty is a method of obtaining a uniformly
tinted background. The figure only is blackened and the whole
backed up with colored glass. Ambrotypes in a similar style
are well known here — tinted paper being used instead of
glass. The glass has decidedly a better effect. Our artists
will do well to try it.] — Ed.

EDITORIAL MtSCEUANV*

Whatever the merits or value of the Cutting & Bradford

patent, photolithography has been proved an useful art. Photo-
lithographs are now made of a quality and price, that fit them for
the demands of commerce ; independent of the photographic accu-
racy, these pictures are worthy of great praise. The process seems
at present best adapted for subjects which do not require fine grada-
tions of light and shade; a photograph portrait is far superior to the
photolithograph. But for all other purposes where accuracy of
drawing is required, the process is admirable and practicable.

Mr. A. Turner, formerly of this city, is now associated with the
patentees, and will contribute his well known energy and talent to
the perfection of the art; in his hands its utmOst capacity, as far as
photography is concerned will be revealed. We are assured that
the Boston process differs in important respects from that of Mr..
Dixon described page 24. We do not hesitate to confess that we
have not been able to produce anything comparable to the Boston
work. We shall return to the subject when we are better pre-
pared to do all parties justice. In the meantime we invite examina-
tion of a fine collection of pictures kindly sent us from Boston.

Mr. E. W. Knight of Glenn's Falls, writes us as follows :

" About one year ago you presented me with an ounce of gun
cotton — it accidentally got saturated with acetic acid, and remained

THE AMERICAN

in that state wrapped in paper lying on a shelf for some weeks. I
then washed out the acid, put the cotton in a bottle into which I
dropped a few drops of ether and alcohol, The same gun cotton
now makes excellent collodion.

'* If you find anything in the above new, and worth mentioning,
please do so in the American Journal of Photography."

We presume the properties of the cotton were not at all changed
by the acetic acid. The case is worthy of careful examination.

Our brother Snelling of "The Photographic and Fine

Art Journal " after a friendly and complimentary notice of our new
series, adds :

54 The number before us (June 1st), contains several original
articles of interest. We copy one in our present issue, although we
doubt the propriety of publishing matter in advance which is
intended to make part of the report of a committee investigation.
As it has been published, however, we consider it no impropriety
to copy it, but we must protest against this principle of taking
advantage of position to forestall cotemporaries. It is not fair ; yet
we exhonerate friend Seely from intentional wrong, as he is yet
young i» the publication business/'

The article copied from our journal is the letter of Prof. Draper
to the committee of the American Institute We share that doubt
about propriety ; but we plead not guilty to the injurious insinua-
tion contained in the above. The letter was read at a public meet-
ing, discussed, and permission given for wider publication, when we
suggested that our journal was the most suitable medium for com-
munication with the parties concerned. As a member of the com-
mittee we were opposed .to the immediate publication.

We confess to having forestalled cotemporaries, on many
similar occasions, and we take pains to be in a position to do so.
If this is only a trait of youth, we do not desire to grow old in the
publication business We have changed no sentiment concerning
enterprise since we commenced the first of the six volumes now
published. Where is the unfairness in an ambition to be superior
to our neighbors, and in honorable competition? We say to Mr.
Snelling, with emphasis, that we do not desire or intend that he
shall publish a better journal than we, in regard to matters where
there can be competition ; he shall not forestall us unless he drugs
us and takes us asleep. Yet all the time, as in the past, we
shall be proud to hail him as brother and friend.

Died on the 29th ult., Clarissa E. Seely, wife of the Editor

of this Journal.

What a precious treasure does the photograph become by such
an event ?

THE .AMERICAN

oimtat of fV^TOllB-

[NEW SER0 6 3.]

[No. T. SEPTEMBER 1, 1858. Vol. 1.]

WHO MADE THE FIRST COLLODION PICTURE ?

New York, August 26th, 1858.

Dr. J. Milton Sanders — Dear Sir, — In your American
edition of Gregory's Chemistry, on page 59 I find the fol-
lowing : " The first collodion picture that we have any
account of, was taken at Cincinnati, in 1847, by Mr. E. C.
Hawkins, assisted by the writer. If others were taken
previous to that time, we have no knowledge of it." This
is the first intimation to myself that the origin of the pre-
sent beautiful methods of the photographic art may be
claimed for America. Is it not justice to Mr. Hawkins
and yourself, that the facts regarding that early experi-
ment should be known by the photographic public ?

Will you have the goodness to furnish for publication in
the American Journal of Photography a history of the pic-
ture alluded to, with as much detail as convenient.

I am with great respect,

Yours truly,

J. Milton Sanders, M.D., L.L.D. Charls A. Seeely.

New York, August 27th, 1858.

Mr. Charles A. Seely — Dear Sir, — Your letter of the
26th inst. is received, in which you request a detailed ac-
count of the discovery of collodion as an article for pictures
mentioned in my edition of Gregory's Chemistry.

After a lapse of eleven years, it cannot be expected that
the mind could retain all the details you desire ; still I
remember the principal incidents connected with the dis-
covery. They may interest you, and perhaps substantiate

100 THE AMERICAN

the fact, that the first collodion picture was taken in
this country. It was while in a conversation in the Sum-
mer of 184*7, with Mr. E. C. Hawkins of Cincinnati that the
first idea of using collodion was suggested. Mr. Hawkins
had been experimenting upon paper pictures, (the colotype
I believe) but could not get paper fine and thin enough for
the purpose. He remarked that if a paper could be got
sufficiently fine and thin, that paper negatives could be
made which would print positives that would rival the
finest engravings. I had that day, in Dr. Kent's drug
store, been experimenting upon the preparation of collodion
for medicinal purposes, and this previous occupation sug-
gested collodion to my mind. Collodion after all, I thought,
was nothing else than paper held in solution, and I sug-
gested its use. Glass was then naturally suggested for
the purpose of retaining the paper, and Mr. Hawkins, with
his characteristic zeal and perseverance, commenced his
work. If I am not mistaken, Prof. Joseph Locke assisted
him in the preparation of the first picture. Their surprise
was great when besides a negative picture, as they anti-
cipated, they got a positive one, which was painted upon
the back with black paint, and mounted. That picture still
exists, or did a short time ago, and even in these days of
beautiful ambrotypes, is a pretty picture. I would here
state that I do not claim any of the credit of producing the
first collodion picture, but to Ezekiel C Hawkins of Cin-
cinati, belongs the credit of having made the first picture
upon collodion. In a future communication, either by Mr.
Hawkins (if I can prevail upon him to forego his usual
modesty,) or by myself, you will get more details upon
this interesting subject.

Kespectfully,

J. Milton Sanders.

NEGATIVES OF VALUABLE DOCUMENTS.

BY H. GARBANATI.

I have before called attention to the uses of photography,
other than for the purposes of portraits and views. The
microscopic uses of the photograph have merely been hinted
at, never tried more than as interesting experiments. -

JOURNAL OF PHOTOGRAPHY. 101

The recent burning' of the City Hall, though no great
loss has been sustained in documents, shows the liability
to greater damage ; the destruction of the capitol at Wash-
ington with its valuable archives, the destruction of very
many other public buildings with their unrecoverable trea-
sures prove the necessity of duplicate documents being
deposited in other places. Yet the expense and bulk, and
the liability of their being used for improper purposes, have
hitherto prevented the attainment of this necessity, and
the world has been the loser.

The archives of a nation are its history, and its
history is the chain of events that cement the inef-
faceable memories of our ancestors, through the links
forged by each succeeding generation, with the unexisting
presence of posterity. Without its authenticated records,
the history of a nation is a blank, a mere unsubstantiated
train of legends, its interest is attenuated, its story tame.
The power of the past strengthens the present and gives
hope to the future.

Photography gives the means of perpetuating history,
though its written or printed records be lost. It is capable
of giving in perfect detail, a whole volume on a quarter
size plate, the half the size of a man's hand ; and whilst
such is its power, it seems a reproach that we should fail to
avail ourselves of it. It ought to be, and perhaps will be,
a part of our government arrangement to have the micros-
copic photographer commit to the collodionized plates, ne-
gatives of all public documents that contain the records of
the country, or the connecting links of its history. There
will be no need in so doing to perpetuate the blood and
thunder Buncombe speeches of some of our representatives,
the man would be worthy a Premium who could invent an
obliteratex, but there are records, not only of inventions and
improvements but of mind directing wisdom, the destruc-
tion of which would be of incalculable loss to the world.
The destruction has been before, and may be again ; there
are public and private buildings that contain documents
without counterpart, the destruction of which by any con-
tingent fire or other means, could be a source of boundless
trouble to those interested. Let us imagine the number of
wills, or worse — because more are generally interested —
of mortgages liable to be destroyed, which are themselves
the only evidence of their authenticity, which would cause
boundless litigation, or hold property in abeyance forever,
for want of proper authority for its distribution. A micro-
scopic negative of which, carefully stowed away, with the

102 THE AMERICAN

agency of the megascopic camera, would give a document
as reliable as the original, by which the vexed question of
the right of property might be fixed. And yet hundreds of
thousands of such negatives might be put away in suitable
boxes, in a fire proof vault underground, to be resuscitated
npon the loss of the objects from which they were taken, or
destroyed upon the settlement of the questions at issue.
This is an important view of one of the uses of photo-
graphy, and I trust the press will agitate it until it is the
custom to make microscopic negatives of all valuable public
documents, and of documents connected with important
cases of law.

[Fourth and last Article.']

ON THE METHOD OF ENLARGING PHOTOGRAPHIC
AND OTHER PICTURES.

BY P. H. VANDERWEYDE, M.D.

Mr. Seely — Dear Sir, — Your note on page 90 places me
under the necessity of giving a few additional explanations
to my article. You are perfectly right in saying " an
image from a perfect lens can be sharp and free from distor-
tion, only when the rays which are to form it emanate
from the object. Kays transmitted through the object,
and starting from a distance behind it will not answer the
purpose ; even if they are parallel, or emanate from a
mathematical point." Now the fact is that in the arrange-
ment I propose the rays do not start from a distance behind
it, that they are not parallel, and that they do not emanate
from a mathematical point. I see that I have not ex-
plained the subject sufficiently, and will do so now.

It is known that many of the solar microscopes do not
give a field equally illuminated; in the centre is usually the
strongest light, gradually diminishing towards the circum-
ference, and it was with an agreeable surprise that by a
public exhibition of a solar microscope in France several
years ago, I saw a circular field of some 10 or 12 feet
diameter equally illuminated to the very edges. The exhibi-
tor made a secret of his arrangement, but it put me to ex-
perimenting, till Tfound the very same ; and this was as I
have said, (pages 89 and 90) by having the second enlarged
image of the sun itself thrown on the screen ; now this

JOURNAL OF PHOTOGRAPHY. 102>

second image is of course formed by the light emanating
from the first ; this first one may be viewed on transparent
paper or ground glass or in the air, just as experience
teaches best for each particular case ; now it is clear that
if the object itself is placed in the sun's image, the enlar-
ged image of the object will exactly be thrown on the screen
in the sun's enlarged second image ; it cannot be said now
that the light passes parallel or from a point conical through
the object, it does in reality emanate from the sun's first
image, that is from the same place as where the object is
placed, and what is more the rays will proceed in exactly
the same direction.

This now, I apply, to the illumination of photographic
negatives, and produce with two lenses an enlarged second
image of the sun, just as large as the negative to be copied ;
place the negative equally in this image, the camera lens
now throws both, the image of the sun received on ground
glass, collodion or what you like, together with your
negative, both in the same focus on the sensitive paper.

The beginning of said note, however fully true of opaque
objects is only partially so of transparent ones ; how will
you make all the rays to emanate from the transparent
negative, and obstruct those passing through ; it cannot
be done ; and now I say that my arrangement to bring an
image of the sun of the same size as the negative exactly
in its collodion film, or on a ground glass just in front of it,
will make the rays better emanate from this object, than
by any other arrangement possible.

But if we consider the intensity of the light obtained in
this way, so can we gain nothing by those illuminating
lenses, if the first one is not larger than the negative to be
illuminated ; so we must come to this conclusion : If the
negative to be copied is larger than the illuminating lens
which receives the sun's rays first, it is better to omit the
lenses altogether, and to bring the direct sun's rays by
means of a mirror perpendicular on the negative, however
protected by a ground glass, which most of the time will
be found necessary.

A LETTER FROM MONMOUTH.

Monmouth, August 27th, 1858.

You ask me what is the average quality of pictures taken
in the small towns and villages. As far as chemical effects

104 THE AMERICAN

are concerned, very good indeed. I know of many country
operators who produce much finer pictures than the
majority of those exhibited along Broadway. But then as
a rule I must stop with chemical effects. Positions, gen-
erally, are horrible, the knowledge of the art merely
mechanical.

This originates no doubt from the fact that most enga-
ged in the business merely adopted it as a means of get-
ting a living; very few indeed have any artistic conceptions.
The want of especial education, and also of association with
artists — from the fact that they always flock to the cities —
easily account for want of artistic arrangement, so neces-
sary to the value of a picture. A picture may be worth a
dollar as a likeness, but as a work of art, the value is
fancy. Gurney's pictures, for example, readily fetch much
higher prices than some in his immediate neighbourhood,
equal in chemical effect.

I have often been going to urge you to engage artists
to write for your Journal, on position, ease, grace, &c, but
have been deterred, from the fact that those who would
be most benefitted eschew books. It was only the other
day, I was pressing a group of country operators, to take
in your Journal, urging that any work devoted to a certain
occupation, if intelligently written must be worth a small
sum per annum, for the information it contains ; no man is
perfect, no philosopher but can learn, though he live forever.
A single hint might be worth a year's subscription, &c.
" But," said one, " the business is too cheap already. I
merely work for a living. I take no interest in it as ah
art," and how man3r like him, how many in their need for
gain are not shrewd enough to know that a little money
judiciously expended will economize time, labor, and money.
This man could not see that the ideas of others might
enable him to produce his work even cheaper, by econo-
mizing his time and material. Are our photographers
afraid of books ? Is learning a bugbear ? A bogey capable
of scaring them, or are they the most self satisfied body of
men able to get their own living ?

Whilst on the subject of artistic arrangements, I wish to
call the attention of some of our artistic photographers to an
untrodden field for their operations. A subject replete with
interest to those anxious to view the wonders of nature. I
mean the use of calcium or other artificial light in depicting
views of objects hitherto deemed too dark for the powers of
the camera. Once my ramblings carried me to the Mammoth

JOURNAL OF PHOTOGRAPHY. 105

Cave of Kentucky, and curiosity with me as with others, led
to scrambling through its mazes and channels to see the vitri-
fied throes and upheavings of laboring nature now quiescent
in those antediluvian regions, with the magnificent and awe-
inspiring evidences of those convulsions of the earth we trust
not to be repeated in our days How I wished for the
means of taking camera views of scenes before me, and
yet I thought it was quite possible, with instantaneous col-
lodion and the calcium light. What was to prevent the world
being gratified with views of those wonderful halls and caves,
and buttresses ? Here for nine miles underground, we might
give a succession of views that not one in a million will have
the opportunity of visiting in nature ; the fine scene of Cascade
Hall, with its waterfall under the earth, and the view ending
in undefined space along its three mile avenue, would be some-
thing the surface of the earth must fail to furnish us with.
Then " Serpent Hill " so called from its architectural resem-
blance to the entwining of serpents on its roof some forty feet
high, would make a picture of interest.

Then the numberless views of ever varying stalagmites, gems
of grottos, caves, bowers (so called), afterwards the under-
ground '* Rocky Mountains," all for the astonishment of
untravelled man. But what finer subject for the camera than
the Mammoth Dome, an immense hall with architectural
devices of smooth and even finish, as if from the patient
chisel of man instead of the accidental arrangement of one of
Nature's convulsive fits. But why specify, when there are so
many objects, artists would readily seize on to depict, if con-
venient to their hands. Are not the wonders of the Mam-
mote Cave written in the books of travellers and tourists ?
Photographers, do some of you take interviews of the Mam-
moth cave. Your works will be profitable, and many more
caves will require your labour.

What a hubbub you Gothamites are making about the
Atlantic Cable, and you are quite excusable ; it is indeed a
great event. Yet it has not done all it is yet to do. Who
knows but we will be enabled to take each others likenesses
by means of the electric wire ? Only fancy, sitting in New
York, and having some one get your likeness in Liverpool, it
would save much trouble with fidgetty persons, we should not
have so many rejections. And it's going to be done. For
a number of wealthy individuals of the City of Long-
bow have already pledged themselves to ten thousand
dollars each, for shares in the '! American Intermolnect Pho-
tographic Artist's Society, and intend engaging one of their

106 THE AMERICAN

wires — insulated by oxidation— of the next cable to be laid, of
a third of the weight and thickness of the present one. The
chief object after taking portraits of distant friends, will be to
obtain a portrait of any body who slowly or suddenly leaps
into fame, on either side of the big ocean. You see what an
immense picture gallery of distinguished individuals we must
have in a short time, if all those are to be considered distin-
guished whom photographers rush so madly after to take.
Why, the photographer has founded a new era of greatness !

Gossip.

RECTIFYING THE BATH BY EXPOSURE TO LIGHT.

BY THE EDITOR.

In the first number of the New Series of this Journal
I gave what I then supposed a new method of rectifying
Nitrate of Silver solutions by exposure to light In the
" Photographic Notes " of Aug. 1st, I find the following :

"American photographers are in a state of ecstacy about a
method of curing foggy nitrate baths by simply exposing them to
sunshine, and the question now is, who discovered this wonderful
dodge? Every one says " I did !" of course. Now we must also
join in the chorus, for the honour of old England and the Notes.
At page 116, No. 24, for April 1st, 1857, this wonderful dodge was
for the first time published."

Immediately on reading the above I made enquiry of the
agent of the " Notes " and others, and was unable to learn
that any copies of " Photographic Notes " of a previous date
to Dec. 1857, had reached this country. Moreover I have
been a constant reader of other English Journals and feel
quite confident that the article in the " Notes " was not
copied or alluded to in any way. I feel myself justified there-
fore in infering that the ll Notes n discovery was indefinite,
or that it was overlooked by other Editors from heedlessness.
If the Editor of Notes will have the goodness to send to my
address a copy of No. 24 of his journal, the article in question
will be republished here, and the credit of a useful suggestion
will be given where it belongs.

I believe I have a reasonable ground of complaint in the
manner the Editor of " Notes " expresses himself. How has
he received the information that " American Photographers

are in a state of ecstacy " ? Does he imply that American
photographers are boastful or exultant on such a matter ?

Surely what I have written myself, on pages 6 and 44 was
not immodest, and of the two other photographic journals
published here only one of them (a publication ofmean repute
and small circulation) has alluded to my suggestion, charac-
terizing it as worthless or a pilfering from the English. Mr.
Sutton's sources of information concerning American photo-
graphers are muddy, or he must be a very cold-blooded
Englishman indeed to discover any' ecstacy in our modest
moderation.

I take this occasion, however, to say that there are some
things which American photographers do claim, and about
which they might boast, when they are in a boasting mood.
American photographers honestly believe that skill, ingenuity
and science in America have, to a notable extent, advanced the
artof photography. Moreover, their claims have been stated
specifically — yet not acknowledged or even noticed. ' It seems
strange that Dixon's photo-lithography, Mascher's stereoscopes,
and American improvements in apparatus; should be entirely
ignored, and a brief hint about foggy baths should be made
the occasion of a slur on all of us. Fy ! Mr. Sutton ! You
are decidedly ungenerous.

Now I may say for myself that improvements in the photo-
graphic art from any source, always give me pleasure. I
have ambition and patriotism enough, however, to desire that
improvements may originate with myself or my countrymen.
Yet I am sure I shall not lose confidence in anything if it is
shown to be only a re-discovery

Finally, (the Editor of " Notes." will not object to my say-
ing it) T consider the cure of impure silver solutions in ques-
tion, one of the most useful of " practical dodges." I shall con-
tinue to recommend it to others, and find it of the greatest
service to myself.

\From the Scientific American.']
mW PHOTOGMPHIC INVENTION.

Messrs. Seely & Garbanati, photographic chemists of
this city, have recently perfected an apparatus by which
life-sized portraits may be produced with all the ease

108 THE AMERICAN

and perfection of small pictures. We have examined
the mammoth portraits produced by it, and found them
quite free from the distortion which has generally char-
acterized large photographs ; in fact the life-size like-
ness is an exact counterpart in figure and detail of the
person, and needs as little of the artist's retouching as the
ambrotype or daguerreotype. The cost of materials used
in the preparation of the paper is trifling', while the appara-
tus complete is manufactured for about $20.

The instruments hitherto employed for making portraits
of a larger size than 6 by 8 inches are sold at prices rang-
ing from $200 to $1,000, and the chemical preparations
required for a commencement involve a large outlay. The
eld methods, moreover, are uncertain, tedious, and the best
results unsatisfactory, till the pencil of the artist has soft-
ened down the defects.

The inventors are preparing for exhibition a full length
colossal photograph, fifteen feet in height, of one of our
most distinguished citizens.

This new instrument, called tne " Megascopic Camera,"
is similar in principle to the solar microscope. A small
picture is first produced in the usual way from the object ;
an image of this small picture is thrown magnified from the
new camera onto a sensitive surface (paper or canvas), on
which it is impressed in a few seconds. Any small picture
(portrait or view) may thus be accurately enlarged to any
desired extent.

Many of our most enterprising photographers have
adopted the instrument, and seem to think that it will come
into general use for all pictures over 6 by 8.

POISONOUS CHEMICALS.

BY D. P. MILLER, M.D.

In our medical books we have minute descriptions of
various poisons and their effects upon the human system.
The poisonous substances most used in the arts and for
criminal purposes of course, are more carefully treated of.
The art of photography has brought into common use many
chemicals which before were not at all known to commerce,
and were found only in the laboratories of investigating

JOURNAL OF PHOTOGRAPHY. 109

chemists ; and as poisons they are barely mentioned by
Christison and our other standard authorities. I think it
quite desirable that the whole subject be carefully investi-
gated, with especial reference to the interests of the photo-
graphic profession. At least you may expect that I shall
contribute whatesrer may occur in my own limited exper-
ience and observation.

In the present article I will call attention to one or two
preliminary points.

It is a curious fact that different individuals are not
affected in the same way by the same substance. What is
healthful to one, may be poison to another ; to about one
in every thousand, cheese is not only disgusting", but really
poisonous, to some as deadly as arsenic. Cheese is not the
only article of food of this strange character. On the
other hand, substances ordinarily recognized as poisonous
are harmless to many, through a natural peculiarity of con-
stitution, or the artificial state of hardiness produced by
habitual use of small quantities. The opium eater may
consume in one day enough opium or other deadly narcotic
to poison a hundred healthy men.

Now it is also certain that photographic chemicals are
dangerous to some, and harmless to others. The fumes of
collodion, for example might be quite unsafe, to a nervous
man with weak lungs, while generally operators may
breathe them with impunity. Cyanide of potassium is
commonly considered a deadly poison ; yet I know many
who wash themselves many times a day with concentrated
solutions with apparently no evil results. A friend of mine,
however, is alarmingly affected by its most careful use, and
has been obliged to banish it from his rooms. He is one of
our oldest and most esteemed daguerreotypists. On com-
mencing the Ambrotype, his health failed him, so that he
gave up his business till he satisfied himself that it was
cyanide which injured him. He has now returned to the
practice of the art, substituting hyposulphite of soda for
the poison.

One of the strangest cases which has come under my
eye is of a gentleman who cannot handle salted paper
without injuring — not himself — but the paper. Let him
wash himself as clean as possible, wherever he touches the
salted paper, the photographic print is stained. I am sat-
isfied there are many cases of the same kind, but probably
few so marked, while I am certain that I can handle paper
in any stage of its preparation without staining it.

110 THE AMERICAN

The instruction that should be deduced from all the
above, is that photographers should study the effect of
chemicals upon their own persons.

A FEW EASY EXPERIMENTS WITH A CAMERA.

BY THE EDITOR.

The experiments I am going to describe will be most satis-
factorily made with a whole or larger size camera ; a smaller
one will require greater nicety of manipulation and keener
eyes. The results may be made permanent for future exami-
nation, by making pictures of the objects in the usual way.

Experiment ls£.— Take a focus on a ball of a less diameter
than the aperture of the front lens. Note the size of the
image. Now, adjust on the tube. a stop of small diameter,
and the size of the image will be decreased.

Experiment 2d. — Make spots on the ball at the extremities
of its diameters perpindicular to the axis of the tube. These
spots will be visible in the image made with the open lens —
but not when the stop is used.

Experiment 3d. — Take a focus on the end of a rod point-
ing towards the centre of the tube, and in the axis of the
lenses. With the open tube, the end of the rod will be re-
presented in the image surmounted by a band.

Experiment &th. — Prepare a stop with the opening near
the circumference. Make images of the ball and rod ; turn
the stop half round, and make images of the same objects
again. The corresponding imag'es will not coincide when
superposed on each other ; their shapes are different.

Experiment 5tk — Place three or four small balls in a row,
in the axis of the tube. In the image, with the open tube
all will be visible. Use a stop smaller than the diameter of
the balls and only the front ones can be seen.

The above experiments teach some useful facts in optics —
show the reason of distortion in photographic pictures ;
and may suggest remedies.

JOURNAL OF PHOTOGRAPHY. Ill

TEE ATLANTIC CABLE AND PHOTOGRAPHY.

The Commemoration of the successful laying of the
Atlantic Cable will long be remembered by those who had
the fortune to be in New York on the 1st of September.
No occasion in many years has excited such profound and
general sympathy. All business was suspended, and it
seemed as if everybod}7 participated in the grand jubilee
During the movement of the procession, the whole line of
march, from the Battery to the Crystal Palace was densely
thronged with eager spectators, while banners and appro-
priate devices were displayed from almost every building.

We make here a permanent record of what those, on
Broadway connected with photography, contributed for the
occasion. The morning papers of the 2d, in addition to the
following give minute descriptions of the displays made by
others.

Gurnetfs Palace of Art. — This photographic establishment
was decorated during the day with flags, one of which it
was said, was borne at the peak of the Niagara, while she
was employed in laying the cable.

At night the whole building was illuminated with colored
lamps ; covering the entire front was a transparency repre-
senting a pyramid, composed of five figures : Peace was
in the centre coming up behind the electric batteries
and giving crowns to Science and Art, (represented by
two female figures on her right and left). On the right
was a colossal figure of Young America, and on the left a
similar figure representing Old England, both in sailor's
costume, and each holding the flag of his own country, they
being crossed at the top. The whole on a rock in the mid-
dle of the ocean. On one side below the Lion of England,
and on the other the American Eagle, each holding an end
of the cable. At the top of the transparency was the mon-
ogram "Victoria," and opposite that of " Buchanan." Un-
der the transparency and in the centre were the names ;

CAPT. PP.EEDY, : pVRTT<j w j,™ n \ CAPT. HUDSON,

Agamemnon. ; CYRUS W" FIELD ; Niagara.

Below this was the legend :

: DAGUERRE and MORSE,

: One harnessed the Light, and the other the Light-ning.

112 THE AMERICAN

hen followed another

THE ATLANTIC CABLE :

May its " continuity" be as perpetual

as the rays of the Sun.

Connected with these figures were several instruments
of art, among which was the camera obscura with the
name :

J. GURNEY, 1858 .

At the door below were four splendid photographic
likenesses of Field, Morse, Hudson and Cooper. The
whole attracted considerable crowds, who admired them
very much.

Brady's Photographic Gallery. — The whole front of this
building, (359 Broadway) the lower part of which is used
as a dining saloon, and the upper stories as a photographic
gallery, was illuminated by about six hundred candles.
The front of the building was decorated with a splendid
transparency 50 by 25 feet. It bore on the top the
words,

Science, Labor and Art— Union Cable.

On the right was a portrait of Field, in the centre one of
Franklin, and on the left one of Morse. Beneath were two
female figures representing America and Engiand joining
hands, while to the right of these, and below, was a steam-
ship with the emblems of mechanism and science, and to
the left a sailor from the Niagara. Under this was a
bridge joining two countries, and beneath this again, was a
figure of Neptune chained, implying that his power was at
an end. To the right was the letter B, and to the left the
letter V, both surrounded by electric stars. The whole
design was well conceived and beautifully executed, and
was got up entirely by the employees of Mr. Brady.

Sedy Sf Garbanati. — In front of the photographic establish-
ment of these gentlemen, at 422, 4 and 6 Broadway, was
exhibited a colossal photograph of Cyrus W. Field from
life, on a scale of about 25 feet for the full length figure.
This was said to be the first photographic portrait, of a
size larger than life ever attempted. It is an excellent
likeness of Mr. Field, and was one of the most noteworthy

JOURNAL OF PHOTOGRAPHY 113

objects of the day. At night it was brilliantly illuminated,
as was also the place of business of the firm.

The portrait was stretched on a frame 4 feet by 5 taste-
fully adorned with streamers, and inscriptions on the mar-
gin. The monograms were Morse, Field on the top and
bottom ; Daguerre, Archer on the right and left. On the
reverse of the frame was the legend :

The Tribute

of
Photography.

The whole was set upon a pole about 20 feet in height,
and erected on the edge of the sidewalk.

Frederick's Photographic Temple of Art. — The whole front
of this splendid establishment, at 585 and 58t Broadway,
where portraits of all the great men and women of the dajr
are seen was a blaze of light, as was also the Temple itself.
Mr. Charles D. Fredericks, the proprietor was there in per-
son, and with his gentlemanly assistants, did all that was
possible to render the situation of his visitors comfortable.
Over the large arched window the front was covered by a
splendid transparency as follows :

Europe and America.

Daguerre and Morse.

With the figure of a Camera Obscura, resting on

a coil of Cable.

Over the day entrance were the American, French and
English flags, in the order mentioned.

Over the night entrance was the following transpar-
ency :

Let not dread War's alarm,
Sever the Cable's charm.
But let the Union be firm and Peace ever reign.

114

THE AMERICAN

EMTOMAU «t$C&U«Y.

We believe our readers will pardon the delay in the

publication of the present number of the Journal. Extraordinary-
preoccupation kept us from our public duties. We thought it
better to delay a little than that the Journal should go out without
our personal care.

Since our last we have practically demonstrated a theory

which it is thought by many will bring about a radical change in
the ordinary methods of producing photographs.

Sir David Brewster, we believe, was the first to call especial
attention to the fact, that most of the distortion of photographs was
produced by the use of large lenses; he laid down the principles
to be followed in attempting correct representations of nature. —
These principles we have constantly kept in view in our experi-
ments. We have convinced many practical men, that, large pic-
tures can only be made correctly with small lenses, that all skillful
photographers, with little labor and a trifling expense can produce
perfect life size photographs — and that no lens larger than an extra
4-4 is advisable.

We invite an examination of plain life size photographs on
exhibition at our office.

— — We have been requested to correct an error at the bottom

of page 75 regarding the Lewis Solid Glass Corners. Their glass
corners are at present, and for some time past, have been so inserted
that there is no danger at all of their falling out or becoming loose.
The error in the text was partly typographical. Our correspondent
is exhonerated from any intention to misrepresent.

Mr. W. J. Hunse, with Mr. J. D. Davis, of Brooklyn,

has presented us with a photograph of Hanson Place Church.

The effect of light and shade is admirable; the artist avoiding
that strong contrast so much admired by many, but which obscuring
the cornice, or mouldings of a building, destroys its symetry and
characteristic style.

Mr. Hunse furnishes a hint that may be useful to many, desirous
of printing with their negatives, the name of the views : On the
lower part of the plate he scratches off the collodion, and in its
place puts a piece of written or printed paper ; the printing on the
positive being of course light letters, on a dark ground ; by se-
lecting the tint of the paper it can be made to accord with the
color of the back ground of the picture.

THE ^MERIC^lSr

oacital of ^o!ogcaji%.

[N1W SERBI8.1

[No. 8. . SEPTEMBER 15, 1858. Vol. 1.

A LETTER FROM LONDON.

224 Regent Street, August 6th, 1858.

Mr. Editor- You probably recollect the sky and side light
I planned and erected in ray Broadway gallery At that time
it was the first and only one of the kind in America. The
plan resulted from a desire to establish a first class gallery,
in which all the work could be done on the second floor. My
present writing about it, was suggested by observing in my
rambling here, that amateurs generally were working at great
disadvantage with only a weak side light, where my plan might
be carried out at little expense, and so securing the facilities of
the ordinary powerful sky light. I believe a description will
prove of interest to some of your numerous readers.

The light is a combination of a sky and side light in one.
The sashes are two, and should be eleven feet long, and five
and a half feet high. To set these up the wall (it should face
the north if possible) for a space of about eleven feet in length,
and about 15 feet in height must be removed. A balcony
must be built eleven feet long, and about five feet outward
to the panelling 4 feet in height, and extending the whole dis-
tance around. Upon the panelling one sash is erected at an
angle of about twenty-two and a half degrees, and upon this
the other sash at the same angle, meeting the wall along the
upper line of the opening. The background wall should be
at least four feet from the light. The light should be provided
with two muslin curtains of the same dimensions as the light,
and strung on wires, so as to be drawn at pleasure. One
curtain moves up or down— the other sidewise, thus securing
perfect control, and enabling you to produce any effect which
good taste may suggest. The distance of the background from
the light is a point of great consequence ; upon this depends

116 THE AMERICAN

in a great measure the softness and roundness of the photo-
graph.

We have lately patented a transparent Positive, designed
for hall lamps, screens and as a kind of veneering for wood.
You will readily imagine how they look, and as they can be
easily colored, they will make an excellent imitation of what
genuine photo-ivory miniatures ought to be. The photo-ivo-
ries have lost their prestige. It is impossible to produce an
even tone, or to get out the hypo. The hypo shows itself in
a month or two, by the pictures turning yellow, and fading.

I have been often asked the reason of excess of intensity in
negatives. This condition of things I have observed will occur,
when a collodion excited with a metallic iodide, and bromide
has been used many days in a neutral bath, without reiodizing.
To determine how much reiodizing is necessary, pour out 1 oz.
of the bath solution into a measure glass, and carefully min-
gle with it drop by drop distilled water till it begins to become
turbid. The number of drops required for this purpose will be
the number of grains of iodide, per oz. to be added to the whole
bath. Test the bath with litmus paper, and if any traces of
alcali are visible, add a few drops of acetic acid Filter and
you are again ready for operation.

There has lately been introduced here a method for print-
ing vignettes which 1 do not remember to have seen in Ame-
rica. A sheet of yellow or red stained ('enamelled) glass is
cut the size of the negative glass. The enamel is now removed
of the size and shape which is desired for the positive.
In printing the vignette glass is placed between the nega-
tive and the light.* The vignette glasses are sold by the
stock dealers,

Yours respectfully,

A. G-. Grant,

WHAT IS LIGHT ?

BY J. MILTON SANDERS, M.D.

We frequently hear the assertion that photography owes
its existence and progress to the discoveries which have
resulted from the investigations of the chemist. In fact so

*The same object is more easily accomplished here, by the use of wooden or metallic
diaphragms, or an opaque paper properly cut out and placed between the negative and
sensitive paper. — [Ed.}

JOURNAL OF PHOTOGRAPHY.

117

often has this idea been mooted by authors, that its incep-
tion has entirely eradicated the antipodal question of
what has photography done for chemistry ? The new sci-
ence of photography has indeed progressed with remarkable
rapidity, even in these days of scientific progress ; for
what was but yesterday in its first age of juvenility is in
the enjoyment of the plentitude of adolescence to day. We
recollect that it was but a comparatively brief time ago,
that in an address to an intelligent audience, we predicted
that the fleeting, though supremely beautiful depictions of
the camera obscura would soon be indellibly fixed upon an
imperishable medium. We received our reward from the
appreciative audience in the form of a loud and derisive
shout of laughter. And wherefore should they not laugh ?
Was it not a rash prediction for a sensible man to venture
upon ? Who could suppose that the evanescent shadow
which the sun had so fleetingly thrown upon the ground
glass of the camera, could be converted from the intangible
to the tangible — from a nonentity to an entity — by the
magic wand of the chemist? Yet such has been the case,
as hazardous as the thought may appear ; for upon seri-
ously reflecting upon the fact, perhaps there is not an
achievement in science which is so wonderful as that which
has fixed the fleeting rays of the sun, as it were, upon
paper. Perhaps this latter assertion may appear to many
persons as gratuitous, for it is asserted that the beams of
the sun in their oscillations only impinge upon the chemical
substance exposed to their progress, and thus effect a
change in them, but do not partake themselves in that re-
action. This we regarded as unphilosophical. We know the
sun's beams to be of a composite nature, while careful and
rigid investigations — especially by Prof. Robert Hunt, of
England — have established the fact that each ray compo-
sing the solar beam, is gifted with its inherent and especial
function. For instance those non-luminous rays far beyond
the violet ones, and therefore the most refrangible of all
the solar rays are referable alone to chemical action, while
those rays of the least refragibility, such as the red ones,
have an effect almost diagonally opposite the active ones,
or directly antagonist to them. We know that the various
colorific rays are each gifted with their specific properties,
and which properties are especially called into play in the
economy of nature at certain portions of the year. We
also possess the power of appropriating these rays to their
specific uses — of sifting them out with all the properties
belonging to them, — and of appropriating them to the
wonderful task they were created for.

118 THE AMERICAN

If it then be true that the solar beam is composed of
certain rays to which are imparted certain properties, and
that we possess the knowledge of the methods of appropri-
ating these properties, isolated to their definite uses, and if
it requires the absorption of these rays to produce certain
chemical effects, and that these effects are only cognisable
in a direct ratio to the amount of these rays absorbed, is
it not philosophical to infer that these rays are really not
a nonentity, but an absolute substance — that light itself is
not mere osciltatious in an imaginary ether, but that it is
composed of certain groups of particles, each group of
which is gifted with certain specified natures as definite and
tangible as is the natures of the elementary bodies them-
selves ?

We take this ground. But it was only after having investi-
gated the nature of light photographically for years, that we
were led irresi stably to these conclusions. We are not alone
in them, for similar investigations have led Prof. Hunt and
other philosophers to the same train of thought, and they have
arrived at the same conclusions. It is true that the theory
of oscillations will account for many facts observed in light,
but will it account for all ? A single failure will prove fatal
to it, and it has failed too frequently in the investigations of
photographic experimenters to warrant its adoption. If light
be simply oscillations, how is the fact accounted for that it
can be absorbed by the diamond, and retained there for any
length of time, and then released from its prison as brilliant
as it was at its absorption ? How do we account for the
actual bottling up of light, as has been done by Prof Stokes,
and then of its releasement, without injury to any of its pho-
togmphical properties. How do we account for the wonderful
molecular change which many substances undergo when those
refrangible rays termed the actinic fall upon them ? These
phenomena can only be accounted for, upon the supposition,
that light is an actual entity, and possesses the properties, like
all other entities, of entering into combination with the sub-
stance it falls upon, and then modifying its molecular constitu-
tion. If this were not the case then we should not look for
the wonderful and striking changes we daily witness in the
photographic room, for these changes can only be referable to
the theory that light like all other material substances, is an
entity and not a non-entity.

Photographic science is full of curious facts corroborative
of the theory of the sagacious Newton, that light is corpuscu-
lar and not undulatory. In a future paper we shall adduce
some of these facts, so that the photographer may be fur-

JOURNAL OF PHOTOGRAPHY. 119

nished with sufficient data to found the true opinions that
there can be no actual change in matter, unless matter itself is
the inducing agent to that changeras that which is not matter
is nothng.

A NEW VIEW CAMERA BOX.

BY H. GARBANATI.

Photographic views are coming in vogue amongst us.
A. crop of amateurs is springing up all around. Any thing
therefore, pertaining to that branch of the art possesses
more interest now than it would a few months ago.

"&;

Our heavy lumbering view Camera boxes have been hi-
therto much against the practice of views photographic. In
Europe, they have been a long time ahead, though by no
means perfect ; judging by what may occasionally be seen
here and by drawings of their view apparatus, there is
still much room for improvement. Nevertheless, in their
first start in the view line of photography, they had some-
thing- really adapted for the purpose, though crude and
rough. Archer's first view camera box was also a dark
room ; with his arms thrust through two odd-looking black
sleeves, and his eyes peeping through yellow glass, he
used to conduct his manipulations — inside the camera box,
which was fitted with shelves, some pierced to put fun-
nels through and stand bottles on, so that when he had
taken his views, he had merely to take up his camera and
walk.

Seely & Garbanati have invented an excellent folding
camera box, which admirably concentrates the space re-
quired for taking pictures.

The box in view is suited for taking pictures 14 x 11 to
turn, with sizes down to 8J£ x 6>£; when closed it looks
like a travelling case, and is seventeen inches square, by
6 1-2 broad, and as far as the materials will allow, is quite
light.

To work it the front is let down, when it forms the base
board or plinth, and a piece of wood about 6 inches square,
with a hole in it for the lens is drawn forward, to this small

120 THE AMERICAN

front is attached the india rubber extension, increasing in
size until attached to the larger frame, at each comer is
an india rubber spring, to support the slack which any va-
riation of focus will give, the front containing the tube,
rests on a brass upright which runs freely in a groove, and
is fastened in its required place by means of a thumb screw,
in the interior of the box several bottles may be easily
stowed away for the convenience of carrying. The shield
is furnished with pure silver corners, and a rule with slide
and spring, and is slid into a groove in front of the object
glass, when not in use, and protects the same. The cost,
handsomely polished wood, is $25.

CARBON PHOT0£RiiPHS-PHOTO-ENGRAyiNG, &c.

BY THE EDITOR.

I intend to fulfill in part in the present paper promises
made some months since to the readers of the Journal
regarding carbon photographs. Other duties and absence
from the city have delayed experiments I had proposed to
make before discussing the subject in public. Even now,
on some points I have only theory or suggestion to offer ;
yet I consider it worth while to publish what ideas I have,
although they may be crude, in the hope that others with
more leisure than I can command, may pursue them to
some practical end.

As to carbon printing, I have little doubt that photo-
lithography will prove the best process where many copies
are needed, — the best in view of economy and rapidity.
The preparation of the stone requires little labor and but
a few minutes, when it is ready for printing in every respect
by the ordinary lithographic press. Photo-lithographs can
be produced cheaper than other lithographs, for the reason
that the photographic impression on stone is easier made
than a drawing in the usual way (an important item)
while all other expenses are precisely the same. As to the
permanency of photo-lithography nothing need be said ;
and any who have examined the best work done by Cutting,
Bradford and Turner, of Boston, and Isaac Rehn of Phila-
delphia, are satisfied that the photo-lithograph are not far
behind the photograph in truthfulness. I have seen no car-
bon impressions produced in any other way that can be
considered superior as pictures.

JOURNAL OF PHOTOGRAPHY

121

On page 32, bi-chromate of potash &c, are alluded to as
materials for producing carbon prints, I commenced ex-
periments with those substances eagerly. The theory
of the process, and the manipulations seemed palpable and
easy. But my ardor cooled on learning from the " Bulletin "
that M. Poitevin had anticipated me by several years — had
not only made photographs in carbon, but a variety of pig-
ments by the same plan.

The method I find quite easy is as follows : I make a
solution of gum arabic in water about as thick as molasses.
With this I grind on a glass or in a mortar a sufficient quan-
tity of calcined lampblack, ivory black or other pigment.
When the mixture is thorough I add in the dark an equal
part by measure of a saturated solution of bi-chromate of
potash in honey diluted with an equal part of water. The
whole is now to be carefully mixed by stirring or grind-
ing. This intimate mixture is a point of the greatest con-
sequence. The paper I prefer is the highly albumenized.
The mixture is laid on by flenting or with a large flat brush.
Dry in the dark The printing is performed in the usual
way, only using about half the time for ammonia-nitrate
paper. After exposure the print is soaked ten minutes or
more in water, and then exposed under a stream of water
till the whites are fully brought out.

Any one on reflection will perceive that the above pro-
cess cannot produce a picture so perfect in detail and
delicate shading as the ordinary silver prints. The only
recommendation I can give it is the permanency of the
results, and its simplicity and economy. Although better
pictures have been produced here than the specimens of
Mr. Buncy's work sent by Mr. Sutton to America, they are
as yet slightly inferior to the best photo-lithographs. As-
suming that they may be made of the same quality, it ap-
pears to me that photo-lithography will be found advisable
when fifty or more prints are required.

The changes I have made in the process as published
are : the use of honey to facilitate the washing develope-
ment and the albumenized paper.

I have attempted on a totally different theory to produce
carbon prints, and although I have not had much success,
I have not lost confidence in the principle. It is well
known that a mixture of chlorine and hydrogen is extremely
sensitive to light, combining speedily and only in the light.
If castine of hydrogen is substituted for the hydrogen, the
carbon is precipitated on exposure to the light. Saturate

122 THE AMERICAN

a sheet of paper with camphene (a carbide of hydrogen)
and expose it to the camera image in an atmosphere of
chlorine, and the image will be fixed ; or expose the cam-
phene paper to the vapors of chlorine or bromine — and
then to the image or render a negative. Such a proceedure
thus stated is evidently impracticable, yet I have little
doubt that it may prove the germ of something valuable.

Photo-Engraving.— For the following process I am in-
debted to Mr. Joseph Dixon of Jersey City, by whose
courtesy I am permitted to give it to the public. I have
had no opportunity to test its value by trial, but I am
assured by Mr. Dixon that it is capable of very good
results.

The process is founded on the fact that if a polished steel
plate be rusted in spots printers ink will adhere .only to the
rust from which it may be printed in the ordinary way. Ex-
pose a paper or collodion photograph to the vapor of iodine.
.The iodine is absorbed only where the impression exists. The
photograph is now pressed in close contact with a steel plate
prepared as for engrossing. The iodine partly leaves the
photograph and rusts the steel correspondingly. The time
required for rusting properly may be days. The applying the
ink and printing are quite similar to the common method of
the steel printers, making the necessary variation for the
raised surface instead of cavities-

A conversation with Mr. Dixon on the above suggested to
me a plan which has some advantage. It is commonly known
that if an ambrotype be cautiously heated to about 500° the
collodion film burns away, leaving the whole of the silver pic-
ture undisturbed and adhering to the glass. The plate may
now be etched with hydrofluric acid, and thus a tolerable
printing surface obtained. But I should prefer to transfer
the collodion picture to a plate of metal, burn the film, and
etch with any acid which will not effect the silver I found
the transfering the film easy enough, but on burning the film
the silver did not adhere, owing apparantly to a film of oxyde
formed on the plate. If the metallic plate is first amalgamated
the difficulty is mostly overcome but the sharpness of the
etching suffers.

Both of the above processes require a positively transmitted
light

JOURNAL OF PHOTOGRAPHY 123

FOCAL ADJUSTMENT.

BY H. GARBANATI.

Many photographers, experienced and excellent ar-
tists, able to take first class pictures by rule, are yet
unable to focus a camera. They can tell in a moment if
'tis sharp, or has full field, or the requisite depth, but
should there be any lack of any of these qualities in the
first pictures they take, they will unhesitantly condemn
it, perhaps send it back to the seller of it as worthless, and
often put him to much expense and inconvenience. The
purchaser is as much inconvenienced as the seller from
delay in obtaining another, and no doubt often vents some
hard words on the supposed cheat.

To enable the uninformed operator, especially when at a
distance to find out if the evil is remedial by himself,
without much trouble, will be a service to both buyer and
seller.

To find out the capabilities of a camera it is not neces-
sary to take a picture, but simply to look carefully at the
various images depicted on the object glass. Any camera
that will give sharp, deep, and full-spaced objects on the
glass, will take just such a picture, and if it does not upon
a trial, it is certain the defect is to be remedied without
re-grinding the lenses.

The defect is to be found in a difference between the
chemical and visual foci, or in the box or shield : the first
defect ought, of course, to be corrected by the maker, or if
not, by the seller, as the customer should not have unneces-
sary trouble ; the second may be beyond the control of the
seller. As many parties order tubes to fit boxes on hand, it
becomes proper they should know how to test the new in-
strument, and not be sending it back on its travels without
just cause ; the box or shield may have already been altered
to suit some tube with a difference between chemical and
visual foci, when it would of course not suit a tube with
corrected foci. I once had given me a French instrument
to correct, with a quarter of an inch difference ; the tube
had been thrown aside as useless, and yet was a very ex-
cellent one after all ; all that was required was to have a
shield fitted for it, with the requisite difference between it
and the object glass ; this shield, of course, if used with

124 THE AMERICAN

any other tube would give a blurred picture. At the same
time I had quite a number of cameras, mostly whole size,
to overhaul, all of which had been once or more returned,
and though none were really good, they were quickty sold
at a second rate price, the differense was in the glasses,
and varied from %-\§ to J. Having found the differ-
ence, I marked it in equi- distant spaces on the tube, and
cautioned the buyer to turn it in or out as required after
focusing, or to set the ground glass forward or back.

When a camera will give a good picture on the ground
glass, yet impress an inferior on the plate, the easiest mode
to find out the true focus is, to get a thin piece of wood,
say three feet long, and make about five saw-cuts on the
edge in a slanting direction downwards, in each of these
cuts put a card with a different number, or figure rather
large, or a playing- card, and for the want of some more
convenient mode, fasten the centre of the piece of wood in
the top of the head-rest, so that it may be kept in position
by one of the side thumb screws, at an angle of about
ninety degrees ; having done this, get a sharp focus on the
center card, and take a picture ; if the picture comes
sharp where focussed, the instrument and shield used are of
course right, but if one of the upper cards is in focus on
the plate, the focus is forward, so take a knife and make a
mark on the tube, and focus on the picture that came up
sharp, and make a mark there also, for that is the right
focus, and the tube has always to be put forward that much
after having focussed on the ground glass ; or set the
ground glass that much forward in the frame, as a per-
manent focus: if the focus should come on one of the
lower cards mark the same way, but the focus is back-
ward, and the tube must be turned in that much, or the
ground glass be set back by means of pieces of card board
or wood.

Very excellent pieces of apparatus have been invented
for focussing, but the above answers all purposes, and is
simple and inexpensive.

A LETTER FROM M0\M0UTH,

Monmouth, Sept. 13, 1858

Mr. EoiroR, — Since I am located a little longer than usual,
I intend philosophizing — odd as it may seem — on the prac-
tices of our art.

JOURNAL OF PHOTOGRAPHY. 125

Of course, in giving instructions, you caution your
pupil to strictly adhere to them : now this is very proper,
when the circumstances are equal, but it is not requi-
site any one receiving a formula should be a slave to
it ; still it requires judgment to deviate ; herein consists
the difference between natural and acquired ability. A
man must have sufficient judgment to know when and
where to differ from his instructions, which were doubtless
good and well adapted to the circumstances under which
they were given ; they were given suitably to the use of
chemicals of a certain quality, pure it is to be hoped, and
if the instructions were given by an able instructor, the less
variations will they admit of under similar circumstances.
One writer prefers an acid bath, and arranges all other
chemical appliances to suit it. He gets nitrate of silver
with some nitrate of potash in it ; if he has been on the
cheap, 'tis likely he will do so, he puts in the amount of
acid required by the process, and considers his bath acid,
yet his bath may not be so acid as required, a portion of
ths acid has been required to neutralize the alkali contained
in the pure nitrate of silver ; or he may have received a pro-
cess requiring an alkali or a neutral bath, and get acid ni-
trate of silver, the acid alters the circumstances; he may not
have been sharp enough to apply test paper on the mixing
of the bath, indeed if he had received the proper chemical he
would not have required it, and he is thrown out of his reck-
oning, is led into a series of experiments, until he is misled
in his manipulations ; or he may blame some innocent chem-
ical, and be led farther astray. The same rule may apply to
any other chemical than nitrate of silver, with equal force.,
All formulae have their bases on pure chemicals, and one im-
pure will lead the rest astray. It is absolutely necessary that
none but the best should be used, they are cheapest, much
the cheapest in the end, they save money, time, reputation,
and patience.

These remarks do not only apply to chemicals but to
water and paper ; the former will often lead astray. In
New York, almost all use the Croton filtered. Yet, some-
times after a hard rain, it is charged with minerals or salts
to the confusion of the photographic process.

It was only recently I was aware that the paper had
so much to do with success, though I always knew
it made some difference. It was in noticing the positive
influence the particular paper had when used with the
Megascopic camera that I was led into these remarks,
A friend of mine who had met with singular success when

126 THE AMERICAN

first using the instrument, was, when I paid him a visit
some weeks ago, in a- positive fog, the picture seemed to be
in the interior of the paper. The elements of a good pic-
ture seemed there, but obscured by the surface of the paper
like a screen. Yet the paper gave excellent results by the
ordinary printing process ; he tried many expedients to
coax it out, but it stayed modestly hidden behind its screen,
like a bashful young lady as it was. It was good for col-
oring, but that it was not good for selling plain, was very
palpable.

Happening to have a little English paper with me, I pro-
posed trying it, and with excellent success, which proved
that paper good for one purpose, may not be suited to
another. The German paper used gave a reddish brown tone
obscured. Some French, I was informed, gave a blue. The
English gave black and white. The result though not satisfac-
torily proving that the particular paper used was infallably
the best, shows that the . dressing of different papers has
much to do with particular processes. And what is your
experience, Mr. Editor ?

Gossip.

PHOTO KALEIDOSCOPES.

BY E. K. HOUGH.

Every photographic operator knows the value of ways
and means for keeping his visitors in good humor while
compelled to wait their turn for a sitting. Without such
means they often get expressions of anxiety and impatience
that interfere sometimes seriously with successful results.
With this thought, rooms are often richly furnished to give
the soothing influence of luxury and ease. Also the walls
are hung with pictures to charm the attention into self-
fancyfulness — which is the best possible mental condition
for a perfect likeness, could it be always attained. — But
these pictures too often are only a monotonous series of
faces with but little variety of expression or position, — with
few elements to interest beyond a passing glance as speci-
mens of the artist's success in chemical effects.

Landscape views have a large variety of objects, and
when well executed from interesting scenery have much
more power to engage attention than mere portraits can

JOURNAL OF PHOTOGRAPHY. 127

have, and it seems strange that so few adorn our galleries.
But, best for the purpose named is something that contains
facility for new combination and variations at the option of
the observer, and of course it were always better that it
have some relation to the photographic art. That which
will meet all these requirements most fully, is undoubtedly
the stereoscope, with a large variety of interesting views,
for none other can show so strikingly the wonderful capa-
bilities of the art.

But as they are too rarely found, especially among
country operators, and moreover are slightly expensive, I
wish to suggest something trifling yet an amusing substitute
which can be readily constructed by any artist in his lei-
sure moments, and almost without cost. We all remember
the interest with which we have watched in our boyish days
every varying scenery of the kaleidoscope.

We are but " children of a larger growth" and the toys
of childhood are often reproduced in manhood, only on a
larger and more expensive scale.

I will give in a few words my plan for the construction
of a photo-kaleidoscope.

With a couple of strips of black glass — which can be ob-
tained of any suitable length from the stock dealer, — a few
strips of card board and fancy paper, a tube can be con-
structed in an hour. Then in place of bits of glass having
no charm but color, I would substitute small pictures on
glass ; either common ambrotypes or transparencies pro-
duced by printing from negatives on collodion. If to be
viewed by reflected light, they should be colored, coated
with benzine, or collodion varnish and placed on a clear
glass fitted in the bottom of the tube, and a dark opaque
ground placed behind. In this arrangement openings
should be left just above to illuminate them.

With the transparencies, the sides must be closed and
the light admitted at the end through a fine ground glass
or oiled paper, and the pictures should be colored with
brilliant transparent colors. The figures should be full
length, quite small and very sharp, on square or oblong
plates, and so arranged between the glasses that hold
them in their place, that while having a free sliding move-
ment singly they cannot lap over each other. A moment's
consideration will convince that when well constructed and
filled with figures in dancing, pugilistic, clownish and simi-
lar attitudes, the thousand shifting combinations will present
many comical and amusing phases, especially if they have

128 THE AMERICAN

a local interest. And if in any room the tedium of " wait-
ing for a picture" (to which " waiting for the wagon"
is no comparison) should be somewhat relieved, my purpose
will be accomplished.

EDITORIAL MtSCEUANY-

We find in our foreign exchanges the following methods

of exhibiting stereoscopic pictures to a number of ' spectators at
the same time. The author is J. C. D'Almeda. TJie processes
were first published in " Comptes Rendus'' of July 12th, 1858.

'•1. By means of lenses, the images of two stereoscopic prints
similar to the ordinary ones are thrown upon a screen. The pro-
jected images are superposed upon each other, nearly in the rela-
tive position in which they would have presented themselves if the
objects represented by them were before the eyes. These two
images form upon the screen an intermingling of lines which only
presents confusion ; and it is necessary that each of the two eyes
should only see one of them — that of the perspective which suits
it. For this purpose the author places in the course of the lumin-
ous rays two coloured glasses which have no element, or scarcely
any element, of the spectrum in common. One of these is the red
glass well known to physicists; the other a green glass which he
has obtained in the shops. By means of these colored glasses, one
of the images thrown upon the screen is rendered green, and the
other red ; and similar glassps being placed before the eyes, the
green image alone will be perceived by the eye covered by the
green glass, and the other to that furnished with the red glass.
The relief then appears immediately.

" When the observer changes his place before the screen, the
phenomenon persists, presenting the modifications which the most
simple notions of perspective would enable one to foresee. A very
remarkable modification is observed on moving to one side; it
appears then as if one saw all the changes which would be per-
ceive;! if the objects were really in relief. The objects of the first
plane appear to move in a direction opposite to that of the spectator,
which adds to the illusion.

"2 In the second process the two images are kept colorless ;
each eye is enabled to see the one which is adapted to it, by ren-
dering the production of each image intermittent, and shutting off
the sight of the screen, sometimes to the one and sometimes to the
other eye, at the moment when the image which it should not see
is produced. For this purpose, the light which is to illuminate the

stereoscopic prints is previously brought to a focus by converging
lenses; in front of the two foci is placed a cardboard, capable of
turning round a horizontal axis, and pierced with a circle of holes,
which passing in front of the two foci, allow the light to illuminate
the two prints alternately. Whilst this wheel turns, the eyes look
through the apertures in another cardboard revolving on the same
axis, and pierced with holes in the same way. The right eye can
only see at the moment when the right perspective appears, and the
left eye also becomes free when the left perspective makes its
appearance: this may be effected by a small electro-magnetic
apparatus."

The ingenuity of the above is more to be commended than its
practicability. The red and green images of the first method could
hardly assimilate so as to produce a harmonious or pleasing pic-
ture ; the view would be wearisome to the eyes. The second
method would cost too much.

A better plan than either would be to unite the two images,
thrown on separate screens at a suitable distance from each other,
by means of two small mirrors on the principle of Wheatstone's
original instrument The mirrors may be small enough to be
carried in the vest pocket, and would cost but a trifle. They should
be hinged so as to open like a book — and the amount of opening
adjusted by a screw. In use the angle of the mirrors is brought
as near to the eye as possible. The mirrors may also be attached
to an ordinary opera glass.

We have been many times asked why we do not publish

replies to Correspondents. We believe the reasons for making
the Journal differ from all others in this respect will be found
satisfactory.

The greater part of our minor correspondence is about such ele-
mentary matters that the readers of the Journal ought to understand.
It could only be published to the exclusion of what we consider
of more consequence. Questions are asked in view of a promise of
answers by mail. Many Correspondents are not readers of the
Journal, and all are desirous of immediate attention.

Yet we may shortly conclude to add a few pages and thus make
room for many little things which will not otherwise appear.

Our attention has recently been called to a vast amount

of trash about " saltpeter," and " explosive tables" in a publication
styled a "Journal of the Daguerreotype and Photographic arts and
the Sciences and Arts pertaining (!) to Heliogkaphy."

130 THE AMERICAN

It seems that some photo-pickwick discovered the fact and com-
municated it to the Journal styled as above, that wood was made
more combustible when impregnated with nitrate of silver. The
simple story proved a firebrand in his camp; a fierce battle ensues,
and a terrible clatter about "tables" "saltpeter, and Fulminan."

We allude to the affair here in order to recall to our readers a
useful observation no doubt often made, that the greatest wisdom
and strength are often akin to folly and weakness. It was said that
the hero of Trafalgar was a very coward on shore. Now we
behold an editor of a periodical " devoted" to arts and sciences*
himself a chemist and undertaking analyses of soils apparently
ignorant of things which every common school chemistry teaches.

Our correspondent Mr.P. C. Duchochois has returned from

a very successful photographic tour in New Jersey and Staten
Island. His stereoscopic pictures as photographs aie among the
most perfect we have ever seen ; while his subjects are well chosen
and of the most interesting character. Few are aware of the beau-
tiful natural scenery we have almost in oar midst.

We believe American views will soon be in demand, and that
people will be convinced that every branch of photography is as
thoroughly understood here as abroad.

We are indebted to Mr. Runkel of this city for a superb

view of Nassau street, also to Mr Kehn of Philadelphia fo* a col-
lection of photo-lithographs. Mr. Rehn is one of our most skillful
photographers ; — all his works praise him.

Our readers will please consider that tfeey have a stand-
ing invitation to visit our office, and examine or enquire about
anything that is mentioned in the Journal.

We have had our eye on the gun and kept dry powder for

our especial foes, — the quack process peddlers. But there is no
game; are they scared away? have the birds flown to Summer
quarters ? Only one paltry little circular (about making good ne-
gatives from ambrotypes (?))has come within our observation for
months.

We are beginning to believe that our Journal is one of the gTeat
powers, for the extinction of humbug in the photographic profes-
sion. Our subscription list is increasing almost by geometrical
progression.

THE ^JVJERIC^lSr

iloiuiiiat nl ©jofopajilnj.

[ 33 S W © IS K 3 E @.b ]

Vol. 1.] OCTOBER 1, 1858. [No. 9.

TRANSFERL\& THE COLLODION FILM.

HOWELL'S PATENT.

BY THE EDITOR,

Acids in contact with the collodion film, contract it; upon
this fact depend the ordinary methods of transferiug to paper,
leather and other surfaces. If a collodion be taken which in
ordinary use gives a film adhesive to the glass, acid, especially
nitric, applied in any stage of the production of the picture,
will lessen the adhesiveness, so that the film will easily separate.
For the purpose of transfering, however, the acid is best used
only after the picture is fixed and thoroughly washed and dried.

The ordinary process is as follows : Make a very dilute
solution of nitric acid in alcohol, — about one drop of acid to the
oz. of alcohol. Pour this solution on and off the ambrotype for
some minutes. When the film is well penetrated by the solu-
tion, it contracts seeming to become tougher, and loosens from
the glass. When this effect is produced, wash the film thor-
oughly with alcohol to remove the acid. The film will now
attach itself to patent leather, waxed or varnished cloth or pa-
per, which needs only careful pressure against the film on every
part. With a little dexterity now the paper or leather is de-
tached from the glass, — the picture coming with it uninjured.

In this process the alcohol with the acid is preferable to water,
for the reason that the alcohol penetrates the film more readily.
Instead of nitric acid, sulphuric may be used, and perhaps pre-
fered, for the reason that it has less action on the alcohol, and
the silver of the picture. The process is, we believe an American
invention.

Mr. Edward Howell of Ashtabula, Ohio, has lately called at
our establishment, and skillfully demonstrated his ingenious
patented process. His method is substantially as follows :

L_

132 THE AMERICAN

The glass plate on which the ambrotype is to be made is first
prepared by eoatiug it with a thin film of wax or its equivalent.
This be effects by warming the plate, after being thoroughly
cleaned, till a small quantity of wax laid on its surface melts
and flows over it. To equalize the stratum of wax and make it
quite thin, be uses a cotton buff in the manner of buffing
daguerreotype plates. The plate is now ready for making the
picture in the ordinary way. After the ambrotype is fixed,
washed and dried, it is covered by flowing with a black varnish
rendered more adhesive and tacky by the addition of a little Can-
ada balsam. When the varnish is nearly dry, yet still a little
tacky, the paper (previously cut in shape and soaked in water,) is
laid on and pressed in close contact by means of a small roller
covered with a cushion of cloth.

I am assured by Mr. Howell that a failure is never neces-
sary. The solvent of the varnish may be benzole Chloroform
or ether. I think it would be an improvement to apply the
wax in solution with benzole or camphene.

To those who want a transfer process, I would recommend
Mr. Howell's patent. His terms are so moderate ( three dol-
lars for a room right ) that there is no temptation to infring-
ment. Artists generally however, will prefer the Niello paper,
on which the picture is made direct.

Mr. Howell may be addressed at Ashtabula. Ohio.

m 1LBUMEN.

BY P. C. DUCHOCHOIg.

Albumen is an alkaline body containing amongst its constit-
uents a small quantity of sulphur, to which is due the coloration
of silver baths, and also without doubt the alteration of positive
proofs. It is soluble in cold water, but becomes quite insoluble
when coagulated. The alkalies increase its solubility and often
re-establish it.

Albumen is found in a great many vegetables, and in a state
of solution in serum of blood and milk, eggs and almost all the
animal fluid. For photographic purposes it is generally ex-
tracted from eggs of hens and ducks.* The albumen of blood

* The white of an egg contains about k of pure albumen.

JOURNAJL OF PHOTOGRAPHY. 133

appears to give more rapid preparations, but is more liable to
peel off.

Albumen is completely coagulated by a temperature of 167°;
the coagulation commences at about 149°. Potash and soda
prevent its coagulation by heat, and even dissolve the coagulum.

Some acids and metallic salts coagulate albumen ; such are
the following u^ed in photography: nitric and sulphuric acids;
iodides and bromides of iron, zinc, cadnium; nitrates of silver,
sine and copper ; protochloride of mercury. Muriatic acid dis-
solves albumen and gives a fine blue violet coloration.

Iodine has a greater affinity for albumen than for starch ;
thus if iodide of starch is added to albumen it is discolored, and
the blue color characterizing the presence of iodide, when starch
is employed as a re-agent, does not manifest itself.

Acetic acid does not coagulate albumen, but forms with it a
compound soluble in warm water acidulated with the same acid.
However, united to nitrate of silver, in the proportions gener-
ally used in silver baths, it partly coagulates albumen, giving
quite insoluble preparations not subject to scale and very favor,
able for receiving a photographic image.

Ether, alcohol, turpentine, crsasote iodine, &c. coagulate al-
bumen. Bromine and tincture of iodine do not. On coagu-
lating, albumen acquires an excessive tenacity, which renders it
very unfavorable for photographic operations, by the slowness
with which it permits the sensitive film to be impressed by
light. This cause of insensitiveness is absolutely mechanical,
and the rapidity can be increased to such a point as to obtain a
portrait in 30 or 35 seconds, l»y uniting the albumen to sub-
stances that keep it in a state that prevents its too strong co-
agulation, and give to the film a porosity that it naturally wants.
The following substances answer very well this purpose : gly-
cytrhizine, dextrine, serum of milk and blood, glycerine, solu-
ble starch, honey, metagelatine, sugar of grapes of milk and
others, acetic acid united to sugars.

The addition of sugar prevents also the albumen from scal-
ing, by keeping it from a complete desiccation, and allows it to
increase the amount of iodide without fear of crystallisation.
Albumen is a very unstable body and cannot be kept in summer
more than 48 hours without decomposition. By adding about
2 or 3 per cent, of concentrated ammonia, it will keep for weeks
and becomes very fluid ; but it will favor those threads of mu-
cous which are very troublesome in the preparation of the glasses
Mr. Hardwich as well as Mr. Laborde, advise the acetic acid to
render the albumen fluid, inalterable and free from mucous
threads.

134 THE AMERICAN

The fermented albumen keeps better, coagulates less strongly
and is more fluid than ordinary albumen ; it is prepared by-
mixing 100 parts of albumen wtth about 12 parts of honey or
sugar and a little yeast. The fermentation commences in a few
hours at a temperature of 65° and continues 5 or 6 days. When
it has ceased, filter through linen and paper to separate all
solid matters This albumen dried can be re-dissolved and will
give very good results if used pretty thick.

Albumen is obtained by beating the whites of eggs without
any yolk until a thick froth is formed. In leaving this troth
to settle for 30 hours, the albumen will reliquify free from any
solid particles and sufficiently pure for photographic purposes.
Such albumen is contaminated with carbonate and sulphate of
soda, phosphate of soda and lime and chloride of sodium.

THE INFLUENCE OF THE OPERATOR ON THE SITTER,

BY H. GARBANATI.

In my wanderings over the surface of this our terrestial
speck in wide creation, I have visited many Photographic es-
tablishments— large and small — magnificent establishments in
great cities, ten centers in ditto, perambulating wagons, and
temporary pick-ups in villages ; indeed, all sorts and styles,
that make old sol their penciler, and rays of light their pencils,
and, of course, have had many opportunities of observing t ieir
modes of working, their various means and manners, which in-
sure success or failure.

Nothing struck me more forcibly than the numerous failures
in obtaining favorable expressions and positions of the sitters,
the more especially of children, the " awkward booby," or
" troublesome brat," as some would say ; but the difficulty is
not always with the sitter. Readily acknowledging the diffi-
culty many persons, especially of a lively imagination, have of
retaining the same expression for some seconds, and the almost
useless efforts, many times, of keeping children still, I main-
tain, the trouble is often in the movements, and want of man-
agement of the operator.

As regards children, I have been very successful myself, and
know others can be also. Children of a lively character, the
ones whom the mothers most dread will not be still, are gen-
erally the easiest controlled for a short time, and their atten-

JOURNAL OF PHOTOGRAPHY. 135

tiori most easily riveted ; the quiet and morose are the natur-
ally troublesome. But, how can one expect a perfect stillness
is to be attained, when a child is watching the antics of the
man at the camera. One man thinks a great noise is an excell-
ent mode to adopt, so flourishes the black cloth over his head,
ami awakens echoes with his yells ; the child has b(ien watching
his movements, perhaps is frightened, and failure is certain. An-
other gets some toy, and plays with it, talking to the child all the
time, moving about with a like consequence. Another gravely
tells the child to look here, " don't move," and wonders the
baby did not obey his injunction. How can any one expect a
child to go through the serious ordeal of perfect stillness and
fixedness of purpose without taking rhe necessary precaution to
insure it. The first thing to be done is to insure the perfect
confidence of the child, that it may know, that the strange man,
and the lingular piece of apparatus be pokes at it, with all sorts
of preparat try movements, mean it no harm, but, that 01 the
contrary, the product is to be something decidedly amusing, and
of great interest to the aforesaid baby ; for this purpose, the
artist must start with something in view, some plan of action,
and whether a bird or a kitten is expected to come out of the
camera, or the interest of the child is to be found in twiddling
the cap of the tube, all his movements must be exceedingly cir-
cumscribed in their range, that the eye of the child may not
ramble from the object, nor its body move in obedience to the
impulse of the eye. With grown persons, also, the influence
of the operator is potent A surly, grave-looking individual,
is more adapted to make a person think of grumbling or of
tombstones than anything pleasant ; and a very mercurial
one is not adapted to keep the eye steady. Now, just look at
neighbour Dipper standing right in range of the eye of his sitter,
the cap of the tube raised above his head in his right hand,
bobbing up and down keeping time : what business has he to
subject his customer to such a task as keeping still, steadily
looking at one object, with a pleasant expression, when he is
doing all he knows how to divert his attention ; now, the time
is nearly up; he brings the cap forward ready to shut off the
light; he stops, is not quite certain, gives a little more time,
hesitates again, now bobs forward, shakes the cap, the climax
is nearly attained, — now — he shuts it, '• that will do," the deed
is done, and he has made his sitter nervous.
, Let me advise : receive your customers with quiet ease ;
state your prices, and don't bargain ; fix exactly upon what is
understood as to style and size ; and when you take a picture,
if of a child, gain its confidence, and attract its attention by a
very little movement in a limited space. If a grown up per-
son, state the object to look at, mention perfect freedom, to

136 THE AMERICAN

blink in a natural manner, and stand still, with your profile to
the sitter, (if not a remarkable one, so as to appear ludicrous,)
and look at no particular objec-t, and you will be more liable to
obtain a likeness with a good expression, and ease, too, if you
have any natural, artistic taste.

CURIOSITIES OF VISION.

EY W. CAMP HELL.

In viewing objects by the human eye, very little indeed is
really seen in perfect foens at one time. To make up for this,
however, the eyes are gifted with remarkably quick motion, so
that we fancy we see all before us at once, when in fact we have
really taken the view in detail. Indeed so quick is the motion,
that the mind has not power to follow it, but takes cognizance
only of that on which the eye rests for an instant. But on
whatever object the eyes rest, one eye is sure to see more of
that object, or of the objects beyond itV/ than the other eye,
except where pi an surfaces intercept the view, in which case,
the focus of each is alike.or in other words, the vision of one eye is
always shorter than the vision of the other eye, when looking at
the extreme edge of objects, the one eye seeing further around
or beyond it, thus giving to the mind an idea of spaee, the ob-
jects occupying this space being seen in relief. Education
however, has much to do in adding boldness to the view.

Suppose instead of using two eyes, we shut one, the mind has
not now the some idea of space, in fact it has lost the know-
ledge of distance, as may easily be shown by endeavoring to
pour water into a bottle, or by trying to touch all small objects
without groping for them. In many cases there will be a failure,
whereas with both eyes open there would be no doubt of suceess.
Where one eye only is used, everything appears further off and
smaller than wheu both are used, and the relief or solidity they
present is more a matter of education than is generally supposed,
A very singular instance in proof of this is given by Dr. Ches-
selden, speaking of a person whom he had couched he says :
" We thought he soon knew the nature of pictures, but found
afterwards we were mistaken, for it was two months after the
operation before he discovered that they represented solid
bodies, even then he was no less surprised expecting they would
feel like the things they represented. He was amazed that
those parts which by their light and shade appeared round and
uneveu should feel like the rest, and asked which was the ly-

JOURNAL OF PHOTOGRAPHY.

137

Beintr shown his fath

er s picture

ing sense, feeling or seeing

drawn in miniature and told what it was, he acknowledged the
likeness ; but asked how it ould be that so large a face should
be contained in so little room ? saying it would have seemed as
impossible to him as to put a bushel of anything into a pint."
It is quite clear then, that education has much to do with see-
ing right. So that it becomes a matter of importance to edu-
cate the eye.

To those accustomed to the stereoscope, nature presents afar
more beautiful aspect, everything appears bolder and more dis-
tinct, and to the landscape painter every form in nature is ele-
gant and graceful, whilst to the eye, unaccustomed to observa-
tion nature is very commonplace. It is curious to observe the
effect the first view of the stereoscope has upon different people.
The majority are surprised and delighted ; some are at a loss
to understand it, but are no less pleased, others again, clearly
show by their apathy that they do not see it at all, that in fact
it is no more than a mere picture, and even when made to com-
prehend the singularity of the exhibition, they fall into no rap-
tures at its beauty. To this class a large angle will never be
too much, whilst to the former a very small angle would be
satisfactory, and this difference does not arise from any pecul-
iarity of vision, but from their discernment and temperament.
Some allowance however aught to be made for the extraordinary
aspect of the picture. The mind is not prepared to admit that
perspective could be carried to the extent of the stereoscope.

From Photographic Notes.

ON THE TREATMENT OF NEGATIVE NSTEATE BATHS

THAT ARE OUT OF ORDER.

BY THE EDITOR.

If a negative nitrate bath for collodion is simply alkaline,
acidify it with acetic acid, adding a drop or two at a time, and
testing it with litmus paper between each addition of acid.

If too acid with nitric acid, add so much of a solution of car-
bonate of soda as is necessary completely to neutralize the nitric
acid, or even to render the bath alkaline, and then acidify it
again with acetic acid. On first adding the carbonate of soda a
yellow turbidity is produced, with effervescence ; this is due to
the formation of carbonate of silver which is speedily re-dis-
solved and carbonic acid liberated. As soon as the carbonate
ceases to be re-dissolved, the whole of the free nitric acid is
neutralized. On adding acetic acid the carbonate of silver is

138 THE AMERICAN

decomposed into acetate of silver and carbouic acid. A small
portion of the acetate of silver (which is a white salt insoluble
in water) is then dissolved by the nitrate of silver in the bath.

Never add ammonia to a negative bath, and never use the
ammoniaeal salts m photography, (except the iodide for collod-
ion positives, and even in this case it is a question whether io-
dide of potassium is not better). The salts of ammonia are all
very unstable, from the volatile nature of ammonia, which
causes it to escape from its compounds. Besides, ammonia and
nitrate of ammonia are solvents of oxide of silver, and generally
ammonia forms complex and unstable compounds in the nitrate
bath.

Sometimes the bath fogs the plate and is nevertheless acid; —
and it commonly happens that a new bath fogs and works badly.
When a bath is in this state it requires energetic treatment.

1st. Expose it to sunshine for a day or two, with a piece of
muslin tied over the neck of the bottle. This will precipitate
most of the organic matter in combination with sub-oxide of
silver. Then filter the bath without disturbing the precipitate,
add a lit'le nitric acid, boil it down in an evaporating dish on
a sand bath, and recrystallize it. The crystals of nitrate of
silver may be mixed with crystals of nitrate of potass or other
salts, but impurities are 'removed by crystallization, and unless
these salts exist in great excess they may be harmless. Redis-
solve the crystals in pure distilled water, and try the bath again.

2nd. Throw down all the silver in the bath as a brown oxide
by adding liquor potassoe to it. Wash the oxide in several
waters, dry it, and roast it in a crucible. In this way organic
matter will be burnt oif and the oxide reduced to sub oxide or
metallic silver. Re-dissolve it in nitric acid, evaporate and
crystallize.

3rd. Throw down all the silver as a yellow carbonate by ad-
ding carbonate of soda to the bath. Wash it well in several
waters, roast it in a crucible as before, re-dissolve it with nitric
acid, evaporate and crystallize.

Should these plans fail, throw the silver down with salt as
chloride, and send it to the refiners, (Messrs. Johnson, of Hat-
ton Garden), who will give pure silver iu exchange for it, mak-
ing of course a fair deduction for their trouble.

We advise photographers to make their own nitrate of silver
for the negative bath. The plan is to obtain pure silver from
the refiners, pure nitric acid from a respectable chemist, and to
make their own distilled water with a large glass retort, and a
Liebig's condenser. Then they will know it cannot contain

JOURNAL OF PHOTOGRAPHY. 139

lead or organic matters. All that now remains is to dissolve
the silver in the nitric acid. This is done by adding to it a
sufficient quantity of nitric acid, diluted with three parts of
water; it is of no consequence if the diluted acid be in excess.
It must be done out of doors or under a chimney, as suffocating
fumes are given off- The water is necessary in order to oxidiae
the Mlver. When the metal is dissolved the solution must be
evaporated and crystalised ; or if it be thought desirable to
drive off the whole of the free nitric acid the crystals may be
fused ; but this renders them alkaline, probably because a little
oxide of silver is formed and held in combination with the nit-
rate; the remedy is acetic acid. A bath thus made is pretty
sure to act well at first. In cases where a bath acts badly at
first, either the nitrate of silver, or the distilled water, or both,
must be in fault.

Distilled water, so called, is frequently nothing but filtered
rain water, which has been collected in leaden tanks, and holds
oxide of lead in solution, besides other impurities. The lead
may be detected hy pure sulphuric acid, which renders the water
cloudy.

PHOTOGRAPHS Oft CANVAS.

BY MAURICE SANCTER.

The following process is the result of considerable study and
numerous trials. In my hands it has proved everything that
could be reasonably desired; the impressions produced by it
being scarcely inferior to those on paper. No one should fail
of obtaining all the perfection required by the oil painter. The
process is especially suitable for the Megascopic camera .

Preparation of the Canvas. I use the ordinary canvas
as manufactured for Artists' use. To render it suitable for re-
ceiving the sensitive surface, I wash it with a solution of cy-
anide of potassium and caustic potash, as follows :

Water, 1 Pint.

Cyanide of potassium, - - - - £ oz.
Caustic potash ----- 1 Drachm.

The solution is applied by a tuft of cotton, scouring the surface
and rubbing it in. This operation may occupy five minutes.
Every trace of the alkali is now to be carefully washed away

140 THE AMERICAK

with clean water ; finally with alcohol. When thoroughly dry
the canvas is ready for

The Iodizing. For the iodizing, prepare the following sol-
ution :

White of eggs - - - - - 1 oz.

Water - - - - - - - 2 "

Iodide of potassium 40 grs.

Honey - - * - - - $ drachm.

The above mixture is made in a suitable vessel of earthenware
or porcelain. It is to be well beaten or whipped precisely in
the manner of preparing albumen solutions for other processes.
The froth is allowed to settle at least six hours when the clear
liquid is decanted for use. The solution is now spread on the
canvas as evenly as possible by means of a soft flat brush. To
render the surface still more uniform, pour on the remaining
solution and cause it to flow on eyery part ; allow it to. drain
from one corner ; finally hang it up in some dry and warm
place entirely secluded from dust. The drying will require at
least twenty four hours. In this state it may be ^ept any
length of time.

Sensitising. I use a solution composed as follows :
Water ------ 9Q ozs.

Nitrate of silver - 1 "

Glacial acetic acid - - - - 1 H

Iodide of potassium - - - 1 gr.

Filter for use. The solution is spread on the canvas by means
of a tuft of cotton, as in the common method of silvering paper.
The eanvas is exposed wet.

Exposure. Canvas requires a somewhat longer exposure
than paper. The operator after a little experience will deter-
mine the time with sufficient accuracy. The exposure is long
enough when the deepest shadows just begin to show themselves.
This can readily be seen by interposing aground glass between
the lens and the screen.

Developing. The developer is simply a saturated sol^itioR
of gallic acid in water, to which a little nitrate of silver solu-
tion may be added.

Fixing, Washing and Varnishing. The fixing bath is a
strong solution of hyposulphite of soda. The final washing
should be very thorough. The picture should at last be var-
nished with some oil varnish, when it is ready for the painter.
Some will prefer to omit the varnish.

JOURNAL OF PHOTOGRAPHY. 14]

THE STEREOSCOPE,

BY THE EDITOR.

The word Stereoscope is derived from two Greek words which
signify " I see solid." The stereoscope instrument is a con-
trivance by which two pictures may be so viewed that the ob-
jects in them appear to be solid. The deception is so perfect,
that a person who has never heard of the instrument, on its
first use, will be persuaded with difficulty that he is looking
only at pictures.

Man's inventions are only imitations of Nature* all of our
devices, which we esteem ingenious, have been anticipated.
We discover what was hidden only to us. Novelties ar,e only
novelties to us. We find out what has always existed. We
create nothing. Observation of the grand operations of Na-
ture may teach us all arts and sciences. If we have an end
iu view, we may often, with profit, forget the works of men,
and enquire how such a thing has been done from the founda-
tion of the world.

Let the problem be to construct a Stereoscope.

Solid objects appear different from pictures ; we are never
deceived. A picture of a book may be a perfect imitation of
a book, as to drawing and color, yet we always see it only as a
picture on a flat surface. The view of a real book has another
element that cannot be represented in the single picture. What
is it ? We have two eyes, which all know have parts corres-
ponding to the lenses and focus glass of the camera. When
we look at a book, an image of it is formed in each eye. But
why two eyes and two images to see one object ? Suppose we
place before us the book and an accurate picture of the book.
If we could examine the interior of the eyes, we should find,
or looking at the real book, that the images in tne two eyes are
somewhat different, while, on looking at the picture, the images
are precisely the same. This is what might be expected, for
the right eye being nearer the right side of the book, would see
more of it, while the left eye would see more of the left ; there
are parts seen by the right eye which are invisible to the left.
We learn from this, that in viewing any solid object, the ima-
ges of it in the two eyes are different. This, then, is the con-
dition and the philosophy of the idea of solidity which vision
gives. Our problem is almost solved.

142 THE AMERICAN

Two different pictures of the same object are required; one
representing the object as the right eye would see it, the other
as the left eye would see it. By photography and the camera
obscura, (the artificial eye), these pictures are easily made.
But, on placing them before the eyes, simply two pictures are
seen by both eyes. It is necessary that each eye should only
see the picture corresponding to it. Then place a screen be-
tween the pictures. Still simply two pictures are visible; one
thing more is wanting. The direction of the rays coming in-
to the eyes to form the images, must be changed so as to enter
as if coming from a single object. The direction of rays of
light is easily changed by mirrors or lenses, by well-known op-
tical laws — and the problem is solved. Such was the reason-
ing of the inventor of the Stereoscope.

Now, let it be understood that the notion of solidity which
the stereoscope view gives, is due solely to the difference be-
tween the two pictures ; if there is no visible difference, there
can be no stereoscopic effect.

The pupil of the eyes is about one quarter of an inch in
diameter ; the eyes themselves areStwo and a-half inches apart.
It is therefore evident, that if two views of the same object
are taken by a camera, with a one-quarter inch stop, at stations
two and a half inches apart, the views will accurately corres-
pond in drawing with the retina images. Will such views be
suited always for the Stereoscope ? Sir David Brewster and
a few others, say : yea. Bud, with the majority, I say emphat-
ically: nay. Sir David argues, that only such views more
closely represent nature as we see her — any othera are cari-
catures.

The object of the Stereoscope is to represent things solid ; if
this is not accomplished, it is useless. In viewing a distant
landscape, there is no perceptible difference in the eye images.
To mike pictures of such an object, suitable for the Stereoscope,
it is absolutely necessary that the camera stations should be
more than two and a-half inches apart. Otherwise, the two
pictures are no better than one, and convey no other impression
than one. There must be a visible difference between the two
pictures, and the camera stations must be so taken as to give
that difference. All practical stereoscope makers follow this
rule ; pictures to be sold can be made in no other way. How
great this difference should be is a matter of judgement and
taste. Exaggerations either way are common. No positive
rules can be given.

JOURNAL OF PHOTOGRAPHY.

143

EN ROUTE,

Peoiua, Sept 26.

I wish I had a stereoscope camera with me to take some of
the beautiful views that have passed in panoramic scenes over
my traveling eyesight ; but I have'nt, and more's the pity,
since you New Yorkers seem to confine your products to
likenesses of Niagara, High Bridge and other well known
objects, which persons, with photographic tastes, are likely to
know ; why the dickens don't they give them views of scenes
they don't know and have never heard of ? that is what they
require; there are numberless such scenes in our vast country;
Uncle Sam presides over thousands of the most beautiful spots
that nature ever blessed mankind with, and the artist is a pat-
riot who presents them to his fellow citizens.

The foreign views I have so often admired are well worthy
the purchase, but we surely want our own to mix with them ;
and our European cousins would be glad of the exchange.

One of your contributors, some few numbers back, called the
attention of your readers to improved style? of cases.

I will touch on the same subject, but in a very different man-
ner; my attention has often been drawn to it, and I forward it
to you. I refer to the utter want of taste of some of our manu-
facturers and dealers — I will not say all, for some one's mod-
esty would be shocked did I state what house systematically
avoided* the error — the utter want of taste and judgement in
placing the same design on every style and quality of case.

When a customer is shown a case of the best leather, lined
with fine silk velvet, alongside of another case with this same
embossment, covered with paper and lined with cotton velvet,
he is not so apt to realizefthe actual difference in the value,
because the similarity of design is the strongest fact fixed in
his mind, he is likely to be led into analysis, and think it is
only a bit of gilding or of silk velvet, and ought not to cost so
much more. If the seller would make it a rule to assort the
cases sent to distant customers, that the same design did not
appear on cases of different quality, but that the common case
should appear throughout different to the designs on the leather
cases, and the silk velvet should be different to the cotton, this
would enable his customer to get better prices for the best qual-
ities and give better satisfaction. What dry goods clerk but
knows the same pattern on silk, appearing on cotton, would
instantly stop the sale of the former ?

144 THE AMERICAN

I came across a copy of a very talented contemporary of
yours, wherein he cautions the profession to beware of counter-
feits of his metalic varnish ; he says dealers are in the habit of
turning out his valuable attenuated French Copal from the in-
terior of his mysterious Black Bottles, and putting therein a
counterfeit, — certainly nothing worse than attenuated French
Copal, and particularly mentions some " d — d dutchman ;" did
you ever hear of more supreme impudence ? who would take the
trouble to throw out river water to put river water, in its
place ? If men are green enough not to know that putting into
an obscured bottle that which is most exposed to the ligtht
when used is not ineuded for a humbug, it is no reason they
are to be kept in that condition by such a worn-out trick as the
cry of counterfeiters. A nice dodge truly to sneak out of a
poor article.

By the way, if the stuff is really made of gold, there is a
good chance for you to make some cash. Now, reason : brass is
very much like gold in color, when reduced to so very fine a film,
and there certainly cannot be much color left if the whites of
the pictures are expected to show through, without injury, then
why not make a " Collodion brassing," it would cost so much
less, and could be sold so much cheaper ; only fancy tons of
brass going into your establishment for manufacturing into
contents for mysterious black bottles, in place of the tons of
pure gold into the establishment of your competitor. Whew!
what good things might be bought with the profits; Moses,
how my mouth waters with envy !

Send me all the foreign journals, as I wish to be posted in
the movements in the art on the other side, as well as on this
side, of Jordan. Gossip.

DISORDERED BATHS.

C. A. Seely, Esq., Dear Sir : Your process of exposing
a foggy collodion bath to the direct rays of the sun, is certaiuly
a very ingenious and very good remedy, and often gives a bath
working quicker than before ; but I think it has the great in-
convenience of requiring two, three days, and sometimes more,
to have the bath in good order. There is, however, a chemi-
cal way to obtain the same results in one or two hours. You
know, sir, that I do not intend here to criticise your very good
process, and if I send you another one, it is because I know
how desirous you are to make the readers of the American

JOURNAL OF PHOTOGRAPHY. 145

Journal acquainted with every useful process. Now, if you
have a foggy bath, try this : Neutralize the bath with carbonate
of soda, and filter it ; then warm it till ebullition, after having
added some filings of cadmium, and when it has. become cold,
filter again. It is true, some nitrate of silver is precipitated
to the metallic state, by exchange of base with the metals, but
as the amount of cadmium must not exceed 25 grains to every
pint of bath, its strength is not enough diminished to make any
sensible effect. You will remark that, as well as in your pro-
cess, the bath thus modified, always gives that superficial re-
duction called veils of -collodion, and consequently needs the
addition of a few drops of acetic acid. I give also to this pro-
cess another application. The acetate and other very reducible
salts of silver, iu presence of organic matters, and principally
the sugars whose use has been introduced in this country about
two years, determinate in time a complete deterioration of the
bath, with the following characters: the image is always as
rapidly formed, but without any vigor, and remains gray in all
its parts, with the exception of the strongest lights, which alone
take some intensity, and appear of a black blue coloration,
without any real opacity, neither can the addition of an acid,
nor the neutralisation remedy these defects, and only a treat-
ment by cadmium, (copper and zinc answer as well,) will bring
back such a bath to good condition.

I shall recommend the same process, as a remedy for new
baths, giviDg gray and weak negatives, and for discoloring
the aceto-nitrate baths, (without previous neutralisation,) or
any solution of silver used in photography.

Very truly yours,

P. C. DuoHOCHOiS.

EDtTOaiAt MtSCEUANY.

The Fair of the American Institute, recently opened, promises

to be of the usual interest, excepting the department of Photography.
The display of photographs is less than one-fourth as large as that of
last year ; also, the very few plain photographs, ambrotypes and da-
guerreotypes, are almost obscured, being in the shadow of gorgeous gilt
frames, and brilliant paintings. We trust another year photographers
will be more ambitious to show the exact capacities of our art, without
the sophistication of paint and india ink. Painting and photography are
two things, and in a photographic exhibition, paint should take a sub-
sidiary rank.

146

JOURNAL OF PHOTOGRAPHY.

The first-class galleries of New York are
exception of Brady's.

all represented, with the

At a hasty visit made a few days since, we were most pleased

with a series of five pictures, by Mr. T. Farris, symbolising the five
senses. These pictures are especially noteworthy, for the reason that
successful artistic composition photographs are rare. The following
versus will convey a very good idea of the attitudes and action of the
characters (two very pretty little girls,) in the diftereat scenes.

"There the keen SIGHT that grasps the highest star,
In playful mood se^ks telescopic aid,
To draw some pleasing object from afar,
Oor pierce the dimness of the distant shade.

.Now to her ear she holds the sea-born shell,
-Still vocal with the murmur of the wave, .

And HEARS its voice in solemn cadence tell
The wondrous secrets of the Mermaid's cave.

The flowers, sweet children of the smiling sun,

All feelings please, but chiefly give delight
To that quick sense whose throbbing fibres run

Midway betwixt the gates of Taste and Sight.

To try the sense of TASTE, the maid displays

The fatal fruit which tempted Eve of old ;
There's appetite apparent in the gaze

The sister throws upon<the globe of gold.

And FEELING finds a sharp electric thrill,

When the warm hand upon the boreal ice
Unwitting falls. So shrink from every ill,

And shun instinctive every touch of vice."

Maurice Sancier exhibits a fine collection of photograph views
Irom dry collodion. Mr. Sancier, we believe, is the first in the field,
and demonstrates that he has a useful process. His pictures compare
favorably with the landscapes of others, made by the ordinary methods

In the apparatus department, we noticed Becker's Panoramic Stereo-
scope and Stock's patent Camera Shields.

Mr. E. K. Hough writes us^s follows :

" In the short article, entitled ' Photo-Kaleidoscopes,' published in the
last number of your journal, there was a typographical error, which
materially changes the idea intended to be conveyed.

In the introduction, for ' self-fancyfulness,' read " self-forgetfulnese."

It is ■ self-fancyfulness,' — i.e. self conceit — that now before the sensi.
tive tablet draws the lines of so many faces into smirks and vapid
smiles, or grotesque attempts at dignity.

My meaning was that the most truthful and pleasing expressions
are worn when the mind is more or less disengaged, from personal con*
siderations, and occupied with pleasing contemplations and active
thoughts."

THE AMERICAN

Dttcttat of ^Hfl!ogna|%,

t'WS-W §£KQE©a)

Vol. 1.] OCTOBER 15, 1858. [No. 10.

LAKE PRICE'S PHOTOGRAPHY.

[We extract the following from a recent English work on Photography. Th«
author is evidently a scholar as well as artist. The literary merit of the book is
especially worthy of praise — Ed.]

The feelings of curiosity and astonishment with which the
discovery of Photography and its earlier productions were re-
garded, have now sobered down by our intimate and daily ac-
quaintance with its results in some one or other of the
numerous directions in which its powers are applied.

Still the very fact that it has become a commonplace, proves
its extreme popularity ; and the most indifferent of the pictures
of its followers is not without its value in the diffusion of
knowledge, the creation of a feeling for Art, and an increased
appreciation of the infinite wonders and beauties of Nature, in
individuals who, without the facilities which it has given,
would probably have remained entirely strangers to such enjoy-
ments.

In a multiplicity of ways, Photography has already added,
and will increasingly tend to contribute, to the knowledge and
happiness of mankind : by its means the aspects of our globe,
from the tropics to the poles, — its inhabitants, from the dusky
Nubian to the pale Esquimaux, its productions, animal and
yegetable, the aspect of its cities, the outline of its mountains,
will be made familiar to us.

The traces of those generations long ages ago passed from
its surface, who, with the inherent feeling of our kind, have
striven to leave to a dim posterity, by their gigantic but decay-
ing efforts, some relic and memento of their passage ; all have
been or will be brought in intense reality to our very hearths.

Nay, passing even beyond in its career, already have the ap-
pearances of the firmament, the minutiaa of the planets, and
of our satellite, been noted with unerring accuracy • the mys-
terious currents of electricity, and the movements of our at-

148 THE AMERICAN

mosphere, are by its means exactly registered ; the marvels
disclosed by the microscope are faultlessly delineated, and in
these, as in all directions, we cannot put limits to its scope and
powers.

The antiquary and architect are indebted to it for such faith-
ful images of the objects of their pursuit and study as they
have never previously seen, — the mechanist and the engineer
may take their compasses and measure the parts of each viaduct,
engine, or bastion, which nature's drawing has laid down to scale
for them. The artist and the dilettante have seen and will see
transcripts of the distant and scattered masterpieces of Haifa-
elle and Titian, of Velasquez and Murillo, brought together
and united for near comparison in their folios ; not as mere
diluted translations by the hands of others, but with their
own touch, feeling, and power.

The emigrant aad traveller, far from their early home, send
mementos from distant climes, of halts under sultry skies, in
which, surrounded by strange, swarthy figures, and shaded by
the luxuriant vegetation of the tropics, the elephant and camel
browsing beside them ; those dear to them in distant England
see the familiar face from which they may be long separated.
Amidst the icy barriers which have been placed to guard the
hidden mysteries of the Poles, those who have had the daring
to endeavor to penetrate their awful solitudes have made use of
Photography to bring away the impress of them.

From Australian cabin, from Canadian log-hut, come ima-
ges of faces born on that distant soil, akin in blood, yet strangers
to those at home who bear their name, — even the humble artisan
and lowly cotter, heretofore deprived from indulgence in such
natural feelings, may see the mementos of those who are, or
have been, dear to them, upon the walls of their modest
dwellings.

Posterity, by the agency of Photography,, will view the
faithful image of our times ; the future student, in turning the
page of history, may at the same time look on the very skin in-
to the very eyes, of those, long since mouldered to dust, whose
lives and deeds he traces in the text.

As this art progresses to perfection, each impressive public
ceremonial will be registered and delineated ; nay, even the
very turmoil of the battle or siege and their varying aspects
will be instautly fixed and transferred, with the actors, to the
page of history, by an art to which the delineation of thousands
of figures or of a blank paper present equal facilities of execution.

The foregoing are some of the benefits which Photography
will confer on art, on science, and mankind, when arrived at its
more mature developement ; and when we reflect how much has

JOURNAL OF PHOTOGRAPHY. 149

been done in the few years which have elapsed since its discov-
ery we need not despair of further surprising advauces ; for we
must not at all consider that it has attained the limits of its per-
fection. Much yet remains to be done by all interested in its
advancement, and it is to be hoped that their efforts will, in
their several departments, be successful.

To the natural philosopher we must turn for new discoveries
in those mysterious combinations of Light, Heat, and Elec-
tricity, which may advance our knowledge of their united
action, and possibly will result iR giving us not only form, but
color, in the picture. - To the mathematician and optician, we
look for lenses, in the performance of which the operator may
not feel himself fettered and his picture limited in size ; or if
he increase its dimensions, that want of intensity, weakness of
definition, distortion in the proportions of the figure, and shal-
lowness of the focal depth, may not result, — qualities in which,
at present, more perfection is greatly needed, and which advan-
ces , if successfully accomplished, will raise the character of the
instrument, and enable it to fulfil completely and satisfactorily
the uses for which it is intended. To the chemist for those im-
provements or new combinations in the materials used in the
process, which shall considerably abbreviate the time necessary
for the production of the image. And, finally, to the artist,
for that judicious selection and arrangement, whatever his ma-
terials may be — for everything in nature, even to the smallest
weed, has beauties and capabilities — that the pictures we shall
see may show marks of reflection and intelligence, and conform-
ity to those rules of art, in the composition of their lines, and
effect of their light and shade, which will cause them to be
looked upon with the respect and interest the exquisite beauty
of Nature's own drawing should inspire, when not marred by
the unskilful translation or promiscuous selection of her votaries.

ELECTRICITY AND PHOTOGRAPHY*

BY P. C. VANDERWEYDE, M. D.

I learn from the foreign journals, that experiments are
extensively made to produce photographs by means of carbon, in
the place of silver.

On hearing about this process for the first time, the idea
struck me that, as in 1790, Galvani had discovered the kind
of electricity bearing his name, and Yolta had invented the*

150 THE AMERICAN

column, also bearing bis name, silver was considered the best,
but also the most expensive material ; however, copper could
be used, and was used almost everywhere, till Bunsen discov-
ered, about 1840, that carbon was at least as good, if not better,
than anything else.

If we now consider that silver or carbon in the galvanic bat-
tery, are the electro-negative elements (zinc being usually the
positive,) and that the reason why carbon may be substituted
is, that their chemical affinity in the battery is the same, so I
was struck with a singular siuiiliarity in the case of photo-
graphy. Twenty years after the possibility of photography on
ailver had been discovered, the carbon takes its turn as a sub-
stitute for the expensive silver, just as it did in the galvanic
battery fifty years after the discovery of galvanism.

In the galvanic battery, silver or carbon are the negative
elements, and in photography we can consider them so ; in the
galvanic battery they collect the electricity developed by the
action of the acids on the zinc, (with or without mercury;) in
photography they form the picture developed by the action of
the light on the iodide, (also, with or without mercury.)

In some galvanic batteries the zinc may be amalgamated with
mercury, eveu so in Daguerre's process, the silver is amalgamated
with mercurial vapor, and in the collodion process, strengthened
by bi-chloride of mercury.

However, as far as the carbon process is developed for the
present, we must confess that carbon does not exactly form a
substitute for the silver, — that means that no iodides, bromides,
or chlorides of carbon are used as sensitive to light ; in chem-
istry, not much is known till the preseut of the two first com-
pounds ; the last, chloride of carbon, cannot be directly
produced, as carbon does not unite directly with chlorine ; but
when chlorine is made to act on certain organic compounds,
which are decomposed by it, the carbon being presented to it
in the nascent state, combines with the chlorine. There are
several chlorides of carbou : 1st, bichloride of carbon, a white,
solid, fusible and combustible body; 2d, proto-chloride of car-
bon, a liquid boiling at 160°; 3d, perchloride of carbon, a very
fusible solid, boiling at 300°, combustible ; none of these com-
pounds were considered by chemists to possess any practical in-
tent till the present time.

It may be interesting to investigate the properties of the
iodide and bromide of carbon, and their adaptability to pho-
tographic purposes ; that they may be sensitive to light in some
way or other, may be concluded by analogy, as hydrogen in
many respects similar in chemical affinity to the carbon,

JOURNAL OF PHOTOGRAPHY. 151

forms compounds with chlorine, iodine and bromine, exceedingly
sensitive to light; chlorine and hydrogen mixed in the dark,
unite with terrific explosion as soon as the least ray of sun-
light strikes it — this is an old and well-known experiment.

Daguerre made already the observation, that silver plated
on copper, was more sensitive than a single silver plate, aud
he attributed this to some electro-chemical action; later, it
was found that silver precipitated on a copper plate, from a
solution of a silver salt, by means of a galvanic battery, was
much more sensitive than that prepared in the usual way, by
stretching out large masses by means of machinery, and it is
usually explained by saying that the silver is chemically purer,
and for that reason more seusitive; this is, undoubtedly, true,
but also it is certain that the molecular arrangement of the
silver atoms, as it is obtained by means of precipitating by the
galvanic battery, if undisturbed by the usual operations of
plating by machinery, must produce a surface of a .different
kind, more fit to receive the impressions of the active rays of
light, than common silver, where the molecular arrangement
has been disturbed by the manipulations of the manufacturing
process.

Even as in the galvanic battery, copper has been substituted
for silver, so has it been done in the daguerreotype process.
A9 these processes are almost unknown in this country, I will
in another article describe them.

All that seems to have been done till the present with the
carbon in photography, appears to be to have it finely, mechani-
cally divided, and mixed in a solution of some salt that loses
its solubility by the influence of light, and will retain the car-
bon, therefore, in its impressed parts, and will not retain the
carbon where it has not received luminous impressions, by
being immersed in a liquid to redissolve the salt.

I wish to give the above only as a sample of the immense
field yet to explore in photographic investigation; such consid-
erations make us confident that this beautiful art, notwith-
standing its wonderful and charming products, has not by any
means attaiued its full developement, and no wonder — it is not
quite twenty years old. What will be added by the next
twenty years ? And what will photography be among posterity
after two hundred years? No human mind can possibly form
the faintest conception about its sublimity at that, for us, so
remote a period.

New York, Sept. 15, 1858.

152 THE AMERICAN

NOW AND THEN.

BY H. GARBANATI.

NOW. Everybody must have one or more productions of
the camera, mementoes of one's self and one's friends; the
largest mansion and smallest cottage, and the various sub-
divisions of barrack houses, must be decorated with photo-
graphic portraits ; they have become as much a household
necessity as chairs or tables. People would as soon think of
wearing homespun in a city as be without a specimen of
Daguerre's art.

And people are becoming critical, almost hyper-critical, not
necessarily from pure taste, but because good pictures are the
rule, compared with the past, they require perfect detail; a
gradual and imperceptible growth of likeness ; a perfect gra-
dation of shade, and all the constituents of rotuudity, light
and shade, foreshortening, &c, as if, forsooth, they were artists
by nature : but no, they are charged to repletion, with good and
artistic effects, and will not tolerate anything common. Now —
life-like pictures are turned out by the million, and expensively
colored, and framed photographs by the thousand. People of
moderate means decorate their walls with thirty or fifty dollar
portraits, and amuse themselves with quarterly or annual
proofs of the march of time, as depicted on their frontispieces.

Photography is decidedly in demand. Does the artist wish
to copy an elaborate picture, the camera saves him a deal of
labor; he gets the grouping and composition to depict at his
leisure ; the coloring requires fewer journeys, should the original
not be comeatable. Does he wish to enlarge and paint from a
faded daguerreotype, the megascopic gives the sise and
outline.

Does an architect desire a drawing of some building that ex-
cites his admiration, what does it so perfectly, so cheaply, and so
rapidly, as the camera ? He need not mistake perspective from
inaccurate drawing.

Does an inventor wish a patent, who can make his drawing
for the great building at Washington so rapidly and truly as
the photographic artist? Does a merchant wish to send a de-
sign of some new ware, a stove, plough, or sewing machine,
can his distant customers think he has added extra ornaments
for effect when the camera has taken its likeness?

Does any one wish to get up a limited number — some hund-
red or two — of a very fine engraving, the cost would be enor-

JOURNAL OF PHOTOGRAPHY. 153

mous ; the expense of the plate distributed over so few copies
would prevent the sale ; but a photographic plate would be a
mere fraction of cost. Who would have an engraving of his
house, however splendid, to distribute among his friends, when
the cost of the plate would be thousands of dollars, and months
would be required for its work; the notion would fade out,
friends would be scattered, the thing would be stale.

Photography opens new fields of labor and accelerates old ; it
improves taste, and roots out distortion;' it gratifies the desires
of the poor with likenesses of those dear, and discards the
caricatures, called likenesses, by the numerous family of Van-
daub. Photography is a great art, and the present generation fails
not to avail itself of its beauties and advantages.

THEN. Some twenty years ago, when Daguerre first whis-
pered his secret, people were content — with few exceptions —
with brick-colored, stiff-lineo^ and passionless paintings on can-
vas, which the owner, and immediate friends, not forgetling the
artist, fancied contained the most striking likeness of the per-
son who sat for it; many hours, and many times per day, of
laborious attitudinising were they content to go through to ob-
tain the superexcelleut production ; every family of respecta-
bility must needs have its heads hung on the walls, for the
inspection and admiration of coming generations, who had in
due succession been informed the degree of consanguinity the
original of the said picture held to themselves, and very queer
notions of the characters of the said originals must have been
conceived, did the pictures give a true likeness.

As for the multitude, and persons of moderate means, they
must needs be content with what they could get, if 'twere called
a picture ; Talk of undergoing an operation to obtain a likeness,
did they not have to be shaved with a stick passing along the
profile, tapering off at an angle to the required size, and the
product, an excellent black outline, no lights or shades, —
mounted on a white ground, and all for two shillings, without
frame ; another shilling would get some streaks of bronze, mak-
ing everybody look like a military officer. The cutting out of
a profile with a pair of scissors, without the aid of a scraper,
was quite a feat, and numbers of those records of the past,
profiles from crown to sole, that might pass for any body with
ordinary features, are yet extant. In those days hundreds of
pounds were paid in England for a picture the size of our sixth,
yet not the ablest miniature painter that ever touched ivory,
could equal the fine gradations of light and shade, nor begin
to match the details of a dollar daguerreotype, or ordinary fine
photograph, the finished appearaucc of the human hand, as pro-

154 THE AMERICAN

duced by the camera, is a work of art painters have yet to
attain.

Had a fine specimen of camera work been twenty years ago
quietly exhibited in a fine arts exhibition, the producer would
have been looked on as one of the wonders of the age, his work
as almost super-human, whilst a stereoscope and picture would
have driven the q^id mines nearly mad. Nor is it only in
photography, the presentiment art has so rapidly advanced ;■
coarse pictures of soldiers and sailors, with all sorts of mis-
placed colors, and unnatural complexions, are utterly banished ;
the religious subject, used only by the most illiterate, alone re-
maining as a memento of past distortion, and tasteless art.
The pictures and coloring of the " London Illustrated News/'
wonders of cheapness, are quite works of art, compared with the
mass of prints that decorated the walls then, yet how few thiuk
them worth framing. Statuary has taken quite as high and
rapid a flight as painting and engraving ; the really artistic
models and groups, sold in the streets for a few cents, are as
superior to the cats and dogs that used to be sold in a similiar
way for a similiar purpose, as gold is to dross. Yet, after all,
the most remarkable thought is, that amidst our most wonder-
ful improvements in the majority of productions in pictures
and statuary, in the high works of art, outside the camera
productions, we have not advanced one *tep beyond our prede-
cessors, even though it can be proved we have kept pace.
Nevertheless, the millions have more appreciation, and demand
better works, and there is our glory.

A NEW AND BEAUTIFUL PICTURE.

BY J. MILTON SANDERS, LL.D.

The time is quite vividly within our recollection, when, if a
photographer should chance to take a picture which could be
discerned without the aid of spectacles, and which could be dis-
tinguished by the sitter's friends as a correct likeness, that the
aforesaid artist felt complaisant beyond the power of language
to describe.

But those good old days of artistic contentment have gone
by. Science with the rapid strides characteristic of this rest-
less age, has extended its magic wand to photography equally
as it has to chemistry. The beautiful and greatly admired pic-
ture of yesterday is neglected in the admiration bestowed upon

JOURNAL OF PHOTOGRAPHY. 155

the still more lovely creation of to-day ; and to-morrow the
gem of to-day will lie neglected upon the shelf. Not content
with the delineations which chemistry alone has made with the
lights and shadows thrown upon " the human face divine," the
photographic artist must needs avail himself of the masterly
touches which result from the inspirations of the artist in
color; and now the Apelles and Raphaels of the day are called
upon to add those delicate touches which chemistry has, so
far, refused to supply.

It was but a brief period ago that the plain daguerreotype
and ambrotype were very satisfactory to the most fastidious
sitter.

But this taste has yielded to another, where the gorgeous
and perhaps more artistic " Heliograph •' and " Diaphaneotype"
have usurped their more quakerish, though none the less beau-
tiful rivals.

As colored pictures now appear to have the day, we propose
to give the reader of this journal some plain directions for the
production of a species of pictures which we think will surpass
any other yet patented or unpatented, for faithfulness and deli-
cacy of detail, beauty, and truthfulness of coloring.

But as every new discovery now-a-days must necessarily
have some taking name, wherefore should not ours ? It is
surely Worth a patronymic, and such an one too as would at-
tract the unbouuded admiration of all the groundlings. Sup-
pose we style our picture the DtrROTYPE, from the latin word
duro^ to last ? If any other title would suit you better, then
adopt it, for our rose will smell just as sweet by any other name.

Before we proceed any further, permit us to assure the reader
that it was not alone to our own individual exertions that this
picture is due. We frankly confess that to the exertions of
our friend Charles A. Seely, Esq, the editor of this
journal, are due most which is meritorious in this picture, and
therefore we lay claim to nothing but the honor of this exposi-
tion.

In preparing this picture for the coloring, place before your
camera a common negative on glass. Allow the rays of light
transmitted through this negative, to fall upon a sensitive col-
lodion surface on glass, and thus you get a positive upon it,
with of course the light and shades reversed. When this pic-
ture is partially dry, or sufficiently so to become what might be
termed damp, then pour over it some common spirit-varnish,
to which a little acetic acid has been added. Quickly
drain this off, and when it has dried sufficiently to become
u tacky," lay carefully upon it a piece of paper slightly damp-

156 TOE AMERICAN

ened. With a piece of cotton,, press* this paper down urn-
til every portion of it comes in contact with the varuu*&,
and a perfect adherence has taken place. Now allow the
paper to dry, when by careful management, ike paper ean l>e
lifted off the glass, and thus you nave a transference of the col-
lodion upon the paper. Now render this paper transparent, —
or rather translucent, — by the use of Canada balsam* dissolved
in spirits of turpentine. Allow this to dry, when the picture
is ready for coloring. This latter process is the simplest of all
tilings, and can be done by the merest tyro. All that is neces-
sary is to color the picture upon the back wilh common oil-
paints such as are used by artists, placing upon the face of
course the proper flesh celorf &c. It would be superflisous to
mention that the shades are those belonging to the photography
and that they exhibit themselves in all the delieaey and detail
characteristic of the ambrotype. This picture, in fact, re-
sembles closely those very fine and elaborate minatures, done
in oil, by the first class Parisian artists, except that it is su-
perior to any painting done by man, in all that is delicate and
beautiful and perfect.

The artist, if he fail at the first effort, must not get dis-
heartened but try again, for the beauty of the picture and its
simplicity of coloring, will fully reward him for all the trouble
he may go to in "getting the hang" of its production. Pic-
tures are already made somewhat in the style of the above, but
they are prepared from a " raised " photograph upon paper, and
are comparatively roi&gh productions, although to those who nave
not seen the picture just described, they look very beautiful.

The painting of these pictures requires but little or no artis-
tic skill. AM that is necessary is to stretch the paper upon a
frame. This frame should be fixed to move upon pivots, so
that the picture can be readily turned around. By this con-
trivance the picture can be turned to, and fro, and thus can
be readily examined upon either side as the painting pre1-
gresses.

As we said before, all that is necessary, is to place the re-
quisite color upon the back, the shades being formed by the
photograph itself. This can be done by any person possessed
of the least eye for color or pretension to taste, for the most
experienced a?tist can do no more than that. Remember, in
conclusion, that a little perseverance here, like it does in all
things else, will result in success, and that it only requires a
few trials to produce perfect pictures.

New York, October, 185&.

JOURNAL OF PHOTOGRAPHY.

157

ART AND ARTISTS,

BY E. K. HOUGH.

The art of Photography with its twenty thousand ope-
rates in the United States alone may well be considered
a a fixed fact." and its importance in general society may be
judged when we reflect that we should be but little more
surprised on entering a town of two thousand inhabitants,
not to find a church than not to find a daguerrean room.

But before we enter these rooms, we will consider " what
manner of men " we may expect to find presiding.

And first, what order ©f talent is needed to practice the art
of photography successfully and develope its best resources ?

Evidently similar t© that required to fill any department of
representative art — not creative art, for that demands a yet
higher order of intellect.

Landscape painting and portraiture are the principal divi-
sions of representative art, and tb@se who are successful in
them are dignified with the distinctive name of Artists.

To be an artist, it is necessary to have a quick perception of
feeauty and the ability to discover and retain it in the repre-
sentation of every form and mood of natures' handiwork.

To be a true photographic artist differs from being an
artist as a painter, only in the different means employed to pro-
duce the same result the faithful representation of natural
forms. The painter uses pencils, brushes, and various coloring
materials, with oils and varnishes to give tones and textures.

Tke photographer uses his camera and chemicals, and in each
department the capability of these means to be varied, in com-
binations for the production of given effects is almost infinite.
Photography may be practiced to a certain extent mechanically,
but that which*rec[uires ever active artistic skill and taste, is —
in portraiture arrangement of position, either singly or in
groups, and the proper distribution of light and shadow; in
landscape, choice of the point of view that shall bring the most
prominent objects in tkeir best relative position for effect and
perspective, and the quantity and direction of light giving
greater or less breadth and depth of shadow as best suited to
the character of the scenery. But beauty is not confined to

158 THE AMERICAN

form, color also has its influence, and although everything else
be artistically produced if the color is not pleasing as a picture,
it is a failure as a work of art. The colors and tones in photo-
graphic pictures depend upon the kind and quality of chemi-
cals used, and the conditions under which they are combined
and employed.

So that to be fully successful the photographer requires to be
a scientific chemist, at least so far as a knowledge of the chemi-
cal nature of the material he uses and of the'laws that regulate
their combinations.

In view of these truths, it would be natural to expect that
most of the practitioners of this beautiful art are educated
men, having a noble pride in their profession and a constant
determination to be equal to its requirements.- And it is
indeed astonishing to find the majority of them illiterate
men, gathered from the second and third rate classes of
all trades and professions; men who have so little pride or
interest in the art, that they will openly and shamelessly
avow that they do not care a fig for it beyond the dollars they
can draw from the peoples' pockets by its aid ; men who have
no knowledge of chemistry as a science, and are so little
acquainted with chemical terms, that not half of them
would know that the " chloride of sodium " in their formulae
meant simply common salt. A good representation of this
class, now doing a paying business in a western city, recently
told me in answer to a question that the nitrate of silver he
liked best and generally used, was made by Mr. " Argent,"
whom he supposed to be a celebrated manufacturer some-
where, judging from the labels.

Now is it best to call things by their right names ? And is
a man who owns a camera and a quantity of chemicals, and
stays during the day in a room having a skylight, an artist as
a necessary consequence ?

Is a man who "takes pictures" and places a face with an
eagle eye and a royal roman nose in precisely the same position
as the round red and fat face having as much legitimate expres-
sion as a puff-ball ! is that man an artist ?

Is the man whose pictures as they hang on his walls, all look
straight at you — all sitting in the same "front face," "heads
up" stiff-necked posture, all having the same arrangement of
light full on the face, losing all the high lights in broad blank
masses of white ! — is he an artist ?

If he is, so then is the man who paints an animal on the

JOURNAL OF PHOTOGRAPHY. 159

swinging sign of a country tavern, and writes under " this is a
bear;" and so is the man who colors in black and white the
long boards over the shop doors, that they may speak to passers-
by, " Grocery Store, Families supplied here."

Hut hold ! lest we be unjust. We mast reflect that the
photographic art is comparatively new, and that many of these
men have entered it after terms of instruction varying from one
week to three months, in which time they learned all that their
instructors knew, and they should not be blamed for ignorance
if they continually avail themseves of the best means for im-
provement, and show a constant desire to acquire a knowledge
of the principles that govern the artistic and chemical depart-
ments of the art. Alas ! that all important if. As a profession
they utterly ignore all publications devoted to their in-
terests, haughtily asserting that " they understand the busi-
ness as well as they want to," challenging comparison of their pic-
tures with any in the country in that self-complacent. way that
speaks louder than words "you'll have to go a good ways before
you find better ones."

Yet, after a candid examination of these same boasted pic-
tures, the only good qualities discernable are that they are
smooth, white and free from specks. No artistic studies
of position ; no attempts at rendering individual character ;
no endeavors to express feeling or sentiment ; no group-
ings that strive to portray hope, fear, grief, or love ; no
evidence of an intellectual and discriminating taste that endea-
vors to make each picture express an idea, or suggest a general
or individual trait of mind or disposition.

No indeed ! such things even in the first crude attempt are en-
tirely beyond their conception of the capabilities of the art.
And yet such men dare to say that they have no desire to im-
prove, and that hints and suggestions from other minds would
do them uno sort of good."

There are a few who have carried the art to a high pitch of
excellence in this country and wrung acknowledgements of su-
periority from even European connoisseurs, but of the majority,
my remarks are only too true.

But the day is not far distant when pictures from the
camera will have as much beauty of grouping and intellectual
expression as the best French and German engravings, or Gre-
cian or Italian Basso Relievos, and then those who will not be
artists must seek new fields for employment.

Chatauquo Co , October, 1858.

1G0 THE AMERICAN

PHOTOGRAPHY AND THE LAW.

HAS AN ARTIST A RIGHT TO EXHIBIT A PORTRAIT ?

(New York Common Pleas.)

Jeremiah Gurney vs. Elias Howe. — This was an action
by a professor of the art of photographic portrait painting to
recover $750 for taking and painting an elaborate portrait in
oil of the wife of the defendant. It appeared in evidence on
the examination of the plaintiff, of his son, and of an artist in
their employ named Meyer, that this portrait was ordered in
the early part of last year, that it was to be a first-class full
length picture in oil, with accessories to be chosen by the de-
fendant or the lady. The photograph was taken and transferred
to canvass, and Meyer was. employed upon it for about eight
weeks, the defendant occasionally calling to see it, and approv-
ing of the work. In the process. of the picture he ordered a
shawl to be purchased at Stewart's to be painted in the picture
as one of the adjuncts, and told the artist he would immortalise
himself by placing his name on the picture. After it was
finished, the defendant inquired the price, and was told $750.
He remarked " that was a big price." Subsequently the picture
was offered to him, but he refused to received it, and the plain-
tiff exhibited the picture at the Crystal Palace Fair of last
year.

On the part of the defence, it was set up that Mr. Howe was
a patron of the fine arts and of the twin arts of daguerreotyp-
ing and photography, he having had portraits taken of himself,
his son and his daughter by Mr. Gurne3r, which led to an
order to paint a first-class, life sized portrait of Mrs. Howe for
$200. The work was undertaken, but was not completed to
the satisfaction of the defendant, and the price demanded being
enormous, he refused to take the work, and further the plain-
tiff had made it his own by sending it to a public exhibition.
To sustain this defence, Mr. Fredericks was called as a witness,
and he gave it as his opinion that the work was not well done,
and that it was not a perfect likeness of the lady, and not
worth, as a work of art, $200. The defendant himself was
then put upon the stand, and he testified that he had ordered a
first-class picture, not to exceed $200 ; that he had ordered the
shawl and the frame, and expressed favorable opinions of the
work while the artist Meyer was progressing with it, but when
finished, he, the defendant, said it was not satisfactory, and re-
fused to take it, neither did he desire or approve of the public

JOURNAL OF PHOTOGRAPHY. ](U

exhibition of the portrait by the plaintiff. The defendant ad-
mitted that he had brought several friends to see the picture,
and that they had pronounced favorable criticisms on the work,
before it was finished. The Judge, in his charge, said there
were two points in this case. First,, was there an express con-
tract to paint a first-class portrait for $200? If not, was there
a general order or contract to paint the portrait ? and then, had
the plaintiff the right to make a public exhibition of it after it
whs refused by the defendant, the plaiutiff thereby makiug the
work his own ? The jury retired at night, and in the morning
brought in a scaled verdict for the plaintiif for $750 and the
c?st?T bem<r tho full amount claimed.

"ACADEMIES."

The beautiful art of photography has often been perverted to
the vilest purposes. Until recently there has been almost a
licence for the production of anything vfhich the corrupt heart
of man could imagine. Under the name of k Academies/ the
most indecent and demoralizing pictures of infamy have been
made, and almost publicly exhibited in this city. The arrest
and punishment of the guilty parties are known to most of our
readers ; and in future it is to be hoped that fear of exposure,
if no better motive will deter others from the same wicked-
ness.

We translate from the "Revue Photographique" the following
case which is similar in many respects to the recent trial in
New York. It will surprise many to learn that French law is
more severe than ours.

" Sieur Darnay, a photographer, twenty-seven years of age,
residing at Bellvielle, rue du Solitaire, was arraigned before the
Criminal Court, on the charge of outrage to public morality,
and enticement to debauchery ; Sieurs Fontaine assistant and
Coanus painters, were, as well as five young women of whom the
oldest was not eighteen. The complicity of the girls consisted
in their having served as models for Darnay 's photographs.

Sienr Darnay and his accomplices confessed all the facts
charged against them. Darnay added that he did not sell his
photographs in Paris, but in a few distant departments and in
foreign countries, especially Spain.

The President. This declaration is far from extentcating the
facts charged against you. Did you think by respecting Paris
you could poison the rest of the world, with your pictures of the
most shameful corruption. But this is not your only fault;
you have committed a far greater, by bringing into yo&r

162 JOURNAL OF PHOTOGRAPHY,

wicked business these girls, perverting them, exciting them
to debauchery. Among these girls, for the most part only
sixteen or seventeen years of age, there are some who belong to
respectable families, upon whom you have brought a stain which
cannot be effaced.

The court after having heard the defence presented by Bar-
atin, Duet, Charles and Dubrenil, condemned Darnay to fifteen
months imprisonment and a fine of fifty francs ; Fontaine and
Coanus to six months and sixteen francs fine, and the five girls
each to one month imprisonment and a fine of sixteen francs."

EDtTOMAt MtSCEUANY,

— ■ " Since our last issue We have received No. 24 of Photographic
Notes, alluded to on page 106. In compliance with our promise We
cheerfully give place to the following, which with what we have re»
printed on page 138, is believed to be all which has appeared in Photo-
graphic Notes, regarding tke rectifying nitrate solutions by exposure to
light :

" A curious circumstance occurred in the course of our experiments
a few days since, with a new bath of Nitrate of Silver. This bath gave
foggy, feeble negatives, although the collodion was particularly good,
and worked well with the old bath in common use. The new bath was
then put into a glass bottle, and exposed to sunshine for several houl's.
At first it turned slightly red, and then slightly black. During the night
the solution cleared, and a black precipitate was formed at the bottom
of the bottle.

" On subsequent exposure to sunshine, no further discoloration of the
bath took place, and it afterwards worked well, having been entirely
cured by this simple treatment."

Respecting the above, it does not appear to us unfair to say, that it
can hardly be called a publication of " the wonderful dodge ;" it seems
rather given only as a history of a curious fact, suggestive, indeed but
without the application being made. Moreover, Mr. Sutton, to judge
from his paper reprinted on page 137, seems evehnot yet to have learned
the " wonderful dodge;" else how could he neglect the simple remedy,
and recommend methods which are impracticable to photographers who
are not chemists. Has Mr. Sutton made any tests of the value of the
exposure to light ?

— — ■ — Mr. Edward Howell, of Ashtabula, is authorized to receive
subscriptions for this Journal, and is provided with receipts signed by
the publishers.

THE .AMERICAN

Dttcaat of ^|ofogcaj%.

I M d W © g @ Q g © o ]

Vol. 1.] NOVEMBER 1, 1858. [No. 11.

ON BACK GROUNDS.

BY H. GARBANATI.

A good back ground has much to do with the obtaihment of
a good picture. Position and color must vary with circum-
stances : the same back ground will not suit every operating
room, yet how many artists use it with perfect remorselessness,
no matter how often they move, or what style of picture is re-
quired, or what sort of subject is the sitter ; no gallery but
ought to be provided with several back grounds, except there
is a great depth beyond the light, when a less number will do.

It is probably as much a want of thought, as of judgment,
that photographic artists generally, have given so little atten-
tion to the suitableness of different back grounds, to different
circumstances ; many will be very particular in obtaining a cer-
tain color, yet that color, however well chosen, will not suit every
circumstance of the same light ; how much less with some other
lights.

In daguerreotype days, it was the general custom to use a
dark back ground, which would form a contrast to either black
or light clothing. A very excellent rule, but with too few ex-
ceptions.

There are many colors that will give a dark back ground in
the camera, that are comparatively light, and others a light back
ground, that are comparatively dark.

A buff, a light brown, or light red under a strong sky light will
give light pictures, but set far back, will be as dark as needs be;
therefor, with a light, having much distance behind, any one
of them is an excellent color to obtain from dark to moderate-
ly light, but it would not do to trust the one color alone with
the wall close up to the light; — circumstances might require a
dark ground — nor would many shades giving a light tint under

164 THE AMERICAN

a strong light, do for a back ground with a side light, since
the part most distant from the light would come up dark.

The choice of a tint for a side light, is more difficult than for
a sky-light ; a scenery back ground is sometimes tolerable, but
has the disadvantage of rendering the picture somewhat flat,
since it must needs be near the sitter to be in focus ; the same
objection may be had to a dark back ground, which seems to
cut off the light suddenly, and prevents in some degree, that
roundness that constitutes a fine picture.

A white one has somewhat the same effect by reflecting
light on the back of the object ; many artists, especially since
the advent of the ambrotype, have adopted a white back ground,
yet 'tis unnatural ; what painter would sit his subject in the
sun light, as a suitable position for taking a likeness ? If he
did, it would be quite unnatural to give a white face ; yet, no
photographic artist would dare give out a picture, especially
of a fair person, with a dark face, even with a white back
ground. Yet, in nature, such a back ground would give a face
without shades.

Others, again, go to the other extreme; yet, what art-
ist would set a subject in a chasm to paint his picture — it
would not be deemed a favorable position, though some photo-
graphers give the effect of a chasm : Wherever there is light
enough for nature to give a picture with lights and shades, there
must be some light in the back ground also.

A good back ground ought to be of a neutral tint, ought to
be selected as near as possible to give the idea of distance, be
ethereal in effect, that the figure may stand out in bold relief;
much of the stereoscopic effect of a picture depends on the back
ground, and much of the character of the pictures of our best
photographers, is owing to their selection and arrangement of it.

In building a skylight, a distance of five or more feet behind
it should be obtained, if possible. The back ground should be
set as far back as is consistent with the required tint, and be
easily movable, and even though a dark ground is required to
contrast with a light dress, a light ground set far back is much
better than a dark one near. So many manage that the
ground and drapery are almost the same color, and a good
picture cannot be the result. A back ground should be as
large as the room will admit of, that it may be set back ; a good
effect may thus be obtained by setting it at an angle, that tbe
ground may fade away into distance, even though one side of
the plate may come up dark. Do not the best portrait painters
aim at this effect, and why not photographers attain it, when so

JOURNAL OF PHOTOGRAPHY. 165

easily obtainable ; any picture, but a full face, ought to be so
arranged. When sitting with full face, the back ground must,
of course, be equal ; and any inequality must necessitate a
gradation of distance, and of course, light.

When photographs are to be painted, fancy back grounds
may be used with good effect to facilitate the colorer, but due
regard must be had to natural effects, or the painter is re-
tarded. The chief defect of the scenery back-ground now in
use is, that the only foreground is the sitter, all else is dis-
tance, as if nature intended the individual to eclipse all im-
mediate objects ; the fault of the old masters is closely copied
by modern photographers. If they only possessed their beau-
ties now ! they could pass muster.

As stippling is the fashion for re-touched photographs, a
stippled back grouud may be obtained by getting coarse, or
rather coarse canvas, and giving it one thin coating of a dark
color ; the prominent parts will remain light, the back* ground
set barely out of focus will give the required effect. I should
like to see some experienced photographers write on the subject.

From Price's Photography.

AN OUTLINE OF HISTORY.

Without entering at much detail into the history of the dis-
covery of the power possessed by light to fix, under certain
chemical conditions, the image of objects in nature upon a plane
surface, a work upon photography would be obviously incom-
plete were the rise and progress of the art passed over in
silence.

Photography, as its name implies, is the art of drawing by
light, which indeed is not, strictly speaking, correct, since the
most illumioating portion of the sunbeam is precisely that of
least photographic action.

Twenty years have not elapsed since, in artistic and scien-
tific circles, the greatest interest was excited by rumours of the
fact, that Daguerre the artist — well-known to our public by his
dioramic pictures — had succeeded in what had often been de-
sired, and as often been pronounced hopeless, namely, in giving
permanence to the picture produced in the " camera-obscura."
The earliest results shown in London, in 1839, were marvell-
ous representations of public monuments in Paris, views on the
Seine, &c, depicted with a minutiae and accuracy which aston-

166

THE AMERICAN

ished the beholder; they were on metal plaques, and were
executed by the process since called, after its inventor,.
Daguerreotype. But though wonderful in the delicacy of their
finish, the refiexioa from the metal plate was found objection-
able, nor did they possess any power of reproduction.

Simultaneously with the discovery by Neipce and Daguerre
in France, our own countryman, Mr. Fox Talbot, had perfected
researches upon which he had been engaged in the same direc-
tion, and the result was, in 1839, made known under the name
of the Talbotype or Calotype, which differed from Daguerre's,
inasmuch as it was on paper, and the picture being negative,
that is, with the lights and shadows reversed, it possessed the
power of a plate or cliche, from which an unlimited number of
proofs might be printed, the diaphanous texture of the paper
used allowing the passage of sufficient light.

But this process had likewise its disadvantages, although
they were in another direction • it was too slow in receiving
the action of light, to be advantageously applied to portraiture
and the life, and was deficient in finesse and delicacy of execu-
tion when landscape, architecture, and still life were treated
by it

Matters stood thus when Mr. Scott Archer, in 1851, com-
municated to the public a new method of talcing the photo-
graphic picture by means of a thin film of collodion, extended
on the surface of a glass plate, and rendered sensitive to light
by being treated with salts of silver. It was found in practice
to combine the excellences of all previous methods, and
possessed, besides, some peculiarly its own. It had more
rapidity of action than even Daguerre's process; it could be
manipulated at infinitely larger sizes, and had an unlimited
power of reproduction, of which his was incapable : and it sur-
passed Mr. Talbot's by its incomparably greater sensitiveness,
its superior discrimination of textures, and minuteness of
detail.

This is the Collodion process, which is practised far and
wide, from which unfortunately the inventor, instead of reaping
any benefit — as had been the case with Daguerre, to whom and
his coadjutor France had granted pensions of 10,000 francs for
life, with reversion to their families, — became impoverished
by the expenses consequent upon his experiments in the art,
and died leaving his widow and family to the sympathies of
the public.

The Collodion process may be said to have superseded all
others. Its qualities have, in practice, been found available

JOURNAL OF PHOTOGRAPHY.

16*3

for every conceivable subject, and of seven hundred works in
the Photographic Exhibition of London, of this year, 1858, six
hundred are due to Collodion ; amongst them, showing its sen-
sitiveness, pictures taken in the j^th part of a second.

Such are the main phases of discovery and improvement in
this wonderful artj from the first successful results, in 1839, to
the present time ; for. although many ingenious theorems have,
during the interval, been propounded, they have either been
found abortive in practice, or their qualities in various ways
being inferior to the others, have been allowed to fall into dis-
uetude. It would, therefore, serve no purpose to detain the
reader by the bare enumeration of them; the intent of this
volume being to describe, with considerable minuteness, the
processes of the one found to give results of the greatest ex-
cellence, and by that necessary prolixity, to spare the student
many disappointments, and enable him, by strictly following
fixed details, to produce with much certainty a successful
photographic picture.

ON THE USE OF COPPER, BRASS, GERMAN SILVER,

IRON AND STEEL, AS A SUBSTITUTE FOR SILVER
IN THE DAGUERREAN PROCESS.

'In this practical country, where no processes are used except
those by experience demonstrated to be entirely successful, we
are very much inclined to remain in the track found to be a
profitable one, and to neglect everything promising only un-
certain results. This is the reason why the daguerrean process
reached so soon a greater perfection here than in Europe, and
even so is now the collodion process, and the photographs ob-
tained by means of it, going ahead of anything produced in
the old country. This practical turn of mind of our people,
explains the reason why they have such a great propensity in
improving all useful inventions or old observations of Euro-
peans, and at the same time it explains why other proceedings
are so much neglected. One would almost suppose, in visiting
our photographic attellers, that nothing at all was practised
here but the daguerrean and collodion processes, with printing
on paper sensitised with silver solution.

I will give a short description of some of the principal
processes invented in trying to find a substitute for the expen-

168 THE AMERICAN

sive silver. They are partly unknown here, and partly forgot-
ten. I tMnk it useful to bring them under the eye of the
practical photographers, not doubting that in the course of
time something good may come out of them.

I.— HALLEUR'S PHOTOGRAPHS ON COPPER.

The copper plate is polished like the silver plate, but more
care must be taken not to touch it during this process with the
finger, as the spots thus produced cannot be eliminated even
by heatiog the plate, but grinding is necessary.

This polished plate is prepared exactly as in the daguerrean
process ; the sensitiveness in the camera is a little less than
the silver plate, so as to make it unfit for portraits, but only
for buildings and landscapes; however, in the development the
proceeding is very different, as in the place of mercurial vapor,
sulphureted hydrogen gas is used to make the image visible ;
this image is formed by different tones of color, produced by a
different intensity of illuminations.

II.— CARLEMAN'S PHOTOGRAPHS ON COPPER.

A well-polished copperplate is exposed to vapor of chlorine
till it becomes yellow, pink, red, blue ; again yellow and blue
for the second time, in which state it is the most sensitive.
These plates may be used also for printing, to make negatives
of prints, copper engravings, and positives from common nega-
tives. Unhappily, nothing has been found for the present to
fix these images, as they disappear by day-light. However,
this process has done service to engravers, as they may be pre-
served in the dark for an infinite period.

III.— HALLEUR'S PHOTOGRAPHS ON IRON, STEEL, BRASS
AND GERMAN SILVER.

Halleur has made experiments with the above metals in a
way similar to those on copper, and obtained interesting re-
sults ; however, not of such kind to be certain of its practica-
bility. He has promised to continue his researches, and we
have to wait what he will find, if, in the meantime, others do
not succeed with those metals.

JOURNAL OF PHOTOGRAPHY. 169

IV.— TALBOT'S PHOTOGRAPHS ON STEEL.

The method given by Talbot to make photographs on steel,
does strictly not belong to the class of operations we are treat-
ing of, as he coats the steel with iodized albumen, and exposes
to a nitrate of silver bath, so that in his process the steel is
nothing but a support for the sensitised albumen film, and his
so-called photographs on steel are in reality photographs on a
silver preparation.

Almost any substance may be used in this way ; so our com-
mon ambrotypes, neillographs, melainotypes, etc., are nothing
but collodiotypes on glass, paper, iron ;• and we have made
such collodiotypes on common sheet iron, common black paper,
mica, ivory, wood, slate, etc.

A LETTER FROM EVANSVILLE.

October 27th, 1858.

I am much obliged to you for the foreign publication ; but
it will be to me like a tureen of soup meagre, to a stout Briton
— its contents will not be devoured. The fact is, much as you
may be astonished, I don't read French, at least, not to under-
stand it, so it would be somewhat a waste of labor for me to
read the "Revue." No doubt I have sunk somewhat in your es-
timation by my shortcomings regarding the Parlez vous
tongue, but I am quite content to let the editor of the
" American Journal of Photography " do the translations.
However, your October 1 number coming just to hand has
posted me up in some of the contents of my Frenchman.

I see that in Paris, as well as in Gotham, they sometimes
punish very severely for prostituting the noble art of photog-
raphy to the depiction of the basest scenes, and well deserving
of punishment too are the degraders. Nevertheless, no slur must
be cast on the art, from the perversions of its use : caligraphy
is perverted to forgery, and printing to plagiarism ; all the arts
have been degraded, and brutal men throughout all time have
bemeaned nature's noblest gifts. But bad as has been some
of the uses of photography, all — but the extreme of bestial re-
presentations— all it can be used for, is to represent nature's
productions ; it cannot picture the human frame with un-
natural conformations, merely to gratify bestial appetites.
Models of the human figure are useful in art ; though an ar-

rangement of position will render a picture disgusting, we must
cot altogether exclude models for that reason. Means must,
however, be adopted that such pictures shall not be sold as
commercial property, but only for the purpose they are solely
useful, as aids to artists. We must not forget, in our horror,
that nudity is only disgusting when lascivious.

Your last number contains much philosophising, and 'tis
useful ; the art cannot be productive every day of startling dis-
coveries and wonderful inventions; one may be surfeited with
good things ; too many wonders at a time are nauseating ; it is
much better to have few and good; indeed, I rejoice your con-
tributors are calling the attention of their brethren to some of
the minor details of .the art, useful considerations that many,
in their desires to attain some grand prize, may overlook. 'Tis
quite curious to observe how many, taking rudimentary ele-
ments for granted, sometimes entirely slight trifles quite essen-
tial to success ; let us have more elementary reminders.

That your plan is quite successful, I am fully convinced from
the rapidly increasing numbers I find who subscribe for the
Journal. I expect I may soon be able to tell you it will be
useless to track my steps through the agency of Uncle Sam's
office ; as I shall doubtless find one or more copies in every town
I pass through, which I shall be able to obtain long enough to
swallow its contents. By the way, I often come across the
Journal of the Mysterious Black Bottle, but have not found
more than one or two who ordered it, and about as many who
pay for it because it is sent; some take it because it is addressed
to them, but the majority let it remain in the post office, where
it ultimately serves as kindling for the P. M. Some P. M's
have told me they used regularly to go through the ordeal re-
quired, of sending back to the publisher, but that it came so
often, and had got to be such a bore, they had dropped that
move. Now, as I am unlearned in the ways of a great city,
and am not used to the set modes of its businesses, can you tell
me how the Mysterious Black Bottle Journal is made to pay.
I can't imagine how I should be able to get bread and butter,
and mayhaps, a piece of cheese, if I were to give away nearly
all the pictures I made.

Business has been, and is dull here, out west ; but hopes are
entertained that there will be a lasting revival before the
holidays. Yours, in cameras, chemicals and cases,

Gossip.

P. S. — Did you ever dispose of " that spelling book ?"*

* It still waita the order. — Ed.

EXPRESSING CHARACTER IN PHOTOGRAPHIC

PICTURES.

BY E. K. HOUGH.

It might be supposed that photographic practitioners are
well posted in the principles of artistic representation, and that
all the favors you could render them in the art would be to
give them the best chemieal processes for producing the pic-
ture after they had arranged the subject. But from personal
observation — not extremely limited in either time or place — I
know the contrary ; for I have seen hundreds of pictures beau-
tiful in chemical effects, utterly ruined as works of art, by in-
attention or want of knowledge regarding the arrangement of
position and accessories.

It is too generally considered that expressions in pictures —
such as looking happy or sad, mirthful or angry, nervously ex-
cited or gracefully calm — are all confined to the face, whereas
the position and carriage of the head, the hands, the body, have
each a particular and necessary relation to the entire effect.

It is not possible to give a picture the character of easy
calmness, while the hands are firmly clasped or pressed down
upon the knee, or if resting on a stand or pedestal, grasped
tightly across the edge 5 for, however calm and fair tie face
may appear, from these minor evidences we know he or she
was not calm, and the picture has lost half its power to please.

If only one finger be so placed that it requires an effort of
the will to keep it so — as, for instance, held straight or strong-
ly bent — it detracts from the expression of the entire picture.
When the hands are not included, the muscle of the neck
alone, by being rigidly contracted and showing prominently,
often produce the same effect ; and, although there is some-
times a difficulty in fully controlling the subject, I am con-
vinced that a proper attention to these particulars would pre-
vent most of these awkward results.

An artist in painting a picture from imagination, is com-
pelled to know the meaning and expression of every muscle
and limb, as they relate to the mood and character he intends
to represent, and although a photographer can take a picture
without this knowledge, he requires the same in every respect
to properly arrange his subject for the effect in view, and to
judge in the finished picture if it is attained.

The fact that positions express character is deserving of

172 THE AMEEICAN

some thought, for it will often account for the seeming unrea-
sonable whims of visitors in rejecting clear-toned and finely
finished pictures, for those far inferior in smoothness, brillian-
cy, and beauty of color. They find in them some touch of na-
ture, in position and expression, worth all the rest.

I will illustrate with an incident. Not long since I stepped
into the operating room of an artist acquaintance, and found
him busy fixing the liniaments of a "lady fair," upon a sur-
face much more "sensitive" than his heart — for no "fair image"
ever made a very deep impression there. Tom cased the pic-
ture, and brought it for the lady's inspection, calling attention
to its good points by a few words of professional praise. The
lady, however, did not seem to appreciate, and insisted that
" it didn't look natural," very politely requesting him to try
again, " if it would not be too much trouble." Tom is polite,
and " would try again with pleasure." I followed him into the
work room, when, he threw the case down, pettishly exclaim-
ing, " I wish these women could ever be satisfied." While he
set about preparing another plate, I picked it up ; it was a
small " bust " picture, fine in detail and clear in tone, and was
so far — as Tom evidently thought — "good enough;" but the
lady's reasons for rejecting it were good also — it was not na-
tural. She was medium sized, with round rosy face and full
expressive eyes, quiet and undemonstrative in demeanor, and
withal, modest and pretty ; but Tom's picture had done away
with •' all that." He had placed her full front, face and per-
son, taken the head large and a little elevated, " to get a good
light on the face;" the point of view, or the end of the camera
tube had been raised to a point about level with her forehead,
and she had been told to look at the upper corner of the camera
box, until altogether the expression was that of a bold indepen-
dent woman, staring you full in the face, with a look of fearless
admiration. It would have been a fine picture to express that
particular character, but was not natural in this instance, be-
cause the lady had no such character, and was not accustomed
to wear any such expression, and did not then but as the posi-
tion compelled her to.

Tom usually has better taste than he evinced on this occa-
sion, but it is all intuitive ; he places a person in this or that
position, because he " guesses " they will look well so, and
when his mind is clear and active this succeeds very well — for
he does right without knowing why it is right. But when he
is dull, tired, and moreover happens to be hurried, his taste is
unhinged, and works very irregularly, so that often after la-
bored efforts he has, what seems to him, most unaccountable
difficulties in pleasing his customers.

JOURNAL OF PHOTOGRAPHY. 173

The secret is, he chooses positions which are good in them-
selves, and make fine pictures with the proper subject, but are
not adapted to express the character of the particular person
represented, and the resulting picture therefore fails to be
" natural," however clear and perfect its chemical effects.
Now, this idea of endeavoring to represent character in a
daguerreotype, never enters into Tours calculations, simply be-
cause it never occurred to him, or because "he has never con-
sidered it of any practical importance " — a very common
phrase with which to dismiss subjeets, we don't very well un-
derstand.

I quietly gave Tom my opinion of his picture, and suggested
a few points for another position, which he carried out by tak-
ing the head smaller, turning the face and person partly away,
having the eyes directed some distance one side of the camera,
and a little lower than their level, and lowering the tube to a
level with her chin, and this simple arrangement produced a
picture on first trial that satisfied her entirely, and Tom found
that " women can be suited."

(TO BE CONTINUED.)

THE IMPERFECTIONS OP THE CAMERA AND THE

REMEDIES.

BY THE EDITOR.

Photographers generally suppose that they make very accu-
rate representations of Dature — that the camera is more trust-
worthy than the pencil, although wielded by the hand of genius.

But I protest that they — photographers generally — are de-
ceived.

I admit that photographic portraits so much resemble the
models, that the likeness seems palpable and" an undoubted ap-
proach to a correct representation. Photography is such a new
art, that our astonishment at its actual achievements has kept
out of view the most desirable qualities in portraits. At first,
we were satisfied with such a shadow of a picture as could be
barely recognized as a likeness of ourselves ; and at the present
time most photographic artists consider their work perfect,
when all the chemical and mechanical manipulations are pro-
perly performed. The beau ideal with them of a perfect pho-
tograph, is a sharp, bold, and clear picture, with all the middle

174 THE AMERICAN

tints, and free from spots and stains. Will such men learn
that something more is to be striven for ?

Our mortal coil incloses and shields something of infinitely
greater worth and beauty than itself. Is a view of the immor-
tal part beyond the reach of photography ? Surely the soul
shows its features in the face ; it may display its whole form
and character. Painters know these things, and would consid-
er their work but half done, if the mind and character were
not represented. Let photographers, and the people who want
portraits, learn that a higher art is desirable, and it will be
soon found attainable ; the methods cannot be more trouble-
some or beyond control, than those to which the painters are
obliged to resort. May we not hope that instead of representa-
tion of men as dead, or in a somnambulic trance, we may have
pictures of life and thought? Let the reformation be fairly
commenced, and picture factories will find their true level.

So far I have discoursed rather on the shortcomings of the
managers of the camera, than on the instrument itself.

Sharpness of definition is commonly considered the most de-
sirable quality of a camera ; if the instrument gives a sharp
image of a newspaper, it has passed the great ordeal. But try
it on a portrait focussing on the eyes, and the eyes come out
clear and bright, and a plane of the figure passing through the
eyes, and perpendicular to the axis, has such admirable sharp-
ness, that a powerful microscope will reveal peculiarities in the
model invisible to the naked eye. Is such sharpness really
desirable in a portrait? I say no! Painters do not strive
after it ; when we view the model at such a distance as to
make it seem of the size of the picture, we do not find it.
Sharpness is really a secondary quality, when it is obtained at
the sacrifice of correct drawing, or in other words, of field and
depth. In fact, beyond a mere, bit of space, the common cam-
era, as commonly used, is a very awkward draughtsman.*
Sometimes the face is twisted, lengthened or flattened, and the
drapery and extremities are almost ridiculously out of propor-
tion. Photographers surely cannot appreciate these defects
when they are still eager for sharp cameras and mammoth
cameras. The readers of the Journal will recollect that this

* Why do engravers and other artists in copying photographs, imitate, Chinese
like, all the distortion of the camera, and represent beautiful ladies, (like Piccolo-
mini, for example,; with hands like legs of mutton ?

is not a new subject with me, and that I have indicated as a
partial remedy lenses of small aperture, and the enlargement
of small pictures.

The chief object of this paper wa9, however, to propose for
consideration another remedy for distortion, which I believe
has the merit of novelty, and in many cases would prove of
practical utility. The remedy consists simply in keeping the
lens in motion during the exposure, so that all parts would
successively be brought in focus. In taking a portrait, for ex-
ample, I would focus first on the front of the face, mark the'
position of the lenses on the tube, then find the focus on the
most distant visible part, and mark the tube. During the ex-
posure, now move the tube steadily between the two points.
For a satisfactory trial, I should prefer a lens of long focus,
and one which produced of itself as little distortion as possible,
otherwise the injury to sharpness might be too great. Of
course, a rickety camera stand, or mis-shaped brass work,
would defeat success.

ALL ABOUT A GROUND GLASS— 1 BIT AT THE EDITOR,

AND A PATENT.

Mr. Editor : — -My dear sir, I have made a discovery. I
deserve a patent, at least so I thought, and in the simplicity of
my heart I was about rushing to the patent office folks, to get
them to exclude all and every body else from using it, and to
let me work it all to myself or for my own advantage, when it
occurred to me that I had better think a little — second
thoughts are best, you know. Perhaps it is as well I did so,
for you know they might have refused me ; it is so simple, and
yet its simplicity is its greatest advantage. They (I mean the
patent office folks) are simple enough to give patents for things
far less valuable, at all events as little deserving, as I shall
show you before I am done.

One thing I am quite certain of . If they who are in want
of ground glass, knew how easy it was to make it, they would
not go hunting about for one, and recommending to others all
sorts of nonsense as substitutes. Indeed, I ought to be the
last to find fault, for I myself went a hunting, and ended just
where I ought to have begun. Just fancy my trying collodion,
so eager was I to try every thing; but I found mine altogether
too transparent, either for humbug or ground glass. I had

176 THE AMERICAN

authority, however, no less than Photographic Notes endorsed
in your Journal, over the name G-ulliver — fit name, had I but
thought of Brobdignag, I might have saved myself the trouble.
Well, here is his substitute. " Simply (simple indeed) coat a
plate of plaiu glass with collodion, and allow it to dry, then
fix it in the focusing frame."

Now, only think of that chap's pictures, how beautifully
opalescent his negatives must be, how handsome his positives,
when

" O'er the features hung
The veil, the silver veil which he had flung." — Moore.

by using such collodion.

Now, I will give you my plan. G-et a glass, the size you
want, get some fine emery, and sprinkle it over the glass, then
with a smaller glass rub all over, pouring on water to facilitate
the rubbing, and in ten or fifteen minutes you will have as nice
a ground glass as you can desire, and it won't cost three cents,
barring the elbow grease.

Now, sir, don't you think I am entitled to a patent ? No !
why not ? it is as good as many other things that have been
patented, for instance, the last new dodge, " transferring the
collodion film," (patented forsooth,) recommended in the Ame-
rican Journal, and found worthy of " honorable mention,"
by the Editor.

Now, before we proceed, let us look back— retrospection is a
healthful mental exercise. Well, on page 29, read : " We in-
tend to lay a heavy hand on the peddling of worthless receipts.
latterly, it seems as if there had been a general overhaul-
ing of old books and journals of photography, and out of them
every forgotten process was flying about." Then after an out-
burst of virtuous indignation, we are asked, " will our subscri-
bers assist us ?" I fancy I hear a thundering yes from all cre-
ation, (for your Journal is all over.) Well, then, we will assist.
We bring before your notice this last new " dodge," and re-
quire of you to <v lay on the heavy hand ;" aye, lay it on
" heavy," for the fellow has had the effrontery (I was about to
say unparalleled, but alas there are too mauy like him) of
bringing his nostrum under your very nose; faugh! did you
not " smell a rat ?" And then the charge, three dollars for a
dodge picked out of Humphrey's Journal, 6 months before the
patent was granted, whew ! !

But to the proof.

JOURNAL OF PHOTOGRAPHY. 177

Humphrey's Journal. AMERICAN JOURNAL.

May 1st, 1857. Oct. 1st, 1857.

Clean the glass plate ; coat with j Clean the glass plate, and coat
white wax. I with white wax.

jiuff the plate very thin ; take j Buff the plate very thin ; take
the picture same as any ambrotype. i the picture as usual.

When dry, flow over black var- j When dry, flow over black var-
nish, rendered tough by Canada I nish, rendered more adhesive and
balsam, reduced to a proper con- ! tacky by the addition of Canada,
sisteuce by turpentine ; when the i balsam ; when the varnish is near-'
varnish is nearly dry, roll on it \ ly dry, the paper, soaked in water,
black paper soaked in water. j is rolled on.

J. S. R. Howell's patent, granted Sept.

1 22, 1857, nearly 6 months after
■ publication by J. S. R.

Now, sir, this comes exactly under the category above men-
tioned, and justice calls aloud for punishment; "lay on Mac
Duff" the " heavy hand." Fortunately, we were cautioned

about " sharp fellows who make a living by selling formula

does a regular brick," (howling for what he can devour,) " relying
on a true aversion of the profession to take periodicals, read
some really useful process, of positive utility, he knows he can
make a good thing of it, and seeks a patent from commission-
ers who know nothing of photography." — Grarbanati.

Now, sir, I hope I have assisted you — by the way, can you
assist me ? I have tried the patent, but I cannot succeed in
taking off the film, without making such a concatenation of
puckers as would frighten a monkey, if he thought his face was
wrinkled so. W. Campbell, Jersey City.

(From every point of view we have only found the above a " rouser," or to use
a still more vulgar expression, " a perfect stunner." At the first blush our blood
boiled with indignation at the impostor, Howell — at ourself for being caught in our
own snare — at our neighbor, Campbell, for discovering our weakness !

We had made preparation for a fierce and deadly onslaught on quacks. We felt
trebly armed, for we had justice and the law on our side. We would be bold as a
lion. But the cunning Howell, with hypocritical candor, and insinuating modesty,
"Beards the lion in his den.
The Douglass in his hall,"
and we are sold to the devil. We become the vilest of the scurvy company of quacks.
Words cannot express the indignation of a virtuous man in such a predicament.

But while the printer has been putting Mr. Campbell's letter in type, we have had
some serious thoughts — the blush has gone and the indignation. We write and think
now calmly and deliberately, that our correspondent is quite in the wrong, and that
we are only " hit at," and not touched in the least.

Howell's patent was issued May 19th, 1857, and re-issued Sept. 22d, 1857. Mr.
Campbell quotes from our Journal of 1857, when he meant 1858. Did he make the
same error regarding the other publication? We suspect so. We are unable to
verify our conclusion, for we don't happen to have about us the " Journal of the
Daguerreotype and Photographic Arts and the Sciences and &c, &c." At all events,
the "Journal of <fcc, &c," has published the process at least three times this year.
And if J. S. R. had published it in 1857, it by no means follows that Mr. Howell
stole it from him, or that the patent is invalid. Why can't we suspect J. S. R. with
some reason ?

Let us hear from Mr. Howell. Although we are satisfied with him as a gentle-
man, and with his patent, yet Mr. Campbell's letter may leave with some a doubt
which should be removed.

About the ground glass, our neighbor has "let the cat out of the bag." He has
exposed a trade secret. But " elbow grease " is expensive in some quarters.

The failure with the transfer process, we believe, was due to its imperfect execu-
tion.)— Ed.

178 JOURNAL OF PHOTOGRAPHY.

EDITORIAL MJSOEltMY*

— Will the vexed question of the stereoscopic angle ever be put

to rest? A learned pundit of New York, believing his wares too pre-
cious for our homely climate and people, publishes in a late English
journal, a ponderous article under the caption of " Stereography." The
pith and conclusion of the whole matter is set down as follows :

" Taking the focal length of the eye as the unit of measure, we see
that the distance between the centres of the pupils is equal to four times
the focal length.

" A binocular view may, therefore, be enuwnciatad th?is : — It is a combin-
ation of tico monocular views , formed by a pair of equi-focal lenses, (the
eyes,) taken from two stations situated horizontally apart, at a distance
equal to four times the length of the lenses employed. Hence the formula
is, when F is the focal length, and D is the horizontal . distance of the
stations apart,

D = 4F

" This formula will apply to lenses of any focal length whatever."
Prodigious ! ! !

Yet the above formula is capable of simplification and demonstration
to the meanest capacity. It is not every one that can measure the
focal length of the eye, or believe it just 6-16 of an inch, Then, take
another unit of measure, the formula will not be vitiated.

Provide yourself with a yardstick, and laying it on the bridge of the
nose, observe that the distance from centre to centre of the eyes is, say
two and a half inches. Now, for a unit of measure : — Remove the or-
dinary covering of your right foot, apply the yard stick to your toes, and
when you find a toe-nail which measures 5-8 of an inch, take that toe-
nail length as the unit of measure. (If the nail has'nt reached that
length, let it grow to it.) Now, having found a unit of measure, and a
very easy one to understand, is'nt it plain that if it be substituted for
the focal length of the eyes in the pundit's proposition, the conclusion
will follow with a Q. E. D. triumph.*

D = 4F Certainly ! !
Skeptics, work it out and see.

This photographic Procrustes is surely a wonderful fellow, for, besides
mathematically expounding, he informs his readers that ho has con-
structed " a waggon for the purpose of a camera to take views of every
kind — scioptric, stereoscopic, and cyclopic, . . . and shall, if en-
couraged, send the negatives to Britain for sale."

Men of Britain ! we conjure you, don't lend yourselves to the scheme
of robbing our country of such talent, aud those great pictures ! !

THE ^JVTERICAJST

oiicmtt of i^afopapig.

[Kiiw §g0ai§o]

Vol. 1.]

NOVEMBER 15, 1858.

[No. 12.

A PORTABLE TENT.

BY A. C. ROSS.

In accordance with my promise, I send you a description of
a dark tent which has been in use and was gotten up by Mr.
G. Q. A. Tresize, of this place, some two years ago. I have
been using one for the wet collodion in the field for the last
six or eight months, and I find it all that can be desired ; with
everything to fit it can be put up and taken down within ten
minutes. But for the description. Take four pieces of pine
(A) 3-4 of an inch square and six feet long; into each end
drive a stout wire pin (d); then take two pieces of pine half
inch thick, one inch wide and about six feet seven inches long,
fastened together in the middle, so that they will open out
like the letter X; in the top and bottom of the cross pieces
are secured a stout piece of sheet iron (e), and bent horizontal
with a hole pierced through to admit the pin (d) in the
post (A). See dotted lines of the post (A). There are three
of those cross pieces, which when put together, form three
sides of a square three feet wide and six high, the fourth side
is left for the door.

180 THE AMERICAN

The pieces for the top (D) are made one inch wide, half
inch thick, and three feet one inch long, halved at the ends,
and holes in the ends just three feet apart, to admit the pins d,
in the posts A. On the pieces D, are nailed the side coverings
of the tent; for my own tent I have oil-cloth six inches
wider than the pieces, so that it can he folded round the cor-
ners, and for the top covering I have a piece of oil-cloth forty
inches square with four holes in it just three feet apart to ad-
mit of the pins in the posts A. In one side I have a hole cut
in the oil-cloth eight inches square, and covered with lemon
colored muslin, which will admit even the sunlight on a plate,
while developing without fogging it. A shelf may be sus-
pended from the top pieces (D), or supported at the angles of
the cross pieces.

I have made some alterations in my tent from the above ;
you will see from the stereoscopic view of it enclosed, that I
have glued pieces in the corners, and have hinged the two
sides to the back with webbing like a clothes horse, the right
hand side folds in front, the left side folds on the back of the
back part. This still makes it quicker to put up.

I think from the stereoscopic view, almost any one could
make the tent, without any description.

Zanesrillo, Oct. 29th, 1858.

From Photographic Notes.

PURE NITRATE OF SILVER WANTED,

BY THOMAS SUTTON.

Among the valuable papers which have at different times
been communicated by Mr. Hardwich to the Journal of the
Photographic Society, there is probably not one of greater
practical importance than his last communication, published in
No. 70 of that Journal, in which the effects of using impure
nitrate of silver are pointed out. This salt is the most impor-
tant chemical used by photographers, and it is now evident
that on its chemical purity a great deal more depends than bas
generally been supposed. The experiments made by Mr.
Hardwich were briefly as follows : — First, a pure sample of
nitrate of silver, made by dissolving pure silver in pure nitric
acid, was made into a 30-grain bath, and slightly acidulated
with acetic acid ; — next, two samples of commercial nitrate
of silver, obtained from one of the largest manufacturers of

JOURNAL OF PHOTOGRAPHY. 181

that salt, were made into separate baths of equal strength, and
acidified to the same extent as the first with acetic acid. These
three baths were then tried one against the other, with the
same collodion and developer. The result was that the bath
made with pure nitrate of silver gave good negatives in 15
seconds, while the other baths gave negatives which exhibited
many serious defects, and required a much longer exposure.
The experiments are minutely described in the paper referred
to, and were no doubt most carefully made. They lead to the
conclusion that nothing but pure nitrate of silver should be
used by photographers. With such evidence before him, the
practical photographer should now make up his mind to use no
nitrate of silver except that which is manufactured by dissolv-
ing pure silver in pure nitric acid ; and in order to obtain this
pure article he must not object to pay a reasonable price for
it; — that is, at least five shillings* per oz. We should be truly
glad to see every photographic firm in the kingdom at once
raise the price of nitrate of silver to five shillings, and sell
none that is not of guaranteed purity, and manufactured in
the first instance from pure silver, totally free from alloy. Or,
at any rate, we should be glad to see two varieties kept by the
trade, one for those customers who cannot afford to use a cheap
and impure article, having neither the money nor the time to
throw away upon failures : — and, if necessary, another sort
kept for those who can afford to use a bad article, who have
money and time to throw away, and who consider failures an
agreeable excitement rather than otherwise.

In every branch of photography pure nitrate of silver no doubt
yields the best results, diminishes the chances of failure, and in-
creases the sensitiveness of the excited film, or paper ; — and in
every branch of photography no doubt many of the failures which
occur are to be attributed to the impure commercial nitrate of
silver which has been so largely supplied to photographers.
In the negative collodion process the effects due to impure
nitrate of silver are felt chiefly when a new bath is used.
Where is the photographer who is not nervous about the quali-
ties of a new bath, — or who has not been dismayed by the ex-
traordinary failures produced by new baths ; and what is the
proper remedy for this state of things ? The addition, first of
carbonate of soda, and then of acetic acid, generally succeeds
in so far remedying the bath that it gives clean and dense pic-
tures, but this is equivalent to adding acetate of silver ; and
does not a bath which has been so treated give somewhat coarse
pictures ? Then again, it is generally admitted that the iron

182 THE AMERICAN

developer gives far finer negatives than pyro-gallic acid, when
it can be made to work; — and why can it not always be made
to work ? — why can it be used with one bath and not with
another ? Why does a bath which gives good negatives with
the iron developer to-day, give bad ones with the same collo-
dion and developer to-morrow, rendering the developer muddy
and covering the picture with stains V Is it not likely that
these things are brought about by impurities in the nitrate of
silver which have been overpowered or masked for a time by
the addition of an acetate ? And again, in the positive collo-
dion process, may not the almost universal bad tone of posi-
tives be due to agreat extent to the almost universal employment
of impure commercial nitrate of silver ? And in the printing
processes, what is more likely than that impure nitrate of sil-
ver may be the fertile cause of the many irregularities which
occur in these processes ? There is surely no greater mistake
than to suppose that any old negative bath, or refuse nitrate of
silver, will do for positive printing ; on the contrary, we believe
it to be quite as essential to use pure fresh nitrate of silver in
printing as in any other operation, if brilliant, vigorous, and
permanent prints are desired.

The photographer may depend upon it he cannot be too par-
ticular in the purity of his nitrate of silver; or, if he be a
daguerreotypist, in the purity of the silver with which his
plates are coated. To buy cheap nitrate of silver, or cheap
daguerreotype plates, is certainly false economy, and we shall
ba glad to see a strong reaction set in in favor of pure silver;
and then, when the demand has become imperative and univer-
sal, the supply will follow as a matter of course. It has surely
been a great mistake of the trade to reduce the price of nitrate
of silver. Instead of doing this, the price should have been
maintained at 5s. per oz. and the rivalry have been to produce
the purest article. Considering that nitrate of silver contains
about two-thirds by weight of pure silver, we cannot imagine
how a pure article can be supplied at the prices now cited by
some of the leading firms. But the fact is the commercial ar-
ticle supplied at these low prices, is not fit for photographic
purposes, and a totally different process should be employed in
its manufacture. That process will be found to consist in first
obtaining pure silver then dissolving it in nitric acid. We
know of no other means of obtaining pure silver than by throw-
ing down the chloride from an impure solution of the nitrate by
means of salt, and then reducing the chloride, by fusion with
soda, to a melted mass of pure silver. This appears to be a
necessary first step in the process of making photographic nit-
rate of silver. Should the nitrate thus made by dissolving the
pure silver in nitric acid be found to contain a very slight ex-

JOURNAL OF PHOTOGRAPHY. 183

cess of free nitric acid, it will perhaps be better to leave it
alone than neutralise it by adding oxide of silver of question-
able purity. With good collodion there is no objection to a
faint trace of free nitric acid in the negative bath, and for posi-
tives excess of nitric acid is a decided advantage, nor is it at all
objectionable in the printing processes. The quantity should
however be reduced as much as possible by evaporating and re-
crystalising when extraordinary sensitiveness is required. A
great clamor has been raised about the free nitric acid in nit-
rate of silver, but in our opinion the nitric acid is harmless in
comparison with other impurities, which are either metallic or
carbonaceous.

Our readers may depend upon it that pure nitrate of silver
is a matter of great practical importance. The exact nature of
the impurities in the salt now commonly sold is very obscure,
but their effects are nevertheless very strongly marked, and
since they are avoided by dissolving the pure metal in the acid
the practical conclusion is that that plan should be generally
adopted, and the present mode of manufacturing the salt from
mixed metals given up.

EXPRESSING CHARACTER W PHOTOGRAPHIC

PICTURES.*

BY E. K. HOUGH.

The incident related in the article of which this is a contin-
uation, was introduced to show that for the benefit of the art
of portraiture, and for the elevation of its professional fol-
lowers to the position of true artists, there must be a different
mode of treatment adopted for the subjects given them to re-
present, than the irrational one now in common use.

From the manner in which sitters in photographic studios
are usually treated, a strict criticism would deduce that the
" human corporations" had no attribute but form, and that the
rule adopted for representing them was to sit them down, stand
them up, or lean them against any support that was most con-
venient for keeping them still, and for getting a good strong
light to show their various shapes and proportions. No one

Continued from page 173.

184 THE AMERICAN

could suppose that the artist thought they had souls — feelings,
sentiments and dispositions — of which physical form was only
a containing structure, and means of expression.

And you would almost as soon expect to see them en-
deavoring to draw living vigor from a wooden statue, as to see
them even attempting to make manifest the individual, mental,
and spiritual qualities that dwell in human forms.

This department of art seems to be either beyond their com-
prehension, or their ambition — or both — for the weak plea,
" that it won't pay" cannot be true in every instance, because
many of them now are making large " wages " as mechanics,
and would assuredly make more in the same localities as artists,
however much they may doubt it.

I will try to explain what I conceive to be the difference
between photographic operators who are artists only in name
and by courtesy, and those who are so in thought, education
and practice.

One of class first opens a room. He carpets, cushions and
mirrors it to make it "draw." If he were sure customers
would come just as readily and often without, he would not do
it, however unpleasant it might be with bare walls and hard
benches.

Well, his rooms are in "full blast," (as he advertises,) and
doing a " paying business," — his highest criterion of success —
and now we will analyze him, when in presence of visitors.

A gentleman and lady enter. A rapid survey of his broad-
cloth and her silks, convinces him that they have the " dimes,"
and he meets them with impressive politeness. Before his
mind's eye there rises the vision of an indefinite number of
dollars, now in their pockets, that a little financiering will
soon transfer to his. They signify their desire to patronise.
He shows them various kinds of cases, and wishes to know
how they will have the pictures "put up." They select a pair
from each of two kinds — cheap and costly — and ask the price.
He informs them. They decide that the best ones are too
high-priced — they will take the cheapest. And here is precisely
the exigency in which he displays the greatest skill, and puts
forth his strongest mental efforts. The extra profit of two,
three, or more dollars, is about to elude his grasp, and the
pliant hinges of his tongue are set in rapid motion. " The
cases are rich — very rich — will display a picture beautifully,
and are cheap at the price — extremely cheap — much cheaper
than the artist on the corner would sell the same quality ; but
if they will take the two best ones, he will "throw off" a

JOURNAL OF PHOTOGRAPHY.

185

dollar." They decide to take them, and he goes into his work
room with the self-complagent consciousness that he has made
two dollars by sacrificing one dollar, and his dignity — a little
loss and a great g-dn. .Now, if his chemicals will only work
well, he is all right.

He prepares his pi ».te, and sits the lady, placing her head
against the " rest," and telling her not to move. She is a little
nervous, and presses against it harder than need be, so that by
the time he is ready to " expose," she looks about as natural
and interesting as a person with hands and feet in that ancient,
but useful machine for civil punishment — the stocks ; or as one
bound in the chair of fate in a torture-room of the Spanish
Inquisition.

But he does not mind this : " if they will not look easy, how
can he help it ?" The picture is taken, and being smooth and
bright, he pronounces it " fine," but the lady don't like the
position — thinks she looks "stiff" — will he try again ? An-
other plate is prepared, and she endeavors to look less rigid,
and succeeds in holding her head quite natural, but a heavy
silk shawl which she wears this time is drawn tightly across
her shoulders, until a number of folds on each side, straight,
and hard as iron, run to a point in the clasped hand lying in
her lap. But he makes no endeavor to arrange it properly, in
fact considers it of no consequence, and the second impression
is produced. This does not suit, because the shawl looks
awkward, the lady protesting she had no idea it would look so
in the picture. He ventures very delicately to suggest that
the chemical effect is so fine it should not be rejected for such
a trifle as that. But the lady, with one of woman's unnac-
countable whims — as he thinks — considers the position and
surroundings of the person, at least equally as worthy of
attention as the mere color of the picture. The only object he
has in view is to please them, because he must do that to get
the money; but of what he shall do to please them, he forms
no plan, except to get a picture clear and distinct, and in fact,
thinks that ought to be sufficient, if it does not, he " cuts and
tries," not until they are satisfied, but until they say, " finish
that one — I guess it will have to answer." Therefore, he tries
yet again, and hears the wished-for sentence, " finish," &c.

Then comes the gentleman, having prominent, well-defined
features, but with sharp angles and outlines, and light
eyes. He places him, full front view, and produces a picture
giving the appearance of a broad flat face, the nose also broader,
the thin, firm-pressed lips forming a narrow line, and the eyes
like two holes in a blanket. This is decided not to be natural,

186

THE AMERICAN

although they do not really know why, except the eyes. The
lady suggests a side view, and he tries, not because he thinks
it will be better, but because it may suit. Again he blunders,
by turning the front of the face toward the light— there are
no shadows to the outlines of the forehead, nose and chin,
leaving them very sharp and abrupt, the eyes worse than ever.
Again the lady suggests turning him considerably away from
the light, which he does, and produces a picture with the out-
lines rounded and softened, the form of the cheek, nostrils
and mouth well defiued, the eves good, and of course it suits,
and his money is earned. This cut aud try routine he con-
tinues from day to day — tolerably sure of good chemical
effects, he forms no plan of conduct regarding position — has
no general or particular rule by which to adopt them to the
peculiarities of individuals, — but, half a dozen persons com-
ing in successively, with widely differing characteristics of
mind aud person, he sits them all in almost precisely the same
position, if none of them object — if they do, he' tries other
ways until they say " enough," then falls back to the old rou-
tine again.

The entire number of positions kept in mind, as stock in
trade, do not exceed four or five — of these, two, full front,
and three-quarter side, monopolise four-fifths of all the pic-
tures he makes. Sometimes side of person and front of face,
sometimes the reverse, sometimes alike in both. These are
the easiest to arrange, and therefore he adopts them without
regard to any other advantages. In fact, his principal idea of
position is to arrange the sitters where a good light will fall on
them, and where they will be likely to keep still, and for the
intellectual skill exercised, they might as well be stone idols
from Egypt, except that the " humans " are more liable to
move.

Regarding groups, his ideas of composition are more limi-
ted still. Iu them, each figure stands as self-contained and
independent as a soldier ou parade, whose posture is no differ-
ent when there are a thousand men in his troup than when he
stands alone. His groups are only two or more individuals
taken on one plate, and could they be separated would each be
a single picture, from whose posture you would form no idea
that ne or she had been placed in that position as one of the
necessary parts making up a scene, or expressing^ thought or
purpose.

The excuse that this cannot be done, because the camera is
deficient in capability for such effects, is rendered void by the
fact, that stereoscopic slides, with thousands of varying group-

JOURNAL OF PHOTOGRAPHY. 187

ings, from parties at cards to battle scenes representing the
crusades, are exposed for sale daily. He is ashamed to admit
his ignorance, and therefore blames his camera.

Mayhap, however, his lenses are imperfect — bought with a
view to economy, and without a proper knowledge of the quali-
ties that good cameras should possess. In that case his blame
is as just, as the artist who bought brushes of bristles, and
blamed them because they did not paint as fine as sable.

Imperfect instruments and imperfect knowledge, always will
produce imperfect work.

If to execute beautiful photographs is a trade, so easy that
men, having very limited scientific knowledge of the agents
they use, a very inferior order of mechanical skill, and no ar-
tistic ideas whatever, can at once take and keep the front ranks
of merit, then the contempt with which real artists regard it,
is only just ; there is nothing to call forth either intellect or
ambition, and they turn away with disdain as they would from
the manufacture of paper toys.

If it be thus easy, it bears no more relation to true art than
the music ground from a street organ bears to the enchanting
melody of Jenny Lind, or the triumphs of grand opera.

But, thank Heaven, it is not thus easy.

(to be continued.)

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

Preliminaries.

It was in the spring of 1851, that I, Sol Skylight, a respect-
able manufacturer of Brooklyn, and withall, a bachelor, first
had any practical knowledge of the process of face-mapping
by Daguerre's art ; often peeping into the show cases of
Dnguerrean exhibitors, and incidentally wondering how those
things were done. I had never myself submitted to the oper-
ation.

Whether 'twas a lack of vanity, want of curiosity, dearth of
amiable friends interested in my counterfeit presentiment, or

188 THE AMERICAN

want of time, deponent saith not; — that important secret will
remain buried in the womb of time, and with myself. Possi-
bly, I cannot myself divine the reason ; nevertheless, the
present devotee was then unappreciative of that branch of art,
oblivious and uncurious to its powers of wonderment.

Time, the great developer, produced *he occasion; woman,
the charmer, matured the incident. My picture was wanted;
I must have a daguerreotype taken ; it was to be presented ; I
was positively in demand ; ah ! — case of friendship, nice fel-
low, interesting remembrancer. However, one picture begat
another, and I became interested in the art.

Now, I knew somewhat of art, was born amidst pictures ;
nothing strange, therefore, that my curiosity once awakened,
should not desire to sleep on the subject. I resolved to know
more. I cannot analyze the sensation of my first, daguerreo-
type, every thing was new to me ; the artist readily persuaded
to fifty per cent, difference in the value of a trifling case ; the
profundity of the mystery of this mysterious art, made me
imagine a change of picture with each case. Did any body
else ever have a sensation when having the first daguerreotype
taken ; is there a sensation, or is it fancy ; is there a sensation
every time, — certainly, stuck, bolt upright, cautioned not to
move — to look steadily into a bomb-looking instrument, with
a large, bright convex-concavo-plano, &c. — glass dazzling one's
eyes, is it strange that I fancied an electrical action between
myself and the camera ? " Quiet and steady " before the cap
was taken off, I felt a strong tremor all over, possibly an effort
to be still ; I certainly thought the picture would be all
blurred, and that it was not so, shows that the tremor was not
as strong as I imagined. I have known ever since that it is
highly injudicious to cause the sitter to look in the camera.

I was then a looker on, and well remember the ordeal my
second picture went through at my boarding house ; this one
did not like the position ; that one, the expression ; the other,
the general tone of the picture, and I was persuaded to bave
it changed. I will admit that it was not good, but the inci-
dent shows the necessity of good pictures, that artistic work
is its own recommendation.

Wilms Bristles, Brushmaker, was my landlord ; business
had long been bad with Bristles, and Bristles had long thought
of seeking some other investment. Bristles had had many
pictures taken, and was well known to picture takers, and con-
sequently was better posted up than myself, when the conver-
sation naturally turned on the various aspects of the art — its

JOURNAL OF PHOTOGRAPHY. 189

capabilities as a cash gatherer, aud the best places to gather
said cash iu. Bristles knew daguerreotypiDg was a money mak-
ing occupation ; did'nt men open galleries with a carpet, a
table and a few chairs, which, with a camera aud a few dollars
worth of material, constituted all their stock in trade, and
did'nt some of them make money too, and have lots of time to
spare after day-light labor, (sky-light ?) Why, he was ac-
quainted with a stupid, one-idead man — and a mighty attenu-
ated idea at that — who was taking the poorest kind of pictures,
with the most preposterous and meaningless positions and ex-
pressions, and yet got a good liviug, in Broadway, too ; only
think of such a fellow in Broadway — there are more than one
now— the physic begins to work — I feel interested. Bristles
is hard up, but knowing I could raise dollars, he can raise
some too. Why not try the business? he could soon learn,
any intelligent man could, and he is no fool. I knew I could
learn from him — knowing Bristles — and California would yield
a rich harvest, but that is too far off, would cost too much to
get there, would require too much capital, nothing on ,the spot,
everything to be taken, besides the fever is not at a crisis, they
may not require many pictures just yet. California still fluc-
tuates, we are in doubt ; yet the picture-taking must be en-
gaged in. I am committed. Hurra 1 laughs Bristles in his
own quiet way, I did'nt hear it, but now see it ; but where
shall it be — shall we venture New York. Pity we did'nt.
But a mighty idea flitters o'er the brain of Sol Skylight ; its
scintilatious light up his soul. Let us go to London ! to
Loudon? Yes: why, do you see, here we have artists in
great numbers, takiug pictures at little price ; people ar6
pretty well supplied; foolish Sol Skylight; there artists are
scarce and pictures are high ; why not then engage in the un-
developed trade take pictures at half their prices, and yet at
double ours; the great masses are as yet unsupplied, and we
American artists have a great name. Humph. Excellent
logic ; so it was, and London was fixed on. Bristles now com-
mences taking lessons of a Brooklyn artist, and soon gets
ahead of his instructor, from the simple reason, that he knew
but little and never will know much more. So Bristles, like a
wise man, gives more dollars and some two weeks time to an
excellent artist, who knows something. .

In a back parlor in Washington Street, see Bristles duly in-
stalled, self-instructing, and imparting his knowledge as ac-
quired, to Sol Skylight iu his leisure time. Sol, the future
photographic artist, is initiated into the mystery of plate-
cleaning, and duly feels his genius equal to all its demands.
Soon to the more commodious show rooms of Sol's contracting

190 THE AMERICAN

business in Atlantic Street, the enthusiasts remove their exper-
iments, and soon amidst the productions of inferior pictures,
under the influence of adverse circumstances, Sol and his
partner Bristles conclude that they may venture to London,
and not disgrace the fair fame of American artists, with their
camera portraits. And now Bristles prepares for his departure
in advance, and Sol with rapidity draws in his business, sells
stock and tools by auction and by private sale, and with part
of the apparatus and stock, and full instruction to take a
suitable place in London, Bristles starts on his way, accompani-
ed by Sol, to Philadelphia, to see him off, and sell part of his
stock : and lucky it was for Bristles, for Sol saved him from the
hands of the Phillistines, and sees him on his way, sad, yet
perchance rejoicing.

A POPULAR ERROR REGARDING COLLODION.

BY JAMES CADY.

It is the common practice of photographers to prepare their
collodion after the direction of some famous author, scarcely
daring to dream that there can be any liberty of variation.
Everything is weighed or measured as if success depended
upon the utmost exactness ; and if success does not follow,
everything is blamed before the formula is suspected.

Now, it seems to me, that a man who constantly makes
photographs, has better opportunities than our amateur auth-
ors, and should unhesitatingly use his own judgment if in
opposition even to all the authors.

As an example of a popular error, I would instance the
ordinary recipes for collodion. Many persons believe that
Hadow, Hardwich and others, have demonstrated that the
ether and alcohol in col!odion should be in the exact propor-
tion of five parts to three, and that any other proportion
would produce an inferior article. Yet I have shown by my
practice of more than a year, that generally such an exact
proportion is erroneous. It may often be the best, but it is
an unsafe rule. The correct proportion of alcohol and ether,
depends especially upon the quality of the gun cotton ; also,
the condition of the bath, the kind of excitants, the tempera-
ture, &c, may be considered in a case of great nicety. The
proportion of equal parts of ether and alcohol will be found

JOURNAL OF PHOTOGRAPHY. 191

oftener desirable than what is commonly followed. For the
past year, I have adopted this proportion, and have seldom
been obliged to make any change in the collodion so prepared.
The greatest objection to a larger dose of alcohol is, that the
film requires too long a time to " set "

Now York, October 9th, 1858.

THE HOWELL PATENT.

A LETTER FROM MR. HOWELL.

Ashtabula, Nov. 6th, 1858

Mr. Editor : — T feel disposed to give you a brief account of
" Howell's Patent," how and when I commenced operations,
&c. In the month of June, 1856, I commenced the use
of beeswax for the purpose of trausfering the collodion film
picture; I was led to try this experiment, not from reading
Humphrey's Journal, but from knowing the fact, that gutta
percha was used for this purpose, and also knowing that
it was objectionable, on account of the veiled appearance
of the picture after it was completed. The result of my
experiment was satisfactory, and I deemed it quite an im-
provement. But, unfortunately for me, I was taken sick
before I was able to complete a formula for a transfer, and
consequently was not able to attend to the matter until the
following November. In the month of January, 1857, 1 made
application for letters patent for said transfer process. A few
weeks after I made my application for said letters patent, I
gave instructions of said formula to a gentleman in Paines-
ville, Lake Co., Ohio. A short time later, one J. S. Reynolds,
(or J. S. R.,) a resident of said Painesville, was very anxious
to get hold of the said process, and as the gentleman above
alluded to, was not willing said J. S. R. should have it, it was
withheld from him. Therefore, said J. S. R. set his wits to
work to get hold of it, and the course adopted for this pur-
pose was, in my humble opinion, anything but gentlemanly.
He succeeded, however, and then what followed ? Why, J.
S. R. writes in brief the process to Humphrey for publica-
tion, and for what purpose you may guess ; as for me I know
without guessing. One thing more relative to J. S. R. ; he
knew, previous to writing to Humphrey's Journal, that appli-
cation for letters patent had been made for said process. Now,
sir, who is the thief; who is he " that reads some really

392 THE AMERICAN

useful process of positive utility, knowing that he can make
a good thing of it, and seeks a patent from commissioners who
know nothing ")f photography ?"

I beg leave to differ in opinion, as to commissioners of pat-
ents not knowing of photography. All you have to do is to
try them, and I think you will find them fully posted.

As to Mr. Campbell's failure, it is either ignorance or neg-
ligence of the process.

In proof of the above, relative to the application for letters
patent, &c, I refer you to the records of the patent office. As
to the other matters, you must take my word for it, and I am
so presumptuous as to consider my word good to the letter,
notwithstanding all the blow about stealing processes, &c, &c.

Since writing the above, I happened to find the enclosed
picture; I send it simply that you may see one of the Howell
papertypes, made nearly one year ago. No especial pains has
been taken to keep it in good order, and I could produce pic-
tures, with equal good surface to the enclosed, which I made
two years ago this present month; I mean transfers by the
Howell process. Yours truly,

Edward Howell.

EDITORIAL MtSCElUNY*

-We trust that the recent change in the subjects discussed in

this Journal will be acceptable and satisfactory. At the present time,
the mechanical and chemical processes and theories of photography are
far in advance of its other and higher requirements. We understand
tolerably well, and are able to control our materials so as to produce
any desired chemical effect, yet that refined and artistic judgment which
eventually will preside over all successful photographic working, needs
to be roused from its slumbers and put to school.

Some day the photographic art will not be the mechanical trade which
is acquired in a month by men who have not the capacity to become
tinkers and tailors in years of apprenticeship. Some day the photo-
graphic art will be reckoned a fine art by all, commanding the highest
honor for its votaries. May we not expect to hasten that day by efforts
to show the higher capabilities of our art, and to point out some of the
paths for advancement 7

—A year ago we insisted on having pure nitrate of silver, and

gave reasons like Mr. Sutton's. We would demand now as loudly that
we should have the unadulterated article, but we would not urge the
same reasons.

There is a difference between impurity and adulteration which seems
not to be generally Understood, impurity may be the result of accident
or carelessness, and may not materially diminish the quantity of a chem-
ical preparation. Adulteration is made intentionally, and always dimin-
ishes the quantity. Impurity indicates ignorance and unskilfullness —
adulteration, fraud. Also, a certain kind of impurity in nitrate of silver
may he consistent with a tolerable amount of skill and an honest pur-
pose. For example, a chemist purchases from respectable dealers fin*
silver and good nitric acid, makes nitrate of silver with these materials,
crystalizes and recrystalizes the salt, and gets only such an article as
Mr. Sutton condemns ; he has committed no grievous offence ; there is
surely no fraud chargeable to him. And, moreover, if the impurity is
easily to be removed by the consumer, little harm is done. It is on this
that Mr. Hardwich and Mr. Sutton stumble ; they do not know how
easily to get rid of the impurity. Mr. Hardwich proposes to keep the
crystals at a high temperature tor a considerable time. Mr. Sutton
would use only silver reduced from chloride, and pure nitric acid, thus
preventing the defect. Either of these methods would prove too trouble-
some. Now, is it not strange that Mr. Sutton, who claims to have dis-
covered "the wonderful dodge'' has not thought of the exposure to light
in this connection. If he will be pleased some day to try the effect of a
little light upon his impure silver solution, in our opinion he will find
his anxiety on the subject considerably relieved.

As to the nature of the impurity in question, we would respectfully
6ugg«st that Mr. Hardwich may have been searching in the wrong di-
rection. We suspect the impurity is not organic or volatile, but metallic ;
and probably iron got in during the crucible operation. At all events,
with what light our own experience has afforded, we cannot maintain
any other theory.

Let it not be understood that we think too lightly of the impurity in
silver salts which produces fogging. No chemist who regards his repu-
tation of great moment, but will strive to eliminate it. We would only
characterise it as far less worthy of complaint than deliberate adultera-
tion. The man who sells nitrate of lead or potash for nitrate of silver
deserves contempt, and more substantial punishment. The intelligent
photographers of America are willing to pay $1.25 per oz. for any
nitrate of silver which they know is not adulterated.

Finally, we venture to say, that when English photographers adopt
the American system of working with 40 grain baths, heavily iodized

194 JOURNAL OF PHOTOGRAPHY.

collodion and sulphate of iron, they will have less to complain of bathe
acting irregularly.

The letter of Mr. Howell we believe will be found to be quite

conclusive. We have at no time lost any confidence in his hanest in-
tentions. We still endorse and recommend his process.

—We invite attention to the communication of Mr. Cady. —

Will those who have had similar experience please address us ? We
are acquainted with two at least who, about eighteen months since, used
collodion with a large excess of alcohol. The first published account of
such collodion, was made in this Journal, page 19, where seven or
eight parts of alcohol to one of ether is recommended. We have re-
cently made good negatives and ainbrotypes with collodion composed of
twenty-five parts of alcohol to one of ether. It will be remembered
also, that we have for several years abandoned the proportions of 3 to
5 and adopted 3 to 4, recommending the addition of alcohol ad Libitum
to prevent peeling. These facts assume importance at the present time
on account of very extravagant language of puffing in foreign journals
concerning similar facts recently brought to light in England.

Mr. Oady is the very highest authority on practical matters. He is
commonly acknowledged to be the most skilfull daguerreotypist living,
and we predict for him the same eminence in the newer arts.

Messrs. Seely & Garbanati have lately introduced a very in-

genious vulcanite attachment to the camera shield, to serve as a cut off
for vignette pictures. Such pictures are lately quite the fashion in
New York.

It is a rule among scientific men to decide claims of priority to

discovery, by the date of publication ; whoever first publishes a new
thing, is entitled to all the honor. *

We consider this a wise and fair law. But owing to an ignorance of
it, many well-meaning men have felt themselves aggrieved. If a pho-
tographer finds anything useful to his brethren, it is his duty to himself
and them to make it known, unless he desires to secure to himself the
pecuniary advantages of a patent. We feel little sympathy for the man
who loses the reward of his labor by his own neglect. A light under a
bushel does no one any good.

The American mind is peculiarly active on practical matters, and
we have no doubt whatever, that if photographers would hasten to pub-
lish what they know, they would lead the world in all the useful paths
of discovery.

THE ^MEPtlCAJSr

[ KJ E W © @ (3 Q g © o 1

Vol. 1.] DECEMBER 1, 1858. [No. 13.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

His Voyage and Reflections — Arrival in London,

Having seen the noble steamer, with my few-worded friend
amongst its passengers, haul out, screw off, and throwing a for-
gotten parcel on board by way of parting salute, I rapidly-
transacted my business in Broaibrim town, and commenced
the same routine in Brooklyn, where, by means of auction and
otherwise, collections, compromises and sacrifices, and settlings
up of accounts generally, I was ready to follow in a month,
when I duly embarkel in the good ship Independence for Lon-
don, with quite an assortment of daguerrean goods of American
manufacture, a letter from Mrs. Bristles, and words of affec-
tion from the little Bristles to their pa beyond the seas.

Now, the good ship Independence had been a good ship,
but was now old and sea worn ; she had been half seas over
many times, and her return halves combined counted up quite
a number of respectable voyages ; unlike man, she had become
loose in her joints by age, but like him, age had also given her
a creeking voice; — by the way, how like man is a ship : voice
sharp both by youth and age, and less discordant in maturity.
The old sea plower had been quite a clipper — a regular spray
dasher — making, in ber time, some of the shortest passages
between New York and London, and with favorable circum-
stances occasionally dittoing in her decline, which favorable
circumstances prevailing on this auspicious occasion, she man-
aged to give her passengers the opportunity of landing at the
end of twenty-one days, which none failed to avail themselves

196 THE AMEKICAtf

of. How an old ship, even though a clipper and fast sailer, is
apt to be slow in her arrangements, compared with our fast
age, and a certain private office where passengers paid hasty
visits singly, being in the vicinity of my state room, in nowise
added to my comfort during four days successive sickness, nor
could I by the most careful and logical deduction prove, that
it in anywise assisted my recovery ; but, on the contrary, I
was forced to the painful conclusion, that if I did not keep the
little window closed, that I might become highly cholcratic, or
in plain words, be seized by the cholera ; neither was I by any
means sure I should not be seized by a fever if I kept it
closed, so which shall it be the risk of — cholera or fever? The
question being duly submitted to my room-mate, who was go-
ing over to assist us in the onerous task of taking British
pictures and British cash, it was decided in favor of fever, with
occasional variations, according to the wind.

Some people sing the joys of the sea, and boast of its ever
varying beauties ; now, with all due deference to some people,
and at the risk of being thought unpoetical, and matter of fact,
I consider it unmitigated humbug, and the sea voyage, a dull
and leaden monotony. See a good storm, and be pitched out
of your berth in the flooded cabins; see a dead calm, and be
impatient for a breath of air; see a dull and cloudless sky for
" miles and milesses," and a glorious prospect of fleeting clouds ;
see a magnificent sun-rise, with old sol gradually lifting his red
face up from the spot where sea and sky intersect, to mortal
vision, as if he went to bed, drunk over night, and then grad-
ually imparting his color to various strata of surrounding
vaporous clouds, give in lustrous colors, such as is the highest
art of man to imitate, a wondrous blaze of daylight, and realise
a splendid and much poetised " sun-rise at sea," and watch at
night, with varying effects, his gradual decline ; see at night
the sparkling diamond-like lights dashed from the foam, and at
day the world of water, perchance in angry ferment, bidding
defiance to the black and portentous sky ; or perhaps, still and
quiet, like the sleep of an infant, and you have a sea-life ; but
do you wish to gaze on forever ; is your memory so voracious
that it needs perpetual feeding; methinks such sights once
seen can never be effaced. I want change to fill up the un-
occupied chambers of thought and reflection, and tenant the
mind with knowledge, especially when my fellow voyagers are
dull and spiritless; don't tell me of friendships formed at sea
— seldom lasting — and the agreable times engendered by the
necessities of a voyage, those opportunities occur on shore.
"Why, that agreable old Irish gentleman, who had "travelled
the wide world all over,'' whose society I was in the most of

JOURNAL OF PHOTOGRAPHY. 197

each day, and was the only relief of the cribbed and limited
space of the ship's deck, I regard as only an incident of the
voyage, and by no means a reason why another should be taken.
No, I say emphatically, that every voyage has only confirmed
me in the opinion that the sea is a bore, and that I never will
seek it from love.

Duly arrived at Gravesend on Monday, a few impatients
took boat, and rowed ashore, and after strolling the town, for a
short time, in our peculiar American rig-out, of white coats
and straw hats, we embarked on board a steamer, and saluted
our ship as we passed, gliding along in the charge of a tug,
well named from the work to do.

Arriving in London, I was soon perched on top of a "buss"
going in search of Bristles, who had takeu lodgings in the
West End.

Now, London, to a stranger, or one long absent, is quite a
sight, especially on Sunday, when everybody, with his wife and
children, or — never mind details — is airing himself in his best
clothes, the omnibusses plying their trade with equal industry,
as on any other day, present quite a different aspect with their
gay holiday and health-seeking occupants ; the smiling faces of
parents and hopeful ones of children, to the care-worn- and an-
xious expressions of business hurried citizens on work days.
London is decidedly gay, yet quiet on that day, and its deni-
zens enjoy themselves and make the most of life. Why, you
would scarcely know that care and trouble permeated its dwell-
ings, and that poverty was known in its thoroughfares, but that
an occasional beggar attended on the scene, and dispelled your
illusion, and then you are not sure he is not an impostor.

London is decidedly a respectful and respectable place on
Sunday, and from the top of a " buss " you have a good op-
portunity of viewing it ; but the morrow — how changed the
scene — how different and more varied the aspects of the hu-
man face divine !

Whilst I have been digressing I have been travelling, and
being deposited at the spot nearest my destination, go in search
of Bristles, and after sending searchers, find him paying a
visit to an old friend to whom he had letters of introduction,
and who had by no means forgotten my former visit and
long stay.

198 THE AMERICAN

From Photographic Notes of Oct. 1.

ALCOHOLIC COLLODION.

We published in the last number of this Journal a new
formula for the manufacture of collodion, by which we en-
deavored to shew that a collodion, superior in some important
particulars to any that has yet been employed by photograph-
ers, might be produced. To this new collodion we gave the
name of Alcoholic Collodion, from its containing consider-
ably more alcohol and less ether than common collodion. As
this matter assumes in our eyes increasing importance, we will
bring it once more before the notice of our readers, and point
out some good properties of the new collodion which escaped
our notice in the last number.

If our readers will refer to any of the old Treatises on the
Manufacture of Collodion, or if they will test the specific
gravity of the collodion commonly sold by manufacturers, they
will find that hitherto it has been the general custom to use
less alcohol than ether in the mixture which forms the solvent
of the pyroxyline, altho' it has been generally admitted that
the addition of alcohol has the tendency to render the collod-
ion more sensitive, and at the same time more easy to manipu-
lator. But it seems to have somehow escaped the notice of
experimenters to try the addition of alcohol in its anhydrous
or absolute state, as distilled with quick lime, instead of what
is commonly called " absolute alcohol," but which in reality
contains as much as 10 per cent of water. In short it appears
that experiments have been tried with alcohol S.Gr. -820, that
is with the strongest alcohol that can be produced by simple
distillation, instead of with the really anhydrous alcohol S. Gr.
•794, which can only be produced by distillation with quick
lime ; so that it has not been generally known that the latter
kind of alcohol maybe used in a large proportion as compared
with the ether in the mixture which forms the solvent of py-
roxyline ; and we consider it a valuable discovery which we
have made, that absolute alcohol may be extensively added to
ether in the manufacture of collodion.

It appears from experiments made by us, and which seem to
be quite conclusive, that the best collodion for general practi-
cal use, is that which is mide by adding one part of absolute
ether S.G. -720 to four parts of absolute alcohol S.Gr. '794,
dissolving in this mixture from six to eight grains to the ounce
of good photographic gun cotton, — and iodizing it with the

JOURNAL OF PHOTOGRAPHY. 199

usual iodizer, in the proportion of one part of iodizer to three
of plain collodion. This is without doubt a much better for-
mula for collodion than any that has been yet published, and
we conceive that collodion thus made possesses advantages
which will be certain ere long to bring it into general use.
These advantages we will briefly state again under the follow-
ing heads :

Facility of manipulation. — When collodion contains
the usual large quantity of ether it is not easy to coat a plate
properly in hot weather; 'and it generally happens under any
circumstances that even when an operator has attained con-
siderable skill in the process, he fails in producing an even
layer of iodide of silver, when the film is viewed by trans-
mitted light on removal from the nitrate bath. It frequently
happens, even in skillful hands, that the collodion which has
run to the edge or corner of a plate flows back again, when the
plate is tilted, over the part which has become partially dry,
so as to produce a cloud or wave. If any one will examine
critically the film on removal from the nitrate bath, he will in
general find a wave existing near some edge or corner, which
has been produced by the cause stated. But when there is
much less ether in the film it does not dry so rapidly, and these
irregular markings do not occur, because the collodion flows
like oil over the plate, and may be passed backwards and for-
wards over the same place with impunity. A plate is there-
fore more easily coated with alcoholic than with common
collodion, under any circumstances, but particularly in hot
weather ; and when coated it exhibits an even film. Again,
the less ether the film contains the more easily it is wetted in
the nitrate bath, and the more easily the developer flows over
it ; which are by no means unimportant advantages.

Sensitiveness. — It might be concluded a priori that alco-
holic collodion would be more sensitive than common collodion,
and that we find to be the case ; for if the same ingredients
are mixed according to the old proportions, and the same bath
and developer used, a longer exposure is necessary. This ex-
periment is conclusive on the head of sensitiveness.

Density and half-tone. — Alcoholic collodion contains
more pyroxyliue than the common sort, and therefore the film
has more body. This modifies the effects of solarization from
over-exposure, because when a larger quantity of material is
acted on by the light we may suppose that altho' the surface
layer is solarized, still the part beneath it may be to some ex-
tent protected, so that density may be obtained in a thick film

200

THE AMERICAN

when it could not in a thin one; moreover, since the lights
may be permitted to receive a longer exposure without injury,
the details of the shadows may be better brought out. It has
frequently been observed in the paper processes that thick
paper gives denser negatives and better half-tones than thin
paper, — and this is equally true of thick collodion films.

Alcoholic collodion has therefore the good qualities of being
very easily manipulated, — very sensitive, and giving good den-
sity and half tone : — add to this that the film is so strong and
adhesive to the glass ns to bear an unusual degree of rough
treatment in washing, and that it is perfectly structureless, and
gives very clean and pure lights, and the reader will perceive
that alcoholic collodion is a good and practically useful vehicle
for general purposes, and that it offers great facilities to the
tyro in the art, and great advantages over the collodion hither-
to employed by photographers.

The good keeping qualities of alcoholic collodion are also
worth pointing out. It is well-known that iodized collodion
gradually deteriorates by keeping, until in time it becomes
red, insensitive and useless. This effect is due chiefly to the
ether contained in the collodion, and the more ether there is
the more rapidly the change takes place. Now the first pe-
culiarity that struck us in the alcoholic collodion was the pale-
ness of the tint produced on adding the iodizer, and the com-
parative slowness with which the tint changes to a deeper
yellow ; for even after several weeks the iodized collodion,
(altho' iodized with iodide of potassium), does not pass beyond
a straw yellow color, nor is its original sensitiveness much im-
paired.

SPECIFICATION OF MR. FOX TALBOT'S NEW PROCESS

OF PHOTOGLYPHIC ENGRAVING.

" The process described in this specification, to which I have
given the name of i Photoglyphic Engraving,' is performed as
follows :

u In this invention, I employ plates of steel, copper or zinc,
such as are commonly used by engravers. Before using a
plate, its surface should be well cleaned ; it should then be
rubbed with a linen cloth dipped in a mixture of caustic soda
and whiting, in order to remove any trace of greasiness. The

JOURNAL OF PHOTOGRAPHY. 2ffl

plate is then to be rubbed dry with another linen cloth. This
process is then to be repeated ; after which, the plate is in
general sufficiently clean.

" In order to engrave a plate, I first cover it with a substance
which is sensitive to light. This is prepared as follows : —
About a quarter of an ounce of gelatine is dissolved in eight
or ten ounces of water, by the aid of heat. To this solution is
added about one ounce, by measure, of a saturated solution of
bichromate of potash in water, and the mixture is strained
through a linen cloth. . The best sort of gelatine for the pur-
pose is that used by cooks and confectioners, and commonly
sold under the name of gelatine. In default of this, isinglass
may be used, but it does not answer so well. Some specimens
of isinglass have an acidity which slightly corrodes and injures
the metal plates. If this accident occurs, ammonia should be
added to the mixture, which will be found to correct it. This
mixture of gelatine and bichromate of potash keeps good for
several months, owing to the antiseptic and preserving power
of the bichromate. It remains liquid and ready for use at any
time daring the summer months, but in cold weather it becomes
a jelly and has to be warmed before using it : it should be
kept in a cupboard or dark place. The proportions given
above are convenient, but they may be considerably varied
without injuring the result. The engraving process should be
carried on in a partially darkened room, and is performed as
follows : — A little of this prepared gelatine is poured on the
plate to be engraved, which is then held vertical, and the su-
perfluous liquid allowed to drain off at one of the corners of
the plate. It is held in a horizontal position over a spirit
lamp, which soon dries the gelatine which is left as a thin film,
of a pale yellow color, covering the metallic surface, and gen-
erally bordered with several narrow bands of prismatic colors.
These colors are of use to the operator, by enabling him to
judge of the thinness of the film : when it is very thin, the
prismatic colors are seen over the whole surface of the plate.
Such plates often make excellent engravings ; nevertheless,
it is perhaps safer to use gelatine films, which are a little
thicker. Experience alone can guide the operator to the best
result. The object to be engraved is then laid on the metal
plate, and screwed down upon it in a photographic copying
frame. Such objects may be either material substances, as
lace, the leaves of plants, &c, or they may be engravings, or
writings, or photographs, &c, &c. The plate bearing the ob-
ject upon it is then to be placed in the sunshine, for a space of
time varying from one to several minutes, according to circum-
stances ; or else, it may be placed in common daylight, but, of

202

THE AMERICAN

course, for a long time. As in other photographic processes,
the judgment of the operator is here called into play, and his
experience guides him as to the proper time of exposure to
the light. When the frame is withdrawn from the light, and
the object removed from the plate, a faint image is seen upon
it — the yellow color of the gelatine having turned brown
wherever the light has acted. This process so far as I have
yet described it, is, in all essential respects, identical with
that which I described in the specification of my former pat.
ent for improvements in engraving, bearing date the 29th Oct.,
1852,

" The novelty of the present invention consists in the im-
proved method by which the photographic image, obtained in
the manner above described, is engraved upon the metal plate.
The first of these improvements is as follows. — I formerly
supposed that it was necessary to wash the plate, bearing the
photographic image, in water, or in a mixture of water and
alcohol, which dissolves only those portions of the gelatine on
which the light has not acted; and I believe that all other
persons who have employed this method of engraving, by means
of gelatine and bichromate of potash, have followed the same
method, viz., that of washing the photographic image. But
however carefully this process is conducted, it is frequently
found, when the plate is again dry, that a slight disturbance
of the image has occurred, which, of course, is injurious to the
beauty of the result; and, I have now ascertained, that it is
not at all necessary to wash the photographic image; on the
contrary, much more beautiful engravings are obtained upon
plates that have not been washed, because the more delicate
lines and details of the picture have not been at all disturbed.
The process which I now employ is as follows : — When the
plate bearing the photographic image is removed from the
copying frame, I spread over its surface, carefully and very
evenly, a little finely-powdered gum copal (in default of which
common resin may be employed). It is much easier to spread
this resinous powder evenly upon the surface of the gelatine,
than it is to do so upon the naked surface of a metal plate.
The chief error the operator has to guard against is that of
putting on too much of the powder ; the best results are ob-
tained by using a very thin layer of it, provided it is uni-
formly distributed. If too much of the powder is laid on it
it impedes the action of the etching liquid. When the plate
has been thus very thinly powdered with copal, it is held hori-
zontally over a spirit lamp in order to melt the copal ; this
requires a considerable heat. It might be supposed that this
heating of the plate, after the formation of a delicate photo-

JOURNAL OF PHOTOGRAPHY. 203

graphic image upon it, would disturb and injure that image ;
but it has no such effect. The melting of the copal is known
by the change of color. The plate should then be withdrawn
from the lamp, and suffered to cool. This process may be
called the laying an acquatint ground upon the gelatine, and I
believe it to be a new process. In the common mode of laying
an acquatint ground, the resinous particles are laid upon the
naked surface of the metal, before the engraving is commenced.
The gelatine being thus covered with a layer of copal, dissem-
inated uniformly and in minute particles, the etching liquid
is to be poured on. This- is prepared as follows : — Muriatic
acid, otherwise called liydrocloric acid, is saturated with per-
oxide of iron, as much as it will dissolve with the aid of heat.
After straining the solution, to remove impurities, it is evap-
orated till it is considerably reduced in volume, and is then
poured off into bottles of a convenient capacity ; as it cools it
solidifies into a brown semi-chrystalline mass. The bottles are
then well corked up, and kept for use. I shall call this pre-
paration of iron by the name of perchloride of iron in the
present specification, as I believe it to be identical with the
substance described by chemical authors under that name —
for example, see " Turner's Chemistry," fifth edition, page 537 ;
and by others called permuriate of iron — for example, see
" Brande's Manual of Chemistry," second edition, vol. ii.
page 117.

" It is a substance very attractive of moisture. When a
little of it is taken from a bottle, in the form of a dry powder,
and laid upon a plate, it quickly deliquesces, absorbing
the • atmospheric moisture. In solution in water, it forms a
yellow liquid in small thicknesses, but chestnut-brown in greater
thicknesses. In order to render its mode of action in photo-
graphic engraving more intelligible, I will first stats, that it
can be very usefully employed in common etching ; that is to
say, that if a plate of copper, steel, or zinc is covered with an
etching ground, and lines are traced on it with a needle's point,
so as to form any artistic subject; then, if the solution of per-
chloride of iron is poured on, it quickly effects an etching, and
does this without disengaging bubbles of gas, or causing any
smell ; for which reason it is much more convenient to use than
aquafortis, and also because it does not injure the operator's
hands or clothes if spilt upon them. It may be employed of
various strengths for common etching, but requires peculiar
management for photoglyphic engraving ; and, as the success
of that mode of engraving chiefly turns upon this point, it
should be well attended to.

" Water dissolves an extraordinary quantity of perchloride

204 THE AMERICAN

of iron, sometimes evolving much heat during the solution. I
find that the following is a convenient way of proceeding : —

" A bottle, (No. 1) is filled with a saturated solution of per-
ehloride of iron in water.

" A bottle (No. 2) with a mixture, consisting of five or six
parts of the saturated solution and one part of water.

"And a bottle (No. 3) with a weaker liquid, consisting of
equal parts of water and the saturated solution. Before at-
tempting an engraving of importance, it is almost essential to
make preliminary trials, in order to ascertain that these liquids
are of the proper strengths. These trials I shall, therefore,
now proceed to point out. I have already explained how the
photographic image is made on the surface of the- gelatine, and
covered with a thin layer of powdered copal or resin, which is
then melted by holding the plate over a lamp.- When the
plate has become perfectly cold, it is ready for the etching
process, which is performed as follows : — A small quantity of
the solution in bottle No, 2, viz., that consisting of five or six
parts of saturated solution to one of water, is poured upon the
plate, and spread with a camel-hair brush evenly all over it.
It is not necessary to make a wall of wax round the plate, be-
cause the quantity of liquid employed is so small that it has
no tendency to run off the plate. The liquid penetrates the
gelatine wherever the light has not acted on it, but refuses to
penetrate those parts upon which the light has sufficiently
acted. It is upon this remarkable fact that the art of photo-
glyphic engraving is mainly founded. In about a minute the
etching is seen to begin, which is known by the parts etched
turning dark brown or black, and then it spreads over the
whole plate — the details of the picture appearing with great
rapidity in every quarter of it. It is not desirable that this
rapidity should be too great, for, in that case, it is necessary
to stop the process before the etching has acquired sufficient
depth (which requires an action of some minutes' duration).
If, therefore, the etching, on trial, is found to proceed too ra-
pidly, the strength of the liquid in bottle No. 2 must be
altered (by adding some of the saturated solution to it), before
it is employed for another engraving ; but if, on the contrary,
the etching fails to occur after the lapse of some minutes, or if
it begins, but proceeds too slowly, this is a sign that the liquid
in bottle No. 2 is too strong, and too nearly approaching satur-
ation. To correct this, a little water must be added to it be-
fore it is employed for another engraving. But, in doing this,
the operator must take notice, that a very minute quantity of
water added, often makes a great difference, and causes the

JOURNAL OF PHOTOGRAPHY. 205

liquid to etch very rapidly. He will, therefore, be careful in
adding water, not to do so too freely. "When the proper
strength of the solution in bottle No. 2 has thus been adjusted,
which generally requires three or four experimental trials, it
can be employed with security. Supposing then, that it has
been ascertained to be of the right strength, the etching is
commenced as above mentioned, and proceeds till all the de-
tails of the picture have become visible, and present a satis-
factory appearance to the eye of the operator, which generally
occurs in two or three minutes ; the operator stirring the liquid
all the time with a camel's hair brush, and thus slightly rub-
bing the surface of the gelatine, which has a good effect. When
it seems likely that the etching will improve no further, it must
be stopped. This is done by wiping off the liquid with cotton
wool, and then rapidly pouring a stream of cold water over the
plate, which carries off all the remainder of it. The plate is
then wiped with a clean linen cloth, and then rubbed with soft
whiting and water to remove the gelatine. The etching is then
found to be completed.

li I will now describe another etching process, very slightly
differing from the former, which I often use. When the plate
is ready for etching, pour upon it a small quantity of the liquid
(No. 1 — the saturated solution). This should be allowed to
rest upon the plate one or two minutes. It has no very appa-
rent effect, but it acts usefully in hardening the gelatine. It
is then poured off from the plate, and a sufficient quantity of
solution (No. 2) is poured on. This affects the etching in the
manner before described : and, if this appears to be quite sat-
isfactory, nothing further is required to be done. But it often
happens, that certain faint portions of the engraving — such as
distant mountains or buildings in a landscape — refuse to ap-
pear; and as the engraving would be imperfect without them,
I recommend the operator, in that case, to take some weak liq-
uid (No. 3) in a little saucer, and, without pouring off the liq-
uid (No. 2) which is etching the picture, to touch with a camel-
hair brush, dipped in liquid (No. 3), those points of the picture
where he wishes for an increased effect. This simple process
often causes the wished-for details to appear, and that, some-
times, with great rapidity, so that caution is required in the
operator, in using this weak solution (No. 3) especially, lest the
etching liquid should penetrate to the parts which ought to re-
main white, but in skillful hands, its employment cannot fail to
be advantageous, for it brings out soft and faint shadings which
improve the engraving, and which would otherwise probably be
lost. Experience is requisite in this, as in most other delicate
operations connected with photography ; but I have endeavoured

206 THE AMERICAN

clearly to explain the leading principles of this new process of
engraving, according to the method I have hitherto found the
most successful.

A REPORT OF TABLE TALK— ON WASHING PHOTO
GRAPHS,

The lam ented Soyer has taught us what a noble art is cook-
ery— how the destiny of nations and the happiness of individ-
uals may depend upon the skill of a chef de cuisine. Vice
is bile — the ancients were not wrong in locating the soul of
man in his stomach. Passions are appetites in something
more than a figurative sense. An analysis of food throws
more light on the motives of action, than your hair-splitting
metaphysics. A good dinner has inspired the timid soul to
many a deed of heroism. Who doubts that Hercules was a
beef-eater, and Dryasdust fed on husks?

The Reporter has made this preface in order to make it
more plain, that among the artists and literary men who fre-
quent Ittner's celebrated Restaurant in Grand Street, two or
more photographic artists may be found every evening, between
the hours of 6 and 7. And when the photographers are gath-
ered around the same beautiful board, everything conduces to
a good-natured and sometimes exhaustive discussion of matters
pertaining te their art. Printed ideas are generally first
spoken ; Homer's heroes used winged words (pteroenta.) So,
nowadays, perhaps from the gregarious nature of all feathered
tribes, our words in conversation attract others of the same
sort from our companion.

(Here the Editor interferes, cutting short other brilliant
ideas of the Reporter, and insists on the immediate production
of the report, a plain print unvarnished.)

C. J. (loquiter.) — My Yankee friend Gray tells me he has
contrived a machine for washing photographs. Brady thinks
an improvement on our present methods is quite desirable. I
have a high opinion of Gay's ingenuity ; but, although always
at work, inventors have not contrived any popular machine
for washing dirty clothes.

To which S. A. C. (resp.)— Tbe problem of washing a pho-
tograph is simply stated: — Paper is impregnated with a solu-
tion of a salt, soluble in water, which is to be removed. Now,

JOURNAL OF PHOTOGRAPHY. 207

theoretically and mathematically, the whole of the salt cannot
be removed by any washing process. I thiuk we may reason-
ably search for some chemical means by which the deleterious
hypo may be converted into something inert.

C. J. — Yes, indeed. But leave that to the chemists. And
while we wait for them, let us contrive a machine. Any ma-
chine for the purpose would require little power; croton
power might be used in the city, or the coiled spring anywhere.

S. A. C. — Well ! I would propose that the wet prints be
passed between two .cylinders, the pressure being regulated
by weights or springs. Thus you see that the hypo would be
forced to come out more effectively than Graham's Onguent
compels the beard to grow in six weeks.

C. J. — Your cylinders would drive out the hypo, but your
prints would be stretehed out of shape. Two rollers would
not do. What do you think of one ? Let the prints be
attached by one end to a large revolving drum partly under
water.

S. A. C. — It would be necessary to have your drum revolve
alternately in different directions, in order that both sides be
washed. This would be a little awkward. I would prefer to
have the prints attached by their ends to a swinging frame with
a motion like the Indian punka or the clock-work cradle.

C. J. — I acknowledge your improvement. But here is some-
thing quite different. Lay the prints on a gauze or wire frame
like a sieve, and sprinkle them with the shower bath contriv-
ance.

S. A. C. — Our machines are all on the correct principle in
one respect ; they keep the paper in a current of water. The
ordinary method of soaking very poorly answers the purpose.
The hypo must be got out soon, or the prints become over-
toned, lose their brilliancy and begin to fade. The troughs
arranged like steps, with a constant stream of water passing
through them, are always made too deep.

Now the quickest and surest plan of washing a print is to
alternately wet it in clean water and press it between sheets of
blotting paper. In this way I guarantee to wash a 4-4 print
in five minutes, with a pint of water, more effectively than is
commonly done in twelve hours, This plan is, however, ex-
pensive, and somewhat troublesome. Warm water, of course,
does the work sooner than cold.

C. J. — Louis ! Bring the segars.

208 THE AMERICAN

ON ALCOHOLIC COLLODION.

BY P. C. DUCHOCIIOIS.

The preparation of collodion with a very large proportion of
alcohol is not a new improvement in photography ; as early as
1853, or '54, Mr. C. Laborde formuled a collodion containing
as much alcohol as ether, and recommended it, together with
iodide of cadmicum, as one of the quickest. Since that time
many formulas have been given, either to suit different temper-
atures or to coat large glasses more easily and evenly ; but, to
my knowledge, the object of increasing the amount of alcohol
has never been well denned, except to regulate the evaporation
of the collodion.

I must confess I never made a special study of the alcoholic
collodion, and that the object of the present communication is
to induce our American Cke?'cheu?~s to give the results of their
enperiments on this interesting subject. Following the path
opened by Mr. J. Cady, I add two or three observations made
in working with collodions prepared with excess of alcohol on
account of the excessive heat of last summer :

1. When the pyroxiline is of a contractile kind a great pro-
portion of alcohol annihilates that property to such an extent
as to permit the use of such collodion for dry processes.

2. An alcoholic collodion gives a film more divided, more
porous, and consequently more sensitive, and insures intense
negatives.

3. With collodion prepared with iodide of ammonium it is
very often necessary to increase the proportion of alcohol to
prevent the formation of the iodide of silver upon the film,
which will then not take plaee even with a bath comparatively
weak.

4. A collodion little iodized does not generally give so har-
monious negatives, and is more or less contractile with almost
all pyroxitines ; but it is in very good condition to be trans-
ferred on paper or any other material.

In preparing alcoholic collodion, I found at first that the
film was liable in drying to peel off, to crack, to split in little
networks, but this being always due to an excess of water in
collodion, I early got rid of it by using almost absolute alcohol.

Now this question arises : To what extent can alcohol be
employed in collodion ? I know some American photographers
who have used with perfect success a collodion more than three
parts of alcohol to one of ether, and that an English amateur
author, to whom we owe a great many improvements and good

JOURNAL OF PHOTOGEAPHY.

209

theories in photography, operates with six parts of absolute
alcohol to one of absolute ether, but indeed I do not see the
necessity of such an augmentation since the same results can
probably be obtained with a great deal less ; that so much al-
cohol must give a film without consistency, and that th e great
slowness with which the collodion film sets increases much more
the chances of spots resulting from the dust falling on the film,
etc.

As a rule, I should not recommend a greater proportion than
that of Mr. Laborde — one part of absolute alcohol to one of
ether, sp. qr. o. 72 and a proportion of pyroxiiine, larger as
the glass is smaller, in order to have a film of the proper thick-
ness.

MR. GURNET'S NEW GALLERY.

THE INAUGURATION.

Our reporter writes with a trembling hand — also his head
aches. He was very well twelve hours since, — he could shoot
at a mark with a physical gun, or a gun of the mind, and some-
times hit the bull's eye. But now, while the sun rises for work
and great glory, the reporter would go to bed — like a sick girl,
he cries : " Titinius, give me some drink" ! But the editor
(the devil of the printer is at his back) is inexorable concern-
ing the fulfillment of the bond about a two page report. How
hard is his fate. But take heart, my boy ! Ten thousand men
on all the continents and isles of the sea, demand that thou
shalt not — in point of fact — prevent the prompt issue of Mr.
Seely's journal to-morrow morning.

(The Editor. — No more nonsense now ! Tel! what was
done.)

The reporter, with the tools of his profession (a bb Faber
and a Yankee sharpener), at an early hour last evening, eagerly
set about his work. He looked into every room — he smelt of
the chemicals — he read the labels — he put his finger in the
bath — he teased everybody with questions. He was the child
that took the notes.

You have an ill-temper, Mr. Editor. "Would I lose my notes
intentionally ?

But fortunately something was saved : " No 707. Beautiful
marble building — erected expressly for a photographic gallery
— 130 feet deep, 25 feet wide — four operating lights — one for
old folks and lame people who can't get up stairs."

There were a great many people there last night. We knew
that Mr. G-urney would be pleased to see his friends, and would

210 JOUENAL OF PHOTOGEAPHY.

treat them handsomely. What beautiful music we had from
the band, and the grand piano ! What a wonderful portrait
of the Mayor. What a power of big men gathered together ;
how they congratulate Mr. G-urney ; does his little hand ache
this morning ? His artists got up a speech, and handed Mr.
G-urney a gold-headed cane. He made his thanks so grace-
fully ! Why, Mr. Editor, if you should print the witty things
that Dr. Rollins said, you would lose some of your subscribers,
at least there would be a movement in the button business.

I didn't think grave (not a pun) doctors, and lawyers, and
senators had such sweet voices for a cheer. We never hur-
raed for Jackson more lustily than we did for G-urney. The
" Scientific American" was set up on a pyramid of baskets ;
didut it make eloquent remarks ? I holding his hat.

Mr. G-urney has been in the business almost twenty years.
He is rich and famous. I think his hospitality last night was
princely. What a fine looking man he is. How "agreeable he
must be to ladies. He shall take my picture some day.

(The reporter falls asleep).

EMTOMAtWSGELUtfV*

-The cheap picture nuisance is going to he abated. Very soon,

as was the case three years ago, respectable men will be ashamed to
hear their names connected with " picture factories." Yet the fact
that the business is disreputable, has not the potency sufficient to drive
all men out of it, or keep them out. But it will not pay ; that decides it.
The people for a few years back have bought pictures beyond their
reasonable wants, because they were cheap, and cheap pictures were in
fashion. But public taste is improving — people do not care about exhi-
biting themselves in dingy ambrotypes, and respectable folks do not visit
picture shops any longer ; picture shops are abandoned to the Biddies.

Our friend, Frank Forshew, writes as follows :

" For the past year I have been a constant reader of your valuable
journal, and I think it is what you intended it should be, indispensable
to every operator in the photographic art. But you must let me have
one growl, viz : that while the ambrotype and photograph have been
written and talked about constantly, the daguerreotype, the first and
most beautiful, and in the opinion of many the most durable, product of
the art, is scarcely mentioned. I think this is too bad, when, if the truth
were known, two-thirds of the people prefer a good daguerreotype to
any other picture.

I think you will agree with me that the pictures made five years ago
will compare favorably with the pictures of the present day."

THE AMERICAN

Hoacaat of i^ofopajtliu.

[El [I W QdBQ H©0]

Vol. 1.] DECEMBER 15, 1858. [No. 14.

EXPRESSING CHARACTER IN PHOTOGRAPHIC

PICTURES.*

BY E. K. HOUGH.

In all ages mankind have sought ways and means to pres-
erve representations of beautiful forms.

Marbles, metals, woods, colored earths, and chemical pig-
ments have been pressed into the service of art, in its various
moods of carving, moulding, printing, and painting. And in
each of these varied departments, there have been the first
weak beginnings, when the inexperienced mind and the un-
trained hand struggled to so use these materials, that the
radiant beauty and expressive character that gave value and
interest to the forms they represented should be preserved ;
and as evidence that for many years they failed to attain their
ideal, see the grotesque carvings of ancient Egypt, where,
amid herculean labors, there are gleams of beauty just suffi-
cient to show that the native talent of the artist was foiled by
mechanical necessities of the materials he sought to impress
with grace and meaning. Then trace the progress of art in an-
cient Greece, where the marble and canvas were made to glow
with inspiration ; where all difficulties of mere manual skill
disappeared, and the passive stones became as pliant to receive
forms of beauty in the conceptions of genius, as words become
music to express the thoughts of eloquence.

All the principal arts had their beginnings far back in early
ages of the world, and their triumphs of to-day evince the bene-
fit derived from the accumulated experience of centuries.

* Continued from Page 187

212 THE AMERICAN

But the advent of photography is of very recent date, and
its effects are reached through chemical and mechanical ag-
encies so singular, so different from those commonly known
in other arts, that for a time attention was principally confined
to them, and the men who adopted " light painting" as a prac-
tical profession, seemed to obey the old proverb, "never look
a gift horse in the mouth." They thought it wonderful that
sun-light should have such power of picture painting ; but,
finding it had, they were not disposed to criticise the perform-
ance too closely, but to take what was given them without
murmuring.

We can readily imagine the first practitioners of the new
art, having carefully obeyed a formula, for any part of which
they were not prepared to give a reason, except that their
teachers told them to so do, waiting anxiously the few seconds
" exposure," powerless to aid the operations of the strange,
imponderable force, which had come ninety-five million miles to
serve them, if they but duly complied with its requirements.
— we can readily imagine them, actuated by the same spirit
which filled the old magicians, while strictly obeying the pre-
scribed rites of incantation, then waiting with the reverent awe
of unreasoning faith for the mysterious genii they had invoked,
to appear and obey their will. But the days of mystery in
photography are nearly gone. The experience of twenty years,
in the nineteenth century, is better than a hundred among the
ancients. During those years, some of the most active minds
known in the annals of scientific investigation, have traced its
effects back to their causes, and again combined those causes
for the production of new effects, until its chemistry and me-
chanics are as much at command as in any other art, requiring
only proper knowledge and average skill. The results of their
investigations are published broad-cast through the land, and
to the operator who is painfully practising with limited experi-
ence and imperfect theory, I will give the advice that directed
Sir William Jones, when a youth, to the paths of learning and
greatuess, " Read and you will know," and the knowledge will
set you ten years in advance of the methods you now employ.

All art students know that the chief power of the old mas-
ters in portrait painting, was the ability, while watching the
changes and expressions of the sitter's countenance when un-
conscious of the scrutiny, to keep in mind the best, and after
the general form was obtained, to paint them in from memory ;
and, moreover, the power of judging the character of their
subject, and from study of his features, painting expressions
they never saw him wear, but which they could imagine he

JOURNAL OF PHOTOGRAPHY. 213

must wear, when his mind was in its most genial and active
moods. Such power as this is useless in photography, yet
character must be reached and expressed, else the demands of
true art are not satisfied. Outward expression is the reveal-
meut of inward feeling, and moods of mind and sentiment
are very much under the influence of what affects the senses

What then are the best influences that can reasonably be
brought to bear on the senses, and through then at the mom-
ent of impression, exciting the mind to activity, giving an ex-
pression of intelligence and pleasurable feeling, that shall give
such photographs a Higher worth, and make them more ines-
timable treasures than one in a thousand now taken. No art-
ist would deny that he could not compete for a day with one
who had the best expression of his sitter's as much under con-
troll as the chemical processes now are, and that therefore any
reasonable means of effecting it, even partially, are worthy of
consideration.

Almost every operator is ambitious of having what is called
a u nice place," and he fits up his room as richly as he can af-
ford, but he usually makes one fatal mistake : he puts his
wealth and beauty in his reception room, while his operating
room is left comparatively unfurnished, and comfortless with the
dirty paraphernalia of the art scattered about, and a strong,
disagreeable odor of chemicals prevailing.

Where this contrast is carried to excess — as it often is — it
cannot but have a bad effect, especially on sensitive natures,
and although unconscious of it, it is none the less real, and
worst of all, it is at the very moment when a pleasant feeling
is most important as influencing expression.

The operating room should be fitted up with far the greatest
care, so that, mayhap, a delighted surprise shall irritate the
countenance when ushered in, rather than a chilly impression
of barrenness and poverty. All signs of the workshop should,
if possible, be removed from sight; all chemical ehTuviae
carefully suppressed or counteracted by the aroma of growing
flowers, and the perfume of fragrant waters.

The eye should be soothed with soft and pleasing colors, and
the ear charmed with the melody of singing birds, and the
mind diverted from a consciousness of self by paintings, en-
gravings, and statuetts, all having vivid and interesting mean-
ings, awakening emotions that impress the features with corres-
ponding expression, and the skylight also, whose necessarily
strong rajs are the banefull origiu of frowns and blinkings,

214 THE AMERICxiN

equally painful to the eye of art as love, should be subjected
to the test of science, and made to correspond with its require-
ments.

The discovery that light can be strained, as it were, through
transparent media and the wished-for color admitted, and all
others shut out, and that certain qualities accompany cer-
tain colors and not others, does not seem to have received the
attention it deserves There are but few, even yet, that relieve
the gloom of the dark room with the yellow light, and fewer
still are known who have applied the principle to the skylight.

But it is true that the strongest chemieal rays are found
in union with blue, the softest and most agreeable of all colors
to the eye, and the one with which the Creator has curtained
the hsavens.

It were well to institute experiments for finding the kind
and tint of glass which admits the most of the actinic rays
and shuts out most of those strong in useless glare and heat.
Curtains do this very imperfectly, darkening rather than sift-
ing the light, while a properly colored transparent medium
would admit all that were useful, and shut out all others.

Meanwhile, as now constructed, it were better to prevent
the direct rays of the sun ever falling on the operating light,
by blue or white curtains on the outside, stretched on upright
frames, or hoisted and lowered like sails, so as to shield the
windows, without obstructing a clear view of the sky. All
these considerations are but means of inducing in all visitors
an easy, comfortable state of feeling.

But as it is absolutely necessary that the operator should
decide upon some position, and assist them in its arrangement,
it is also necessary that he should have an opinion of their
predominant peculiarities ; those points of character by which
they are best known, and for which they are most admired,
that he shall in no way conflict with their expression. He
should form this opinion before he attempts to place them, and
should arrange all the accessories to correspond. In position
he must remember that every organ and every faculty has a
special language. A proud man carries his head erect, a little
thrown back, and with a stately air. This is the language of
self-esteem ; and to arbitrarily place him with his head bent
ever so little in an humble way, would detract from the like-
ness. Love of approbation, wheu excited, draws the head a
little back and to one side, and every operator has noticed that
women would nearly all sit with their heads thus bent if not

JOURNAL OF PHOTOGRAPHY. 21;

prevented ; and also, the arch curl of the neck on receiving a
compliment.

A deeply thoughtful and imaginative person sits with the
head bent forward and to one side, and the eves look away
with a sort of dreamy abstraction, and to give such a bolt-up-
right, stareing position, would be stupidity.

It is necessary to note these signs of character in each, and
be careful to preserve them in the likeness the same in kind
but different in degree, as shall be deemed proper.

The lady who habitually carries her head inclining sidewise,
should be allowed to do so still, but not in an exaggerated
manner, for the amount of deflection proper and agreeable in
life, or a life-size statue, is apt to be disagreeable in a small
miniature ; the rule is to have it leave the same impression as
in life.

But more than this, it is best to have means of inciting a
particular faculty or class of faculties to action, and thereby
get their expression. Properly directed conversation on the
required subjects is undoubtedly the best, but there are many
useful auxiliaries, one of which is a series of engravings easily
moved to proper positions to receive attention. The picture
chosen should be of such size and distance as to be viewed
without effort or movement of the eyes, and should have an
obvious meaning, Thns, a benevolent nature might be stirred
by a scene of unjust suffering — not one to incite horror, but a
tender commiseration.

A brave, proud nature, might be moved by a representation
of two or three ruffians attacking oue man, who was defending
himself with an expression of firm resolve and haugnty courage.

A few remarks directing attention to these just before " ex-
posure," as meritorious pictures, and lastly, as the point of
sight, would have a favorable influence on the resulting picture.
It must be remembered that persons in a room arranged ac-
cording to previous suggestions, would be in much more
favorable moods for receiving the required impression than in
ordinary rooms.

Sufficient has been said to indicate my meaning, and I think
such a room conducted by a person of intelligence, who could
hide all appearance of endeavoring to so influence behind easy,
affable manners, would meet a greater success than has yet been
seen. Of course he would require better pay than some do,
and he would get it.

Such a "room" would not be a "picture factory," but a
place where art would dwell as a spirit in its own native at-
mosphere, and such an artist would find room for all his am-
bition and scope for all his powers.

RECOLLECTIONS OF A DAGUERREAN TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

Opens a Gallery-— favorable prospects — had weather.

Bristles was of course glad to hail my arrival, and well he
might be, since he had not, though over a month in London,
in the least facilitated our business ; not only had he not, ob-
tained a suitable building, but had not even one in his view ;
he had prefered awaiting my arrival, so that all the advan-
tages of his pioneer visit was lost- It would of course have
been better for me to have made the pioneer visit, had such a
visit been necessary, siuce I knew the place and Bristles was
a stranger ; but as I had my own business to close, — he was
shrewd and had confidence, and I had withal, given him
letters to my brother Porlue located there, and to friends,
together with full instructions to act ; it was the best plan un-
der the circumstances, in order to get open at the end of the
summer, when the denizens would return to London. However,
as no time was to be lost, we soon fixed on a house in Oxford
Street, certainly not the best situated as it proved — not so
good as supposed — but the best to be obtained without too
much delay. A branch had in the interim been opened in
a great thoroughfare, but poor business place ; only think how
we were to astonish the natives — oh ! we monopilising Colum-
bians ! But no, not monopolising ; were we not about to con-
fer a benefit on the Bull-ions by given them portraits of them-
selves and of each other, at prices that placed them within the
reach of the humblest; affections could be gratified with the
presentments of relatives and friends, for a small sum ; (our
circular), how philanthropic, pure benevolence, of course, but
quite as sincere and disinterested as most benevolent schemes,
adapted to earning superfluous bullion.

Soon we had carpenters tearing off roof, without consulting
the parish surveyor — we were not to know that were necessary
— putting in skylights, up benches, &c. Painters and paper-

bangers hard at work, each in the other's way ; furniture go-
ing up and carpets down — did'nt we intend having a place —
reception room on first floor, gallery on top, bachelor's hall in
the middle ; slightly, yes, no half-way measures, do it tip-top.
At last, much too slow for my impatient spirit, and certainly
not with the accustomed speed of Jonathanions, the last week
in September, we had our show case out, and the newly paint-
ed, red-brick, white-mortar, front, a la America, displaying in
large letters, — " The American Daguerreotype Gallery." Of
course we were very anxious to try our' new light ; due north,
angle of forty-five degrees, according to rule, and in defiance
of native custom, of four sided scuttle ; self-sufficient geese
that we were, for not adapting ourselves to the necessities of
the climate.

Before the damaged ceiling was repaired, or the glass in the
skylight, we had the first trial, and a most successful one it
was ; another and another satisfied us we could take pictures in
London.

At last all was ready, customers included, for some came on
the strength of the sign before any specimens were exhibited
at the door. Show cases after the most approved New York
style ; one a showy variation — a mass of gold, fitting in the
angle of the door. (Customs are generally exaggerated when
transplanted.) An opening supper was of course necessary,
a custom properly continued here. "The pleasure of your
company is requested to our opening celebration, on October
2d. Yours respectfully, Skylight & Bristles."

A very pleasant party was assembled at the Daguerrean
" Soiree," a good word that, and a good time they had. A
most decided conquest was made then, but that is no one's
business. Speeches were made ; is there a chance of being
denied, if I say they were eloquent ; are not all convivial
speeches outbursts of eloquence — every jollification ' ' a feast
of reason and flow of soul ;" is it not written on the tablets
of memory, that this " soiree " was a success ?

Business began to rush in, the prospects were decidedly
good, for two or three weeks we did very well; our books be-
gan to show a number of engagements ; but alas, the weather,
oh that horrid weather ; sorry, Madam, too dark to day, and
yet, to-day, and yet sorry another day; can we ever keep an
engagement ? Sometimes we would try casuals, and be suc-
cessful ; often would we have to sit our visitors five minutes,
sometimes ten, and more than once risked and obtained a pic-
ture, saleable at that, after fifteen minutes exposure. 0 pa-

tience ! I certainly admired the patience of our customers
more than my own ; only fancy allowing a sitter to remain be-
fore the camera long enough for you to walk a mile or make
your toilet ; it could'nt be expected often ; and thus the
weather continued, until, as good luck would have it, the day
the Duke of Wellington was buried, being a very fine day, we
were as busy as bees, and hauled the cash in like fish in a net.
Meanwhile, it was not to be supposed I was not being posted
about the success and qualities of other artists. With a few
exceptions, such as Moyall, Claudet, Hanneman, Beard, Delia-
met, Hogg, &c, who were A. 1., there were as miserable
pictures turned out in London, as need disgrace the art, and,
strange to say, the worst in the profession were Frenchmen,
natives of the land of its birth. So very many black pictures,
or muddy backgrounds, were exhibited, and in those places
where the poorness of the pictures excited my' curiosity suf-
ficiently to see who made them, I was met in a language I
could not speak. The superiority of our pictures over the
masses, and the fair comparisons with the high-priced artists,
gave us great encouragement ; nevertheless, I do not pretend
either of us possessed more than good taste and fair manipu-
lative properties at that time, as an incident will prove. We
had a half-size camera, which we thought a very goad one be-
fore leaving New York, but which, strangely enough, would
not allow us to obtain a sharp picture, so we sent it to an op.
tician to be re-ground ; after waiting some days he sent for
the box and object glass, since he had ground the lenses, and
could find no advantage ; the glass had been punched out, and
without due thought, been put back wrong side in the frame,
and neither of us was smart enough to think of that before con-
demning the lenses ; doubtless, we paid for the discovery, and
not for the grinding. Our bellows boxes, iron camera stand,
and preservers, were viewed with much interest by the profes-
sion, and were probably the first articles of the sort introduced
into London, as also the embossed cases, which folks said
would not take, the taste being for plain, but which soon were
almost the only ones we could sell. Before leaviug New
York, I had bought out the stock in trade of a case maker,
tools, boxes and all, and soon we were extensively engaged iu
making our own cases, so that for a long time we had but little
to buy on the spot.

The prospects of a fine trade and expectation of a legacy
Bristles had left in Ireland, aud which was one of the reasons
for his early departure from New York, led us into a specula-
tion outside our business, the particulars of which I will give
in the next paper, with its results.

JOURNAL OF PHOTOGRAPHY. 219

PHOTO-LITHOGRAPHY,

SPECIFICATIONS OF CUTTING & BRADFORD'S PATENT.

This invention has for its object the production of a photo-
graphic picture upon the surface of a lithographic stone, from
which impressions may he taken by the ordinary process of
lithographic printing, by which we are enabled to greatly multi-
ply the results of photography, and to avoid the tedious and
expensive process of. drawing upon the stone by hand, as at
present practised. In the ordinary process of lithographic
printing the surface of the stone, after the drawing is complet-
ed, is washed or coated with a solution of gum arabic in acid-
ulated water. The gum thus applied enters into a close union
with the surface of the stone, or adheres with great tenecity
thereto, so that it cannot readily be removed by washing, and
thus protects it from absorbing the ink employed in the print-
ing process. In the process of Photo-Lithography it is found,
however, that the gum arabic adheres so closely to the stone as
not to be readily removed by washing from those portions not
fixed by the light. On this account, in the experiments hereto-
fore made in Photo-Lithography, it has been found impractic-
able to employ this gum, and a solution of gelatine has been
used in its stead. Stones thus prepared, however, yield but
few impressions, and are of comparatively small value in the
arts. To remedy this difficulty is the object of this invention,
which consisis in the employment of gum arabic which has been
deprived of its power of intimate union with the stone, at the
same time that it is rendered capable of becoming fixed or in-
soluble by the operation of light. When a stone, treated with
the above-prepared gum, is subsequently submitted to the act-
ion of a solution of soap, the unlighted portions of the gum are
readily and expeditiously removed, while the lighted portions
are not injuriously affected thereby, at the same time that the
soap performs its well-known duty of forming the insoluble
soap upon the stone to produce the body or printing surface.
The stone, after being prepared in a manner which will be more
fully explained hereafter, has the following solution applied to
its surface : — Water, one quart ; gum arabic, 4 oz. ; sugar,
160 grains; bi-chromate potassa, 160 grains; the sugar re-
tarding the immediate fixing of the gum upon the stone, and
the chromic salt causing it to become more firmly fixed or much
less soluble on exposure to the light. The stone thus pre-
pared is preserved in the dark until required, and when the
coating is dried it may be exposed in the camera a suitable
length of time to fix the gum upon those parts of the picture

220 THE AMERICAN

where the lights are to appear, or it may be covered by the
print or picture to be reproduced and exposed to the light.
After it is thus " lighted," the stone is washed with a solution
of soap, which attacks the stone, temoving the coating and fix-
ing itself (or an insoluble soap formed by the mutual decom-
position of the stone and the soap employed) upon the surface
in place of the coating removed. Where the gummed surface
has been entirely protected from the light, the gum is easily
removed, and the soap has free access to the stone, and the
consequence is a thorough union of the soap wiih its surface ;
where, on the contrary, the lights were strong, the gum having
been rendered much more insoluble, is protected from the act-
ion of the soap, and is not affected by it ; and at all intermed-
iate points the effect of the soap upon the stone is inversely
proportionate to the extent to which the gum was fixed by the
light. The most delicate grades and tints of light and shade
may thus be produced upon the stone, true to nature as the
photographic picture itself. The stone having been thoroughly
washed with clean water, and dried, now receives a coating of
ink from the roller, which, uniting with the soap already depo-
sited thereon, serves to give additionol body to the picture, and
shortly after the stone is ready for the printer ; the portions
which have been protected by the undissolved or "lighted"
gum when wet resisting the ink. Previous to the commence-
ment of the above-described process the stone is to be prepar-
ed, and this preparation will vary according to the nature of
the picture or subject to be produced. If it be a manuscript,
a lithograph, line engraving, or any plan or line drawing with-
out gradations of light or shadow, running the one into the
other, a polished surface may be employed. This will not
answer, however, so well for portraits, landscapes, and a great
variety of other pictures in which the variations of shade blend
the one into the other: in such cases it becomes necessary to
give the stone a roughened surface, or, in the language of the
workman, the stone is "grained." Into such a surface the
chromated solution of gum sinks deeper, and is then removed
more or less according as it has been fixed by the light, and
thus the required variations of intensity and the gradations of
light and shadow are produced. Where a polished stone is
employed the chromated gum lies upon the surface, and it is
found that the variations of light and shadow cannot be pro-
duced with that nicety necessary to make a perfect graduated
picture such as a portrait that shall be easily printed.

In preparing the chromated solution the proportions of the
ingredients given above are by no means rigid, though they
are those which we have found to answer the purpose. The
sugar we have found also may be replaced by other substances,

JOURNAL OF PHOTOGRAPHY. 221

such as molasses, acetic acid, or various acetates not decom-
posible by the bi-chromate of potassa. We do not, therefore,
confine ourselves to the exact proportions given above, nor even
to the use of the exact substances named, when there are equi-
valents for them which may be used in their stead without de-
parting from the essence of this invention. And in place of
removing the unlighted portions of the coating by means of the
direct application of soap, they may be washed off with water,
acetic acid, or their equivalents; oils, resins, or printing inks
being applied after the stone has been dried for the purpose of
forming the required insoluble soap in the stone; such a process
is the entire equivalent of the one above described, although it
is neither so expeditious nor so efficient. The quality of the
soap employed is not rigid, though those containing a propor-
tion of resin will in general give a better result. The strength
of the saponaceous solution is not material; ^-lb. of soap to six
quarts of water has been found to answer the purpose. Here-
tofore this process has been spoken of as applied to lithographic
stones, but there are other substances which may be employed
in lieu of the stone to which it may be applied, one of which is
zinc, whieh has been heretofore used by printers as a substitute
for stone ; in the use of this metal an insoluble soap of zinc is
formed instead of one of lime.

Having now set forth the nature of this invention, and ex-
plained the manner of carrying the same into offect, we wish it
to be understood, that under the above-recited Letters Patent,
we claim the employment of gum arabic, deprived of its power
of intimate union with the stone by means of sugar or its equi-
valent, as set forth, and in combination with the above we claim
the use of soap, as set forth, for the purpose of readily remov-
ing the unlighted portions of gum and of forming the printing
surface, as described.

PHOTOGRAPHY a la FRESCO.

BY II. GARBANATI.

The dark ages, as we know "thefeudel times " were remark-
able for the dawn of modern art ; the middle, for perfection ;
for, though we are apt to speak of the painters of those days
as the old masters, they yet inaugurated the style of painting
our foremost artists are so anxious to emulate and adopt as
models ; with the single exception of perspective, the variations
of the styles of present paintings are merely simulations of

222 THE AMERICAN

current events, and by no means improvements on the past ;
like the drama, the art of painting had its greatest masters
almost with the introduction of its style ; so great was the ap-
preciation, and so large the supply, that the wealthy engaged
the most celebrated painters to place their ablest productions,
as fixtures on the walls. The walls were certainly built with
a regard to the resistance of the corroding hand of time, and
the proprietors, probably thought painting could not out-last
them, though it is more probable the pride of possession, the
desire of retention in the family of original productions, held
the strongest sway. The fact, however, is extant, that some of
the chef cfoeuvres of the most wonderful painters who ever
held a brush, are in fresco, much to the regret of modern times.
Present money-holders are not so lavish of their' cash ; possi-
bly, they have an eye to the future, and a thought for the un-
substantially of our buildings, that so little, and that third
rate, fresco painting is done.

The taste for good painting is not less, judging by the enor-
mous prices paid for " Old Masters," and occasionally for new;
certainly, the taste is more extended, and though more of the
school of Von Daub is current, it is only a sign of progres-
sion; the admirers of the Yon Daubs will yet be elevated
into appreciators of Titians, Michael, Angelos, Ilaffaels, Turners,
Landseers, Churches, &c.

With the knowledge of the taste of the past, and the tend-
encies of the present, why should not the modern art of Pho-
tography contribute its quota towards wall decoration ? True,
it would be expensive ; true, also, it would be novel and pleas-
ing ; it is quite practicable, and will yet be the mode ; the
means are already provided — the man is required to commence
the work. The megascopic camera is admirably adapted for
the purpose ; through a small negative, a fine image may be
depicted on the wall, opposite the light, say fourteen feet
square, embracing the height of a large sized room, every part
will come up as sharp, proportionally enlarged, as the original
negative ; to insure a perfect picture, all the length of the
wall, it could be taken in sections, the part to be taken isolated
by a screen, and the part taken covered by one, so that the
picture could be continued. For this purpose, the wall would
have to be covered with the proper paper, the lower part over-
hanging tne shirting board, and terminating in a trough
attached to it to catch the drippings, for the purpose of savin r;
the floor and avoidin <r waste.

The process would be exceedingly difficult, but so much great-
er the skill ; yet what artist will own it possible ? The
image can be made to cover the wall, and the wet paper will
retain the moisture a sufficient time for an impression ; then

JOURNAL OF PHOTOGRAPHY. 223

shall we say there is not skill enough. Perhaps, the wall may
yet be prepared with a material, other than paper, capable of
receiving a photographic impression. America has introduced
the means, shall she be the first to avail of them ?

PHOTOGRAPHY I\ NEW YORK.

In our day, we have acted on the principle of Moliere's doc-
tor who studied Hippocrates chapter on hearts," Nous avons
change tout cela. When we want a protrait taken in this age
of Jefferson Davis, we go like the Peruvians to the temple of
the Sun. We brush our hair, sit down in a chair of state —
with or without a couple of knobs like petrified oysters behind
the head to hold it in position, — call up a smirk, look into the
muzzle of a camera obscura, taking care not to wink, and in a
matter of twenty seconds they have us and can produce us a mil-
lion times if they please or if we choose to pay for it. Com-
plaints as to the correctness of the likeness, if made at all,
must be made to a Great Body who would care nothing about
them. The sun is the artist, and you can get no redress in that
quarter.

Photography, or the art of "writing by light," cannot be
called a new discovery. The fact that objects could be copied,
by means of rays of light, on metal chemically prepared, was
known long before the present century. Nothing practical,
however, resulted from this knowledge until the year 1802,
when Wedgwood & Davy, two Englishmen, applied it to artistic
purposes. But even their efforts were unproductive of more
than an initiation into the first of a series of mysteries which
was left to Daguerre, Talbot, Archer and others of a later
day to comprehend and take practical advantage of. All sorts
of " types" have since been introduced, from the Daguerreo-
type, which was the first, to the Ivory type, which is the latest.

This art of writing by light, which is a very different thing
from light writing, is now one of the great features without
which the " elephant" of our city would not be at all complete.
There are, at the smallest estimate, two hundred " galleries " so
called in Broadway, the Bowery and the several avenues —
where, on an average about 50 pictures are daily taken at prices
varying from 25 cents up to $750 each. These employ Daguer-
reotype meterials of domestic manufacture to an amount which
we have found it impossible to estimate clearly, but which is on
all hands agreed to be over $2,000,000 per anum — besides
the cost of Photographic paper and certain chemicals which are
imported from England and France.

224 THE AMERICAN

Of course, at some of the minor galleries, where excellence
is not so much of a consideration as cheapness, the pictures are
less remarkable for beauty than for a certain glassiness of eye,
and pitch-and-tarriness of expression, which mar their effect in
an artistic point of view, though they may be bearable under
pecuniary consideration. But, in the best galleries of this
city, photographic protraits have been produced that have not
been equaled in Europe. European photographers attribute
this fact to our climate.

The prevalence of " blue light " is the theme of their most
elaborate theories. But so far as photographic excellence de-
pends upon atmospheric influences, the palm must be given! to
India, where pictures have been produced of yet uuapproached
intensity in the effects of light and shade.

Photography has become so great an institution in this City
that ifc builds "marble halls" for itself. Gurney has just
opened, at No. 707 Broadway, a sort of Photographic palace
which he has erected for the purposes of his business, and. with
a spscia! view to its requirements. Discarding the practice of
sending customers up three or four flights of stairs to an oper-
ating room which the sun can get at, he receives them in the
ground-floor — shows them his pictures, cases and so forth, takes
their orders and passes them forward to his main gallery, on
the floor above, from which they enter upon a ladie3 dressing
room on one side, and an operating room on the other. This
latter apartment is provided with side-lights and roof-lights,
so that in the event of his having a customer more " wrinkly "
than usual — in which case the roof-lights, are insufficient —
Gurney usually smoothes down the creases with the side-light,
and somewhat rejuvenates him by the process. When the oper-
ating rooms below are full, which would seem to be a common
occurrence at this establishment, there are others on the next
floor, which are, however, mainly devoted to the artists, who
are there, in great force, to finish the photographs. These are
taken of all sizes, from the " locket minature " to the " life,"
sometimes containing only the face, at others giving the bust
also, and not uncommonly the whole form, of the size of life.
These last pictures are very costly, but they are also very beau-
tiful. They are characterized by all the delicacy of tint and
shade which distinguish the oil painting, since indeed they un-
dergo in all respects the same operations, save as regards the
features portrayed, which are taken by the sun, and therefore
must perforce be as correctly delineated as they would be in a
mirror — and much more so than they are likely to be when
drawn by the hand. This remark applies equally to the smaller
sizes, and to those which are colored in aquarelle or m pastel.
Mr. Gurney exhibits in his main gallery, with becoming pride,

JOURNAL OF PHOTOGRAPHY.

225

the medal awarded to him by the French Palais $ Industrie
for the best picture there exhibited in 1855, — the great silver
pitcher called the " Anthony Prize," which he obtained here
ou similar grounds, — and several medals awarded to him by
the American Institute.

Of the various " types " which are more or less advertised,
Gurney confines his operations to the Daguerreotype and the
Photograph. He objects to the Ambrotype on the ground
that it is not durable, which is another proof of the way in
which even Doctors will disagree, since Brady declares the
Ambrotype to be the most durable picture made. The Hallo-
type is made at Gurney's when ordered, but is not a fovorite
with him. The differences between these kinds of work are
that the Photograph is thrown on the canvas or paper, and
afterwards colored ; — the Hallctype is colored by transparent
painting put on from behind ; — and the Ambrotype is taken
on one piece of glass and covered by another, the atmosphere
being excluded by a balsamic cement, which secures the sur-
faces to each other.

Gurney's rooms are not only the most easily accessible in
the efoy, but are handsome and pleasant by reason of the much
light which, in the construction of the building, he has taken
care to provide for. He has added to the long array of pict-
ures in his own line of art which grace his walls, a row of oil-
paintings by various native masters. He does this ostensibly
by way of adding to the other attractions of his gallery, but
our opinion is that the artful fellow has hung the oil-paintings
up to show, by contrast, the superiority of the Photographic
article. Nevertheless, there are, among some very poor pro-
ductions, and some other very fair ones, a rural water scene by
Williams, of Philadelphia, and two marine pictures by Lane,
of Boston, which it is good to go to Gurney's and see.

Brady also has some admirable photographic pictures in his
Galleries, of which, like Gurney, he has two on Broadway, and
if he has not quite such elegant or comodious rooms in his up-
town quarters as Gurney has in his, there is quite as much in
his gallery at the corner of Bleecker-street and Broadway, and
at his "down-town" establishment, where he keeps his prin-
cipal collection of splendid portraits, to amuse you, and quite
as polite persons to talk to you as there are at Gurney's,
which is saying a great deal. There is a delicacy of work
about some of Brady's miniatures which is as peculiar in its
way as the bold and powerful finish of Gurney's larger photo-
graphs is in that branch of the art. At Brady's, the last new
invention, called the " Ivorytype," which is said to surpass
everything in the way of writing by light that has yet been
effected, has just come out.

226 JOURNAL OF PI/OTOGEAPHY.

EMTOMAL MtSCELtANV.

-A correspondent writes to Photographic Notes as follows :

" Will you allow me to set you right with regard to curing a nitrate
bath by setting it in the sun. If you refer to the Photographic Journal
for Nov., 1853, you will fiDd Mr. R. Fenton says as follows : — ' If at the
close of a day's work the bath begins to show signs of an alkaline con-
dition, it is easily restored to working condition, by exposing it to the
sun's rays, &c.' "

The editor of Notes, by refraining from comment on the above, ap-
pears to abandon his former claim to the discovery of curing disordered
baths by exposure to light. But we are not willing to surrender ; in any
view of the case we honestly believe we deserve a share of merit.

Now, on the supposition that Mr. Fenton, in 1853J understood the
case as plainly as we have described it, his words, as above quoted,
fail utterly of expressing it; interpreting them literally, he tells us sim-
ply that the sunlight has the effect of an acid, to neutralise an alkaline
condition of the bath. The fact that sunlight will generate an acid in an
alkaline bath is easily anticipated by theory ; every one knows that alco-
holic or ether mixtures pass more rapidly into the acetic fermentation
under the action of light. By exposing a bath to light sufficient acetic
acid is generated from the alcohol and ether in the solution to neutral-
ise any small quantity of uncombined oxyde of silver, . A few minutes
of exposure has precisely the same effect as a small quantity of acetic
acid added in the usual way ; expose to light, or add acid — it as all the
same. We are unable to discover any other meaning in Mr. Fenton's
words, and this view is strongly confirmed by the fact, that neither Mr.
Fenton nor any other has attached enough importance to his discovery
to speak about it for the past five years.

What we claim to have discovered is quite another thing, viz. : that
a disordered bath, which is not alkaline, and which acid will not cure,
may be restored to working condition by exposure to light. On page
20 we direct the bath in the beginning to be made alkaline ; on page
46, we say the bath, after the exposure is left in the alkaline condition.
It will be seen that we have considered the alkaline condition of little
account, for a drop of acid is the simple and sovereign remedy. The
disease for which we have prescribed the specific, is another affair en-
tirely. That the discovery is useful, photographers in all parts of the
country are willing to attest, and if it finally appears that Mr. Fenton,
or Mr. Sutton, or any other than ourself, made it, w7e shall still believe
that mainly through our exertions it was brought before the world.

Our European friends are a little slow. They spend two years in ex-
periment and talk on nitrate of uranium, and now find themselves at
the starting point. They make collodion pictures eight years and be-
gin to learn that sulphate of iron is the best developer. They still use
weak baths and thin collodion. About this cure of disordered baths
they are silent, except that one editor positively assures an in-
quirer that he has known of one bath having been really restored to
order by exposure to light, and suggests for a trial, that the solution be
exposed in a shallow porcelain pan ! But great bodies move slow, and
perhaps next year we may expect a discussion of the subject in the
photographic societies.

THE AMEEICAN

[KJEW @S@Qg@B]

Vol. 1.]

JANUARY 1, 1859.

[No. 15.

RECOLLECTIONS OF A DAGUERREOTYPE TPIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

A new Speculation — Courtship — Marriage — Its results.

About this time there was quite a mania in England for rais-
ing Cochin China Fowls, or Shanghaes, as we here best know
them. A Mr. Sturgen, purveyor to East Indian Ships, had been
presented with a few pairs, by a sea, captain, and had raised
such a superior breed of fowls, that he could get his own
prices for them — as high as one hundred guineas had been re-
fused for a fancy pair. Eggs were sold for a guinea and more
per dozen, the mania extended to improving the breed of fowls
generally. Spanish and Dorkins, well known in England for
centuries, suddenly rose in value and fetched many pounds per
pair. Porlus proposed that we engage in the race ; Sturgen
had made a large fortune in two years, why should we not have
a chance ; the mania was on the increase. He had a cottage
and two acres of ground at Norwood where we could try the
experiment, until we took a larger place together and went in
strong. Bristles soon fell into the notion, his legacy would not
be fartoff. — He did not know much of law and Irish lawyers,
when we should have plenty of funds. I held out some time,
and at last agreed, and by way of parenthesis must state, I
have generally had cause to regret acting against my judge-
mont. Bristles and Porlus became a committee to purchase
and make themselves familiar with the qualities, values and
habits of Cochin China fowls, and now commenced a race and
chase in search of the nonpareils. I was left alone in my glory

228 THE AMEEICAN

to take pictures. The weather giving me ample time for reflec-
tion, and occasionally the opportunity of proving my metal and
mind, when people came up with a rush.

After a long search the committee secured the pick of Stur-
gen's stock of chickens, almost unfledged, for two pounds the
pair, after a thort time more were added to the stock, when
Bristles, Skylight and Porlus, commenced the business of
breeding fowls and improving the qualities of England's
feathered live stock common to table use. It was agreed that
we look out for a large and suitable place, and the committee
had a very good opportunity for two months, of posting them-
selves up in the geographical, topographical and sceneretical
condition of London and its environs t'or twenty miles around,
toiether with the value ot real estate, modes of cultivation,
wealth of the rural population and condition of the laborers, to
say nothing of the mode of conveyancing and customary terms
and conditions of renting. by year or lease, houses and premi-
sis with grounds attached, a knowledge of value in itself, even
at their sole expenses.

Amongst the places of interest visited during my bachelor
days in London was "Discussion Hall" in Shoe Lane. This
place is rather celebrated for the gathering of men with taleut
much above the average of those who meet in such places, men
of all ranks of practical life, who earn their living by head and
hands — authors, lawyers, editors, reporters, artist?, trades-
men, mechanics &c, meet and take part in the debates, and
oftentimes may be heard as much real wisdom as in Legislative
halls, though of course much that is stupid, and that has to be
coughed down. A long room, built for the purpose, a row of
tables down the centre and around the sides, with seats on each
side, and generally having a full complement of occupants, each
with his glass or pot, most with pipes or segars. At the end
of the room, on an elevated seat, is the president, who gene-
rally manages to keep order, and immediately has ejected any
troublesome person, or one in liquor, should one perchance drop
iu and be obtrusive. There may be seen gray-headed old men,
generally conservatives, who take their usual quantity of usual
drink, and retire at their usual hour. Middle aged men, just
passed through the exciting ordeal of youth, and now giving a
matured " aye, aye," or " hear, hear," and excited and am-
bitious youth, anxiously trying t > catch the " president's eye."
On the whole, Discussiou Hall is well worthy a visit, the more
especially of Americans, who are not generally remarkable for
a debative turn of mind, though the accustomed hours of
cessation from business gives them immense advantages over

JOURNAL OF PHOTOGRAPHY.

229

European young men, to indulge in literary and philosophical
practices.

At this time there was much excitement in America and
England on the Fishery Question, which happened to be the
subject under discussion on my first visit.

I soon availed myself of the opportunity of tailing iho Jona-
than ia-n side of the question, which had advocates already,
though not very well posted. At first my decided opinion
excited some surprise and slight dissatisfaction, which soon
yielded to expressions of approbation. They rather liked the
idea of a Yankee, as they ealled me, " sticking up for his own,"
and were inclined to put up with much stronger sentiments
thau from one of themselves, so I came oif with flying colors,
and though I may not have made converts to my opinions, I
obtained much good will. Discussion Hall is one of the places
since rendered famous from the terror it excited in French
colonels.

In the meantime the weather continued its now usual course
of rains, fog, mist, c.'oud, with intolerable mud when not
raining, which was seldom the case for three months. From
the rear of our work room we could see a church steeple and
clock, our ready reference for time daring the first two weeks.
By and bye it came that we could see the steeple, but not the
clock — not once for months — then no steeple. At last it be-
came a rule, that when the steeple was visible, a picture was
obtainable, otherwise it were useless to try. In our early ex-
perience, before our cash began to get low, we became ac-
quainted with a very plausible fellow, a customer of Porlus,
who claimed to be the secretary of a mining company, of which
his father, a rich man, was president. This Scamp, I will call
him, used to borrow trifling sums of money, and being rather
fast, soon managed to get quadded for debt. At his urgent soli-
citation, Porlus visited him there, when he begged the loan of
enough cash to get him out again, offering his piano assecurit}^,
and a moderate sum as bonus. Though quite to the distaste of
Bristles and myself we agreed to help the poor devil, upon his
writing an order on his wife for the piano, or rather a request,
as she professed to hold the household property as a special right.
Bristles and Porlus got the piano, and Scamp got out of jail.
He soon wanted more cash, but finding he could not get it,
wanted the piano to get some on, but that being not consid-
ered quite modest, he became abusive and vowed vengeance.

Meanwhile we had taken a large house, with six acres of
ground, at Barnet, for the purpose of scientifically carrying on

230 THE AMERICAN

our fowl operations, and were to move in, in a short time, but
in the meanwhile an event occurred, which not only influenced
the destiny of your narrator, for life, but changed the business
aspect of things in a manner he little calculated on or bargained
for. Meanwhile, the weather continued as before, the clouds
frowned a forbidding defiance of photographic result, and St.
Ann's Steeple still remained hidden behind her foggy veil.
Many people called for pictures, but few took them away.

One morning a singular old lady came for and got a picture
of herself. I had taken upon myself the laborious work of
buffing, coating, and finishing, and left Bristles to attend to
the sitting. Bristles called me, saying a lady wished to speak
to me. Wondering for what reason, 1 walked into the operating
room, when she introduced herself as a phrenologist, and seeing
me for a moment in the room, thought she would like to tell me
some characteristics of myself. She, amongst other things, in-
formed me I should never fall in love from impulse and pas-
sion, but from reason. Query. — Are not almost all unhappy
marriages the result of impulsive and passionate love— ex-
cluding those of convenience ? Do not such lovers over esti-
mate the expected joys, and is not mutual disappointment a
common result ?

Bristles and Porlus had by this time gotten the grounds at
Barnet into trim, sufficiently for receiving the poultry, having
laid off into " walks" for the different pairs of birds, according
to their qualities.

At the house, where Bristles and myself kept Bachelors'
Hall, I had obtained sundry views of a young lady, sometimes
engaged in the beautiful exercise of " skipping." Good, says I,
an excellent preservative of sound lungs and elastic movements,
I soon made up my mind that that young lady should be my
wife, if she were willing. The courtship had gone on, and we
had very quietly gone out, with her brother-in-law, as a witness,
and got married. In engaging in this very responsible under-
taking, we had strangely enough consulted ourselves, not deem-
ing, poor simple things, that any other people were as interested
as ourselves, but alas for the shortcomings of human nature,
our calculations were ill-timed,

The next day, Sunday, I was to go to the cottage of Porlus,
where I should meet Bristles, who preoeded me, knowing I
was to escort a certain young lady, well known to them, appa-
rently a favorite, when I resolved to introduce her in the cha-
racter of the wife. But a change came over the spirit of my
dream, the change seemed to take all aghast} Porlus and

JOURNAL OF PHOTOGRAPHY.

231

wife, and Bristles most especially, who fairly turned pale at the
news. Possibly they thought I should have sought some
wealthy partner, so as to bring cash into the business, but cer-
tainly the singular coldness that came over all quite surprised
us. I afterwards heard that Bristles was indignant at not
having been informed or consulted. But whatever the cause,
from that time there was no peace, and the poor young wife
suffered much from slights and neglect.

We now moved to Barnet, and soon learned the various notes
in which fowls.are in the habit of giving forth their joys and
woes; from the little shrill, impudent voice of the bantam, to the
deep bass of the largest shanghae. We bought a very large
number of common fowls to hatch the eggs of the valuable
ones, the eggs of the common ones to be for the family use of
the families, Bristles boarding with Porlus ; but somehow our
eggs seldom seemed to be laid, since a few came to our share ;
everything going on quite unpleasantly, ill words were common,
when the threatened vengence of Scamp temporarily united in
our interest — Bristles, Skylight and Porlus.

A LETTER FROM GOSSIP.

Elgin, Dec, 18th, 1858.

11 Do tell" what's astir in New York? anything wonderful? has
anybody yet managed to take a picture by the Atlantic Tele-
graph? a lady at one end and a camera at the other; has no one
yet made a camera of a pencil case, and a stand out of a tooth
pick? Can anybody prepare a sheet of letter paper, that one's
face may be depicted on it when writing, giving a true expres-
sion of his thoughts : or, possibly some artist has managed to
fix on a plate the last impression said to be depicted on the lens
of the eye, or perchance some wonderful liquid has been made
from brass, as from a nobler metal, to serve as a preserver to
ambrotypes, or a precious stone inferior of necessity to the one
now in use, has been forced to yield its virtue for the same
purpose and spread its surface o'er the decent collodion? In
earnest, is anything doing ? is our old aquaintance " business"
located thereabout ? Mayhap some clever photographer has
managed to acquire means most wonderful by which he can
take the public in and do their portraits for a little less than

232 THE AMERICAN

nothing, thus securing all the trade and the profit of it; for the
fact is, here stagnation keeps pace with business somewhat
slower than a snail's gallop ; as stagnant as Lethe's waters, is
the hitherto agile " Trade." I feel as dull as a razor's back
and am inflicted with ennui. " How are you " ? says a brother
photo, whom I meet on my travels, " I'm anxious to know if I
am the only chosen one of the goddess of idleness ? " Don't be
alarmed my good fellow, all will soon be right, of course it will ;
catch a weasel asleep as readily as Jonathan long inactive. But
I have a motive in writing, supposing I should trade pictures
for provisions. Will you take them at a price ? stir up trade,
plenty of provisions in the west, lots of wealth, out no cash !
It is only requisite our wealth and yours should meet, when they
would rush past each other and seek other possessors; that is
trade : am not I a philosopher ? by the way, what is an Ivory-
type ? I see an advertisement in the New York papers of such,
I have seen very fine oil paintings on niellograph paper;
is that the thing? enlighten me, I pray you, that I may know,
post me up that I may not be a regular ° stick :" heavy is. the
weight of ignorance that prevails in the art ; ponderous the
stupidity of unreading artists, but blame me not if I know not
all your types, for their names are legion : do not, for I seek to
count them. Seek I not in the pages of the Journal of Photo-
graphy ?

I see some of you New Yorkers rejoice in the name of " Pic-
ture maker," and call their laboratories " Picture Factories ;"
people are no doubt squatted, a camera pointed at them like a
dahlgreen gun, which is duly charged and fired, and the pictures
shot out like meal from a mill. Yet these men are artists
forsooth ; they are fully posted, can learn no more, are filled
with photographic knowledge to repletion, are about to burst
with excess of wisdom, are overflowing with information, filled
by a liberal hand, like a wassail bowl at Christmas. Ye pencil
rays of a generous Sun, and all provider of the elements of a no-
ble and far extending art ! Apollo, god of artists ; Mercury
guardian of the same, — and Thieves, alas ! — protect us from
such desecrators of art and artful dodgers; find or invent
some other name to know them by, and inspire, if you would
preserve the principles of true genius and pure talent, inspire, I
beseech you, all lovers of high art, aye, and the masses of man-
kind with a full appreciation of their appropriate title, that they
may be known by no other, and honor and cash be rendered to
whom honor and good pay is due.

Gossip.

JOURNAL OF PHOTOGRAPHY.

233

MY FIRST DAGUERREOTYPE.

There never was anything like it. True, a multitude of
u types" and " graphs" have been brought out since then, and
glass and piper and iron and leather and divers vehicles have
been covered with impressions, and I have seen them, but no-
thing ever filled my eye so completely as that first daguerreo-
type.

For hours I have held it, cart-fully noting all the soft min-
utiae of light and shade: and still the little rough-edged silver
tablet was a joy forever, discovering some merit of complete
similitude hitherto unnoted ; it seemed inexhaustible, yielding
new pleasure as often as consulted.

A small and pleasant village in central Indiana was the locus
of this primitive achievement ; the time I think, the fall of 1 842.
Seth, my coadjutor and compeer in the enterprise, and myself
were denizens of a cosy Law Office, in the second story of an
unpretending building, where we tumbled the musty tomes of
legal lore, hoping in good time to make lawyers of ourselves.
Seth was an artist, that is, he had wielded a pencil in his day
and produced some landscapes, and even portraits which were
not without merit; at least, so saii the knowing ones, wh6
pronounced him a genius undeveloped, and bewailed his aber-
ration in reading law. At one time he had tried his hand at
farming, being beguiled by the smell of new-mown hay, or more
probably by the per-diem to the harvest hands, (for Seth was
poor.) But that was only a temporary expedient, and he did
not take kindly to association with those " whose talk was of
oxen." I may mention that he afterwads turned up at New
Orleans, where he verified the predictions of his quondam
friends, by making a sensation in the way of landscapes and of
portraits, and so the world lost a poor lawyer and gained a
reputable artist.

Having an eye out for the new and curious, I had seen some
time before intimations in the public prints of a wonderful
French discovery in the art of portraiture, whereby it seemed
quite probable there was a royal road to drawing and picture-
making ; and indeed, that the time was not distant, when one
might look in a mirror, and leave his image sticking there.
But as greater marvels have in like manner been announced
and never heard of afterwards, I was disposed to regard this

234 THE AMERICAN

new wonder as belonging to the same class, until I saw another
account of the mystery, and this time coupled with the more
tangible statement, that the images of a camera obscura were
made permanently visible, and giving a kind of outline of the
method.

Seth and I talked over the new discovery for several days,
determining, if possible, to verify our deductions by a practical
test, and with a view to elicit all the paragraph contained, and
to obtain a more complete clue to the modus operandi, we
tried our hand on interpretation, and by dint of different em-
phasis and modulation, we thought we could more completely
evolve the seeming mystery. The result of this unfledged
exercise of legal acumen was, that silver plates properly
exposed to the vapors of iodine, and thus coated with a thin
film of a yellow or golden color, became sensitive to the action
of light and received the image, which could be made visible
by the fumes of mercury, and rendered permanent by a wash
of salt and water. There was allusion to the employment of
hypo-sulphite of soda, but as this was an unattainable salt in
that region, it was not to be thought of. One great obstacle
in the accomplishment of this and similar enterprises in an
out of the world place like that, lies in the difficulty of obtain-
ing suitable instruments wherewith to operate. The chemicals,
the mercury, the iodine and the salt were at our command, but
Seth's rather abrupt inquiry as to where in thunder we should
find the tools and traps to work with, was quite pertinent.
However, genius overcomes all difficulties. After another
day's consultation, we brightened up our optics, consulted the
authorities with a view, as Seth expressed it, of " understand-
ing the principle on which it works," and set about building a
camera obscura. It was easy to see how it might be done if
we only had the lens, but a piano or a double convex was
scarcely to be hoped for in that locality. The possible union
of two watch crystals, with water or alcohol interposed, was
debated, but after an examination of a score or two of glasses
belonging to a friendly jeweler, we relinquished that idea.
Our next endeavor was to obtain a large sized sun glass. The
general introduction of lucifer matches had rendered this article
obsolete, and so we asked everybody if they knew of anybody
who was the owner, in fee simple, of an old-fashioned sun-glass.
Here fortune favored us, and after a few inquiries and consid-
erable negotiation, we succeeded in dispossessing a boy of a
veritable sun glass, for a sufficient consideration.

The rest was easy of accomplishment, and with the judicious
employment of pocket knives, tacks, paste, and the division of

JOURNAL OF PHOTOGRAPHY. 23-

labor, a cigar box was soon transformed into a camera. Our
sun glass was mounted in a paste-board tube, and made adjust-
able. The rear end of the cigar box being left open, we made
a frame to fit, over which we pasted a paper rendered semi-
transparent bj an artistical application of a tallow candle.
This was our " ground glass." Another frame, or rather a
combination of frame-work and a flat piece of cigar box, served
for a " plate holder," and was nicely adapted to take the place
of the ground glass when removed. A " slide" was not thought
of, and as to the " chemical focus," we let that take care of itself,
for the excellent reason we did not know of its existence. With a
quill and the contents' of the ink bottle, we blackened the inside
of the camera/tube and all. So far, all was right. After a few
trials, we succeeded in so adjusting our tube as to obtain quite
a respectable view on the ground glass. Now for a plate.
This, which we had deemed to be a matter of small moment,
proved to be most difficult.

From preliminary experiments on small pieces, we felt cer-
tain we could precipitate a metallic coating of silver from the
nitrate, on a copper plate, by the use of moist cream of tartar-
But after preparing a copper plate of suitable dimensions, we
found we could not produce a coating thick enough to bear the
required polishing. A day of repeated trials and failures
settled that. We therefore, at the suggestion of our friend,
the jeweler, undertook to beat out a five-franc piece. This
time we had the tools, and by repeated annealing and persis-
tent hammering, we ultimately succeeded in obtaining the
wished for platitude, and the head of the citizen king was ex-
tended to hydrocephalic dimensions. Then the polishing was
long and tedious ; but pumice, scotch gray and rouge did the
business. So, after two or three days' labor, we were the
proprietors of a complete daguerreotype apparatus — that is to
say, of a camera obscura, plate, the requisite chemicals, and
two tin cups, to be used respectively for the iodine and mer-
cury.

On the morning of a clear, cloudless day, we set about the
first experiment. We called into requisition all the old coats,
pantaloons, cloaks, &c. about the establishment, to darken the
three windows of our office, leaving an accessible place in one
corner of the single back window, whence we proposed to aim
our eamera. We were much pleased to observe that the pic-
ture on our ground glass was much more distinct than before,
though Seth still objected to its being upside down. Our plate
being well polished, and affixed to the plate-holder by a few
tacks, we inverted it over tin cup No. 1, containing the iodine.

236 THE AMERICAN

Not daring to admit sufficient light to determine when the
gold color was produced, we concluded to make it a question
of time. We accordingly exposed it five minutes, and then
carefully removing the greased paper frame from the camera
previously adjusted, we placed our plate in proper position in
its stead, at the same time removing the blacking box cover
from the end of the tube. Then came an anxious consultation
as to the time required for exposure. Seth thought ten min-
utes sufficient ; I, fifteen ; and we finally compromised on
twelve, and at the expiration of that time we removed it
(carefully covering it with a hat to preserve it from any light,)
and placed it over tin cup No. 2, containing the scrapings of a
piece of looking-glass, gradually heated on the stove. After
the plate had •' stewed" as long as we thought best, we admitted
a little light ; Seth, raising it up cautiously, took a judicious
peep, and protested the picture was the.re. Well, -we removed
it — took out the tacks, placed it in the salt and water a few
moments, let in more light — when lo ! our plate was as clean
and well-polished as at first, without a trace of anything. This
was a great disappointment, but we immediately set about a
new trial, and with ho better success. The third time we sub-
stituted real quicksilver for our looking-glass scrapings, and
warmed the iodine that it might vaporize more readily. Hith-
erto our great anxiety had been to exclude all light, presuming
very naturally that a plate sufficiently sensitive to receive the
impression, must necessarily be destroyed by contact with any
light, however feeble. Entertaining strong suspicion that
hitherto we had had no iodine on the plate, we ventured this
time to admit sufficient light to show us that we had succeeded
in producing the desired golden hue. Once more the plate
was in the camera, and for twenty minutes we sat down and
calculated chances. It was a long twenty minuted, but it
ended — our tin cup was again heated up with the real mercury,
and iodine on the plate to a certainty.

" A regular built picture, by jingo !" said Seth, as we slip-
ped it into the salt water and admitted the light. Sure
enough, there it was. The iodine was slowly clearing off, and
as more ligha was admitted, we saw our miniature landscape —
that old shed, with its water-stained shingles in the fore-ground,
the barn yard and its carts and wagons, and even those horses
— a little misty, to be sure — but that white horse was unmis-
takable. The building in the distance — the church and its
steeple, and the leafless trees. There was a dim, hazy look
about the horizon, and a sad want of what I have since learned
to denominate " aerial .perspective;" but Seth said that soften-
ing down of the harsh lines was decidedly artistical. To me

JOURNAL OF PHOTOGRAPHY.

237

it seemed a realization of what I suppose everybody has thought
of — the skilful combination of all the elements of that delicate
frost work which we see on the windows of a cold morniog into
the perfect semblance of a real and familiar scene.

After repeated rinsings we dried it on the stove. I confess
there was quite a crystalization of salt on the surface, and some
streaks, but still there was a picture — to me an inexhaustible
source of wonder and admiration. Afterwards I progressed
somewhat in the art; adopted new improvements, and took
likenesses of learned lawyers, with numberless imposing looking
volumes piled on the table beside them ; sentimental young
ladies with guitars in their hands, and beautiful boquets in the
back ground ; matronly ladies, with pocket handkerchiefs of
table-cloth dimensions ■ children, with staring eyes and cork-
screw faces, and love-si^k swains who persisted in sitting with
a huge hand placed over the region of the heart, and who
brought back the picture after a few days because .the heart
was on the wrong side.

All these, of course, I admired exceedingly — but still, I
repeat, there never was anything like that first daguerreotype !

Shade.

THE CUTTING PATENTS SUSTAINED— BREAKERS

AHEAD !

BY THE EDITOR.

The case of Tomlinson vs. Bogardus, is destined to be a
cause celebre in the photographic community. All will be
curious about it, and with many the interest will extend as low
as the pocket. The triumphant parties pretend to the power
of exacting tribute from nine-tenths of those who make or use
collodion in the United States

That the readers of the Journal may have no doubt of the
exact position of affairs, we have taken the trouble to procure
the following certified extract from the proceedings of the
court : —

1 " At a stated term of the Circuit Court of the United States of Amer-
ica, held at the City Hall in the Cifry of New York, on Friday, the
twenty-fourth day of September, in the year of our Lord one thousand
eight hundred and fifty-eight ;

238 THE AMEKICAN

Present — The Honorable Charles A. Ingersoll, Dist. Judge.

William A. Tomlinson vs. Abraham Bogardus.

On motion of Mr. Keller, ordered trial.

Jurors sworn.

Mr. Keller opened the case on the part of the plaintiff.

Evidence of the plaintiff.

Patentee James A. Cutting, July 11th, 1854, for improvement in
composition in photographic pictures. Read.

Patent to James A. Cutting, July 11, 1854, for improvement in pho-
tographic pictures on glass. Bead.

Patent to Isaac Eehn, December 4, 1855, for improved photographic
bath.

James A. Cutting, sworn. •

By consent of counsel the jury found a verdict for the plaintiff in the
sum of one hundred dollars — and so they say all.

[A Copy.]

KENNETH G. WHITE,

Clerkr

By the first patent the plaintiff claims the use of bromide of
potassium ; by the second, balsam sealiDg ; and by the third,
the overflowing bath. The verdict of the court confirms these
claims — and that verdict is undoubted law, entitling the plain-
tiff to easy injunctions and suits for infringements in inferior
courts, until it is set aside or reversed. The patent folks also
claim the exclusive right to use all other bromides as being
equivalents of bromide of potassium, and under the ruling of
Judge Duer, (see pp. Vol. VI, Old Series,) the name Am-
brotype. It appears, therefore, that any artist or manufacturer
who has used or is using any bromide in his collodion, or
balsam after the patent method, or has manufactured, sold or
used an overflowing bath, without the consent of the patentees,
may receive an invitation to call and settle.

It appears from the minutes of the court that no defense
was offered, and many will believe that the verdict was taken
only by that default. Mr. Bogardus is also blamed for not
acting as the champion of the photographic profession ; but, I
believe, unjustly blamed. He was selected to be defendant in
this test case, only on account of his well-known ability to
meet the expense. He had used the patented processes and

JOURNAL OF PHOTOGRAPHY. 239

apparatus but little — in fact, only to disapprove of them, and
abandon them for what he considered better. He had no use
for the things which the plaintiff claimed. He has been har-
rassed for a whole year, feeing lawyers and preparing for the
trial, which has been adjourned and readjourned. The case
was finally set down to be tried, without fail, on the 23d, but
at that time, when all appeared ready, planitiff declares that
a material witness is missing, and all must come again. At
this point the compromise was suggested which was perfected
the next day. Lawyer Blatchford advises his client that
in all probability, at least one of the patents will be sus-
tained, and costs will go against him ; and if you get a
verdict after many days, you must pay me, says the law-
yer. So Mr. Bogardus had probable costs, lawyer's fee,
(not a trifle), many days of derangement in his business
on one side, and what on the other ? A trial would have
been fun for me, and I confess for this and from a desire
to have the case firmly settled, I endeavored to coax a con-
test, pitting the parties against each other. But they wouldn't
fight.

"What will be done it is impossible to say. There are hun-
dreds of the patent purchasers in all parts of the country, who
have been anxiously awaiting the result of the trial. Their
wishes are gratified and they are jubilant. Whether they will
wait and act somehow in concert, or each one on his own
account will pitch into his neighbor, is still to be determined.
Mr. Tomlinson, however, promises to be as fair as possible in
his own territory, (New York city and New Jersey,) and to
commence operations on the " picture factories," My sympa-
thies are with him in such a contest, and I cry "lay on Macduff."

Also, how much can be done legally remains to be seen.

As to the merits of these inventions of Mr. Cutting, it will
be recollected that I have frequently expressed the opinion
that they are trash. I should have little sympathy with any
man at this time, who might be found infringing the patents,
by using bromide of potassium, balsam sticking, or the over-
flow bath.

There are breakers ahead for some, and fun for spectators.

240 THE AMERICAN

EDITORIAL MtSCELUNY*

■A Happy New Year

As a business, Photography has suffered severely during the past year,
and there is no mystery about the fact. Every other business has been
depressed, and photography has had only its share of misfortune. The
high pressure system of money-making was fine to look- at and to travel
after, when we kept away from the furnace. The engineers burst the
boiler, and every one was filled with terror. "We thought we might
recover from the shock in a year. Yet some were crippled for life.
Many are still nervous and timid. Still old Gunnybags sits on his cof-
fer looking anxious and expecting thieves — no railroad dividends

the west still groaning under debts and short crops — the south with
plenty of cotton waiting for a remunerative price — tall chimneys with
no smoke and roar of the blast, now only monuments of former glory —
diminishing exports— immigration suspended— Atlantic telegraph dumb
— Is it strange that people do not want to perpetuate their sorrowful
faces. And lately, our dear and respected friend, the venerable Sol,
often keeps away for weeks. Alas !

Yet despair is surely folly ; hope and courage are food and raiment.
Success is only glorious as it tramples over obstacles. The brave man
defies dangers, and they flee before him ; the craven conjures up ghosts
which prove terrible realities to him, If customers stay away, invite
them, or prepare to meet them the next fine day. Brush out the cob-
webs from your gallery; replace those awkward daubs now before your
door with real pictures, so that your neighbor will scowl on you with
envy. These leisure hours may be made the most profitable and busy.
Dispair and Faint-Heart were never rich, respected or happy.

The earth has rolled round its annual course, but it has not gone
back to the starting point. The astronomers tell us that it goes on zig-
zagging and still progressing in another and grander orbit, which is
unmeasured in miles or years. There are haltings and going back,
which far-reaching vision discovers to be in reality progression. The
world moves — it goes ahead.

An art or a science in times of steam and printing cannot be lost, or

JOURNAL OF PHOTOGRAPHY.

241

retrogaade. Our art of Photography is of necessity becoming more
perfect. As we practice and think we acquire dexterity, and reason
chases away the mist from our path. So if, in the coining year, we
shall not be dazzled by some brilliant development, we may yet be con-
tent with the prospect.

For a record of the progress of the past year, we refer with pleasure
and satisfaction to the pages of this Journal. Everything worthy of
permanent record will be found here, and we recall the fact with pride
that the first publication of many important improvements was made
through us.

Our readers will please pardon us on the present occasion for the
vanity in calling attention more particularly to what the American
Journal of Photography has done during the past year.

It has shown the practicability of having the " dark room" brilliantly
illuminated.

It has ennnciated the correct principles to be followed in enlarging
photographs.

It has given the best remedy for disordered nitrate baths.

It has republished the most valuable of foreign discoveries in advance
of all other American periodicals.

Could we not extend the catalogue ?

The fact that more than one-half of the photographers of the United
States are daily making practical use of what has originated from the
correspondents of this Journal, makes us believe that it is an honest
pride we feel in the contemplation of our labors. Brother Snelling,
what have you done? What good has come out of the vulgar 'Journal
of" all the arts and sciences, &c?

Do our readers want promises and pledges for the next year ?

A few days since, while all was quiet about our place, we were

startled by a crash, as if a crystal palace or a crockery store had been
dropped before our door The greatest excitement prevailed among
our neighbors and ourselves, shouting, raising windows, running in all
directions, till the catastrophe was explained.

It appeared that the large sky-light on our photographic laboratory
was raised by some strange force of the wind, and sliding off the roof,
fell down the space of two stories, and then dashing through a project-
ing sky-light on the first story, reached the ground shivered to atoms.

242 JOURNAL OF PHOTOGRAPHY.

Thus, in an instant, about two hundred lights of glass were reduced to
powder and little fragments.

This circumstance is worth relating, as a caution to those who build
sky-lights. The weight of a sky-light is not sufficient to hold it firm.
Our roof is nearly flat, and at the time the accident happened, the wind
was not at all noticeable inside the building.

-We have already received a number of letters of anxiety and

alarm concerning the Cutting patent. As to the facts, we are not able
to add anything to what will be found on another page. We shall take
great pains to present to our readers a true history of what will
transpire.

To men of excitable disposition, we say : Try to spare hard words,
and keep your temper. Don't be alarmed by any ridiculous threats of
shutting up your business. If you have infringed the patents in the past,
pay only what is reasonable. If you are unwise enough to be infringing
them still, we have no advice and no sympathy for you.

In our next we expect to be able to lay before our readers, the

Carbon Printing Process of Mr. Pouncy, which has vexed the wits and
temper of our English friends for the past six months. Mr. Pouncy
has been withholding his invention till the sum of five hundred dollars
should be raised for him.

:Our correspondent Dr. Sanders is hibernating in Havana and

Key West. He finds Key West a delightful place— thermometor at
eighty, — four thousand people, and no photographer. In Havana, of
course, the art thrives.

■ Among the subjects shortly to be discussed in this Journal are

— cheap pictures — the prospect for the daguerreotype — permanent pho-
tographs and washing photographs.

In answer to Gossip and others ; — the Ivorytype was described

in Vol. VII, Old Series

THE AMEEICAJ^

[MEW ©HISDgSa]

Yol. 1.] JANUARY 15, 1859. [No. 16

RECOLLECTIONS OF A 3AG33RRE0TYPE TPI? TO
EUROPE,

ESQ.

Scamp's attempted Revenge — Hard up.

One Saturday evening whilst Bristles and myself, who had
managed to keep up a quiet civility, were preparing for our
usual journey to Barnet, a gentleman stepped in with a very
mysterious air, and informed us we were wanted, that a gen-
tleman, high in official station, required our presence ; in fact,
the necessity was so urgent, that he had obtained the sral of
Her Majesty the Queen, by deputy, to the invitation. When
we arrived at the office of the functionary, we found tliat we
were arrested at the instance of Rascal Scamp, who declared
we had swindled him out of his piano, and who had managed
to obtain this warrant for arrest on a Saturday night, when it
would be too late to obtain bail, and the magistrate had gone
home, so could not hear the case. Here was a pretty kettle of
fish. How convey information to Barnet ? Porlus had pre-
ceded us there, and another gentleman had paid him a similar
visit, and he had managed to inform the ladies he had to visit
London again on urgent business, and that none of us would
be home till late. The only official, the inspector, was a regu-
lar " Jack in office," and it was a long time before we could
show him the absurdity of the charge, or at least persuade him
to allow us to obtain bail. This business occupied many hours,
and the trotting about London of Porlus and myself, who snon
found volunteer bail, to obtain bail for Bristles, was quite
refreshing, since it gave us much open air exercise, and devel-
oped our muscle. It may readily be imagined that our
acquaintances were not a liUle astonished at being awakened
at midnight for the purpose, especially not knowing the charge.

244 THE AMERICAN

It was five in the morning when we arrived at Barnet foot-
sore, to the relief of the ladies. On Monday, as was to be
expected, Scamp was not present to reiterate the charge, which
was of course dismissed, and we immediately commenced pro-
ceedings against him for perjury and false imprisonment ; but
the first charge fell to the ground, since he had not siuorn to
it, and the second we were strongly advised to abandon,
since he was not worth powder and shot; still a judgment
would put him in prison, and thatwould be some satisfaction and
punishment. Having found that the piano had been obtained
from a needy manufacturer without paying for it, we managed
that he should have the chance of redeeming it, upon paying
the advance, which opportunity he readily availed himself of.

Disgusted with affairs at Barnet, I sold my share of the
fowl speculations for a trifle ; a nominal sale by the way.
Whilst I was interested in the picture business, I thought
home comforts of more consequence than the chance of a little
profit, and still have no desire to be weaned from the fancy.
I was quite as anxious for a dissolution in the picture business
also, but how to do it? neither could buy out the other.
The singularly unpropitious weather had eaten up all our cash,
the speculation had run us in debt. Bristles' legacy I had
long given up as hopeless, or at least thought it would be
absorbed in law expenses, and we were buying money at a fear-
ful rate. Bristles said we were^much in debt. I could not
clearly understand how it could be, but unluckily was not the
cashier, and was quite unwilling to await any formal settlement,
provided I could see a chance of getting out — so embittered had
I become — when Bristles proposed that one buy out the interest
of the other. This was rather a novel proposal, since neither
could raise cash. He proposed that one take twenty pounds
and a quarter set of apparatus, and the other, the business and
debts ; and required my answer the next day, adding that if one
was not out of the business in a week, he was determined that
it should be broken up. Great as was my indignation, I felt
inclined to try my chauce, confident that by careful manage-
ment I could pay the debts soon after fair weather set in, but
found no one willing to advance me the cash ; in fact, I asked
but two. Bristles however, announced that he could borrow
it, and I agreed to take the cash and go, marvelling where it
could come from, considering lie was a stranger in a strange
land — but brass, you know, is sometimes exchanged for gold.
I took the apparatus, and with two pounds in my pocket, took
furnished lodgings for a few days, until the twenty pounds
were to be paid, when we resolved on an artistic tour.

These furnished apartments were situated in a highly fish-

ionable street for lodging houses ; but fashionable as was the
.situation, the interior of the house, at least our apartments,
could not very truthfully come under the same description.
Possibly they may have been ; possibly also, the worthy land-
lady still thought so. Her taste may have consisted in varie-
gated carpets; sights of the floor sticking through may have
been deemed picturesque. That old furniture may have been
thought substantial ; it was. — polish on it superfluous, and
dimness unpretentious. That box of wires may have been
thought musical, but people differ; Mrs, Skylight differed;
she could draw naught but discord from its cords. To my
notion, the solid old bedstead, with its clean clothing was the
only comfortable arrangement in the rooms, and it would have
been a credit, even to my grandmother. Meanwhile, anxious
to earn my first cash on my own independent account, I rigged
up a temporary accommodation, to the astonishment of the
inmates who were unposted iu the art. They evidently dread-
ed some explosion, or weird-like conjurations. I took a few
pictures for my wife's friends, and got the cash for them. But
Bristles cash was not forthcoming, and I was bristling up with
disappointment, whilst our cash was getting smaller by degrees,
and uncomfortably less; but hope was bright, and our appe-
tites singularly good. How does it happen that when we can
least afford it, we have such uncomfortable appetites ? At
least, that has been my experience. Days passed by, and all
the cash passed with them; still, it was some comfort that more
was due, but it did not come, and every penny had gone. A
pleasant situation, certainly. Brother Photo., were you ever
cashless? But where was the morrow's breakfast to come from?
Still we kept our spirits up, hoping, like Micawber, for some-
thing else to turn up, and something to put down. Walking-
out in the evening, pockets quite empty, I espied a bright six-
pence on the ground ; ere I could calculate its purchasing
power as regarded the breakfast, lo ! another ; who can imagine
our joy, sixpenny joy ? why, the temporary pleasure could not
be excelled by the bequest of a million ! Well, breakfast was
accomplished, but dinner must come, and supper follow, and
the same routine on the morrow : so I resolved to see Bristles
and urge him to^pay up — to remember his own exacting de-
mand of cash in a given time. Now Bristles did not happen
to be more amiable than myself, and replied with much chuff-
ness that he had no money, but would have in a few days.
This not exactly suiting, high words sprung up, a regular
breeze. Bristles began sneering; Skylight became passionate :
the heartless sneers of Bristles, who had the whip hand, so
worked on my temper, that it was with much difficulty I could
keep hands off; the struggle of passions was so fearful that I

246 THE AMERICAN

could scarcely get myself down stairs, and in the highest state
of excitement I found my way to my lodgings, when the con-
solations of Mrs. Skylight ultimately prevailed, when Skylight,
brightening up, was himself again.

The scene, however, though treated with pretended contempt
by Bristles, had its due effect, for shortly Porlus came, anxious
to see me, and, failing in the effort, sent a note pledging the
amount the next day, which, duly arriving, we were ready to
recommence the world with £20 cash, and as much debt con-
tracted on my own account, when we could not spare cash from
the business.

Frons.La Luniiere.

ON CASEIBTE.

BY LEON KRAFFT.

La Lumtere, of October 2d, gives the process of Mr.
Duchochois,* substituting caseine for albumen in the prepara-
tion of negatives, after the Taupenot method.

Caseine being unknown to most photographers, I propose
to give a rapid sketch of its properties, and a very economical
method of preparing and preserving it.

Caseine contains the nitrogenized part, that is to say, the
nutritive part of the milk of mammifers. It is held in solu-
tion by a small quantity of potash. Cheese is almost entirely
composed of it.

Although Mr. Duchochois has given a method of preparing
soluble caseine, I must declare that soluble caseine does not
exist,

Caseine does not dissolve in water, unless it is combined
with an alkali. In that case we do not have a solution of cas-
eine, but of a caseate.

This explanation may appear like a crotchet of a savan, or
as a point of pure science elucidated; such a view is errone-
ous. Theoretical truth never limits its light to science alone ;

Translated from the " American Journal of Photography," page 17.

JOURNAL OF PHOTOGRAPHY.

247

its rays may cause some grand practical application to
germinate.

The discovery of chloroform remained for many years only
a scientific fact, about which the theories of Dumas and Lieb-
ig jostled each other. The discussion is finished and there
remains a magnificent application. With this agent surgical
operations the most difficult and painful are performed while
the patient is unconscious. At its .discovery, gun cotton
engaged the attention of the whole world. If we have given
up its use as a balistic force, there remains its application to
photography, of which its inventor, Schoenbein, had not
dreamed.

Albumen was well-known ; Niepce de St. Victor and
Tanpenot have recently taught us the useful part it may be
made to perform in photography.

Let us hope that Mr. Duchochois shall have rendered us a
like service in revealing to us a new property of caseine.

In his mode of preparation he directs to precipitate the
skimmed milk with sulphuric acid. Any other acid will give
the same result. I would designate especially hydrochloric
and acetic acids, which photographers generally have near
them.

After having washed the precipitate on a filter, at first with
acidulated water, then with pure water, I would advise to dis-
solve it in a little carbonate of soda, or even common salt, sub-
stances better known than carbonate of baryta, and of little cost.
We might also employ chloride of ammonium, nitrate of pot-
ash, and even iodide of potassium, bodies with which photog-
raphers are already familiar.

After filtering, evaporate the solution. . This becomes by
degrees covered, on contact of the air, with a film, which
neither dissolves in acids, alkalis, nor in the salts indicated.
It is this pellicle which we see form on the surface of milk
when we heat it. When all the liquid has disappeared, the
caseine presents itself under the form of an amorphous mass of
an amber yellow color, without odor, but of a flat taste. Its
solution is coagulated by alcohol and acids. All earthy and
metallic salts precipitate it. With lime it forms a compound
insoluble and imputrescible, which is employed in painting in
distemper, as well as for preparing a mastic for receiving every
kind of painting and impression.

It is especially under this form of caseate of lime that it is

248 THE AMERICAN

most convenient to preserve caseine. I commend it -without
hesitation to the notice of photographers.

When it is desired to disengage the caseine for use, it is
only necessary to add a sufficient quantity of the caseate to
hydrochloric or acetic acid, observing that the caseate must be
always a little in excess. Filter the liquid and carefully wash
the precipitate, which may then be used after the formula indi-
cated by Mr. Duchochois.

Without this preparation we run the risk of losing all the
caseine which we may have prepared. In fact, this substance,
however little moist it may be, easily enters into putrefaction,
when it is transformed into a great variety of products with
disengagement of an insupportable odor.

We recommend, also, the following method by which caseate
of lime may be abundantly and cheaply produced.

Take white cheese, (fromage a-la- pie) ; treat it at a temper-
ature of about 90°, with carbonate of soda, so that after a con-
tact of many hours, there is a little cheese in excess. Filter
and turn into the liquid a solution of lime, or of sulphate of
lime. We obtain an abundant white precipitate, which is com-
posed almost entirely of caseate of lime. Throw the precipi-
tate on a filter, and wash with a large quantity of water, and,
finally, spread out to dry in the air ; once dry, we may preserve
it for ulterior use.

Caseine has the same composition as albumen. For one
hundred parts by weight, it contains, according to Dumas aDd
Cahour : r

Carbon, - 53.50

Hydrogen, - - - - 7.06

Nitrogen, ... - J5.77

Oxygen, &c. - - - 23.68

A LETTER FROM GOSSIP.

Elgin, Jan'y 10th, 1859

Mr. Editor. — Hail to humbuggery revived ! hurrah for our
law courts ! huzza for lawyers unacquainted with the nice
points of right and less nice points of wrong ! three cheers for

JOURNAL OF PHOTOGRAPHY. 249

him, who, getting scared, " allowed" a verdict, and gave the
opportunity to Toinlinson & Co. to flash a decision in the
faces of poor photographers, and say, " Your money or a suit
at law; you dare not use bromine; I defy you to say Ambro-
type."

I see by the last " Journal" that Tomlinson has a verdict
for the Cutting claim, and you, I am glad, disapprove of it.
Yes, Cutting has cut in in fine style, and has gone in lemons
and will get squeezed ; the acid of his claims will sour the
hopes of fearful ambrotypists, and set trembling, mere tyros.
I wish him joy of his victor}'. He has done his work cleanly,
and visions of fortune gloat o'er his mind. Prepare, all ye
who have tampered with his right, to pay a per centage on
every pound of collodion you have used, and ye who have sold,
pay according to what you have boasted to have sold ; let the
thousands and tens of thousands of bottles be counted, that
they pay into the coffers of the Cutting; and ye who have
made your reputation on your iodides and bromides, pay for
daring to exercise your skill, for bromide collodion is his;; his
fortune stands out like a mountain against the sun. Where
lie your profits now ? your reputation ? your great name that
was wont to set your rivals in a state of fear ? G-o, get thee
back to your simple iodide, and ask permission of Cutting ere
you do more, for Cutting has the sole right to use bromide
though he who originated its use, gave it freely to the world.
It may have been in that spirit of generosity that almost all
Europeans who have improved the art, gave up their improve-
ments for the love of it, or that, well knowing that bromine
had long been used as an accellerator in the daguerreotype art,
did not dream of seeking a patent for its application to a wet
process. Nevertheless, it was given to the world, and artists
quietly using it as their right throughout various parts of our
country, were astonished one day to hear that J. A. Cutting
had obtained the exclusive monopoly, because he was the first
to publish what others already knew; viz.: that he was just as
welcome to the use of bromine as if he had discovered it, and
to anticipate secrets, to make assurance doubly sure, though he-
had used the bromide of potassium alone, not having tried or
decided on the various other bromides in European common
use, lie cunningly persuaded the patent officers to insinuate
in the grant the sole nse of all bromides now in use, or that
might be in use for years to come, though the said J. A. Cut-
ting had invented none, and possibly was unacquainted with
the use of but one. But some people did not know of the
wonderful decree, so went steadily on their ways using bromide ;
others believed it not ; some naturally supposed it related to

250 THE AMERIICAN

bromide of potassium alone ; since with that alone he was ac-
quainted— but the masses thought that, being founded in injus-
tice, it would not stand, so pursued the even tenor of their
Ways, and made many experiments and improvements.

Now I, Ambrotypean Gossip, travelling through this our ex-
tensive country, had my trials and experiments, and had just hit
upon the bromine, and now find all my labor in vain, and that
it must fall into the hands of the ruthless Cutting, who would
have laughed at the very name, had it been unsuccessful.
'Tis useless to keep it secret now. " Bromide of Mud" is the
great prize that falls to Cutting, and bromide of clay, or of
smoke, or any imaginary or unimaginary bromide, or real and
practical bromide that may yet develope, that is yet in the
womb of futurity to be delivered bj genius, all, -all belongs to
Cutting, because he appropriated the first free gift of bromide
of potassium. Alas ! poor artists, reserve your skill for the
benefit of shoes and hob-nails, and paving of streets — anything
but photography, lest the inevitable J. A. C. proves a claim
to it says the court, as he did to bromide, and ambrotype, and
photo-lithography, &c, let your art be at a stand still, retrograde,
become indifferent, rather than have your work for nothing, and
the benefit of your skill be given to the man whose fortune was,
in being the first to make a personal appropriation of what was
thrown away. But say, Mr. Editor, what becomes of the rights
of those who acquired them in Europe, when first given away,
and continued to acquire them up to the present time ? Does
an American, on a visit to London, who used as common prop-
erty bromide before the patentee here smelt collodion ? does
an Englishman, Frenchman, G-erman, &c, who fairly acquired
the right of its use, lose that right by returning or emigrating
to this free country, where the spirit of the laws are against
monopoly — tea for instance,— it is something I want to know.

I sincerely hope that every man who has a dollar he intends
devoting to the art, instead of paying it as black mail for the
privilege of using what he has a right to use, will put it into a
general fund for the purpose of thoroughly testing the ques-
tion, and pledge the fund to the defense of any or all who are
attacked by the would-be monopolist. Do not look at the
small cost of quietude; do not think of expediency, but re-
member you must be governed by principle. If you, time
after time, or even once, pay even one dollar to save trouble,
you will have swarms of claimants buzzing about, asking five
dollars for this and ten for that, and threaten to plunge you
into litigation.

Photographers, you have never banded together before for

JOURNAL OF PHOTOGRAPHY. 251

mutual protection — let me beg you will this time try the ex-
periment. I have devoted much time trying to guard you
from process peddlers, and cribbers of men's brains, and hope
not in vain — Fight. Gossip.

ODE TO PHOTOGRAPHY.

Child of the Sun-light, art almost divine,

Death's enemy, and conqueror of Time ;

Friend of the heart-bereaved, whose powers restore

The shadows of the loved ones, ours no more.

To the lone mother thou can'st hring her child,

And show her how her rosy darling smiled ;

Thou can'st heguile the widower of his pain,

Shadowing him forth his loved one's form again ;'

And while to his her fond eyes softly speak,

The rose-bud lip, the morning tinted cheek,

Her arching brow, each well-remembered tress —

The clear bright transcript of her loveliness.

With love and memory he fondly weeps, '

And half forgets how endlessly she sleeps :

Thou, too, can'st proudly claim to show the world

The shades of those who freedom's flag unfurled ;

Thou, only thou, can'st fully paint each face,

Of those dear friends and brothers of our race,

Nature's true kings, that small and glorious band,

Alas ! too thinly scattered o'er each land,

Who in their love of man, and pride of truth,

Have done great deeds of honor and of worth .

Show noble Creighton's face beside his sail,

And the dear angel glance of Nightingale.

Nor man's the only face thou can'st impart —

Bright Nature's charms upon thy canvas start,

And 'grave her beauties with thy lightning pen,

Deep in the hearts of city-prisoned men;

Awful Niagara's wondrous majesty,

And mountain peaks that pierce into the sky :

Nor ends thy glorious mission even here ; —

Heaven's power and wisdom thro' thee show more clear,

Pinioning the wondrous grasp of human mind,

Which thus can Nature's secrets seek and find,

The perfect links of Heaven's eternal plan,

And glorify the works of God through man.

Fanny Baker.

252 THE AMERICAN

SUPERIOR COURT— BEFORE JUDGE DUER.

AMBROTYPES;

The State Courts have no jurisdiction over causes grow-
ing out of a Patent.

W. A. Tomlinson agt. M. L. Battel and another.

This was an action to restrain the defendants by a perpetual
injunction from using the word " Ambrotype," as applicable to
photographic pictures and likenesses taken by them, and also
for damages sustained by plaintiff from the unlawful use of the
word by the defendants. The complaint stated that, hereto-
fore, one Cutting had invented and discovered certain improved
processes and modes of taking pictures upon glass, and that he
had invented the word " Ambrotype,"which he exclusively ap-
plied to all pictures taken by such improved processes, and
stamped upon such pictures on their frames. It averred that
Cutting had obtained a patent from the Government of the
United States for securing to him an exclusive right to use the
processes so invented by him, and that by various mesne assign-
ments, the exclusive right to use the processes so patented in
the City and County of New York, and other counties of the
State, was vested in the plaintiff, who, by virtue of such assign-
ments, had also acquired the exclusive right to use the word
" Ambrotype," to designate the pictures, likenesses or impres-
sions taken, or manufactured by them, as assignees of the pat-
ent. The complaint also alleged that the defendants, in
violation of the exclusive right of the plaintiff, had taken,
manufactured, and sold within the City and County of New
York, under the name of Ambrotype, large numbers of pic-
tures, likenesses, &c, similar to those taken and manufactured
by Cutting and his assignees, to their own great profit and
advantage, and to the great detriment of the plaintiff. The
relief demanded is that above stated. The answer denied
specifically each material allegation in the complaint, rela-
tive to the exclusive right of Cutting and his assignees, but
admitted that the defendants had used the word " Ambrotype"
to designate the photographic pictures taken by themselves on
glass, and asserted that they had a lawful right so to do.

When the cause was brought on for trial, and pleadings were
read, the Judge said that he had great doubts as to the juris-
diction of the Court, and directed that question to be argued
before any witnesses should be examined.

JOURNAL OF PHOTOGRAPHY.

253

It was accordingly argued, upon a subsequent day, by the
counsel for the plaintiff, and was decided by the Court, with-
out calling upon the counsel for the defendants to reply.

Duer, J. — Considering the law as settled — as I have recent-
ly had occasion to show in the case of the " Balm of a Thous-
and Flowers" — that there can be no exclusive property in a
generic or specific name, unless as incident to an exclusive
property in the article, composition or process, which the name
is used to designate, I must of necessity hold that the plaintiff
cannot maintain the action, unless he can show that he has an
exclusive right in the process by which the pictures, properly
called " Ambrotypes," are produced, for, if the defendants have
an equal right to use the process, they have an equal right to
apply to the pictures it produces their appropriate and distinc-
tive name. The plaintiff claims an exclusive right to use this
process within this city and county, by virtue of the patent
granted to Cutting, of which he is in part an assignee ; and
hence it is upon the existence, validity and construction of this
patent, that the title of the plaintiff to the relief which he
claims, principally, although not wholly, depends. But, as I
understand the Constitution and laws of the United States,
questions concerning the validity and construction of a patent
belong to that class which the Courts of the United States are
alone competent to determine. The act of Congress " To pro-
mote the progress of useful arts," passed in 1836, (acts of
1836, p, 244, sec. 17), has put an end to any doubts that may
formerly have existed on, this subject, since, by its necessary
interpretation, it gives to the courts of the United States, ex-
clusive cognizance of all cases arising under the patent laws ; and
in my opinion the case before me falls within these general
words. It is a case in my opinion as truly arising under the
patent laws, as if the action had been brought for direct breach
of the provisions of the patent, which is relied on, since it is
brought for the violation of an exclusive right, which, if it ex-
ist at all, exists only as a consequence of these provisions. It
is true this exclusive right is not given by the terms of the
patent, but it is only as an incident flowing from the exclusive
right which the patent purports to secure that it can be estab-
lished, to prove its existence, the patent itself must be pro-
duced, proved and construed.

It is not necessary to deny that when a question as to the
construction, and, perhaps, as to the validity of a patent,
arises, collaterally, in the progress, and upon the trial of cause,
the necessity of its determination will not oust a State court
of the jurisdiction which it derived from the nature of the ac-

254 THE AMERICAN

tion and the state of the pleadings. But here the existence
and validity of a patent, concerning the process, by which the
pictures to which alone the name of Ambrotypes can properly
be given, are produced, lie at the very foundation of the plain-
tiff's claim. They are facts constituting, in part, the cause of
action ; as such, they are averred in the complaint, and as such
are put at issue by the answer. It is upon an exclusive right,
secured by a patent, that the action is founded. It is this ex-
clusive right that the answer denies, and is the denial which
raises a question that, when thus raised, neither this nor any
other State court, in my judgment, has authority to determine
— a question which I have no right to determine, and must
refuse to consider.

I am not aware that there is any adjudged case that, in its
special circumstances, resembles the present, but the principle
upon which I act in refusing to hear this cause, L apprehend is
distinctly laid down by the Supreme Court in Parsons against
Barnard, (7 John R. 144), by Chancellor Kent, as Chief Jus-
tice, in Livingston agt. Van Ingen (9 John., 582), and by Mr.
Justice Strong, m delivering the judgment of the Court of Ap-
peals, in Dudley agt. May hew, (3 Com. 9).

It is plainly for the interest of the parties that the objection
to the jurisdiction of the Court should now be taken, since,
as it cannot be waived, it may be raised in any stage of the
proceedings, and even in the court of ultimate resort. Its de-
cision now may be a saving of much time and expense.

Following my conviction, I shall, therefore, dismiss the com-
plaint for want of jurisdiction, but without costs, and with
liberty to the plaintiff to appeal without security to the Gener-
al Term.

G-. L. Ford for plaintiff; J. Humphreys for defendants.

(The above opinion was delivered long ago. There are points in it
which will govern other cases now in the same Court.) — Ed.

A NEW METHOD OF FINISHING PHOTOGRAPHS,

THE IVORYTYPE.

BY THE EDITOR.

I have never shown much favor to photographs colored from
the back. Yet the little genius and skill required to execute

JOURNAL OF PHOTOGRAPHY.

255

the " Grecian Painting" (Phoebus ! what a name !) the demand
for cheap colored pictures, and the late grand flourish concern-
ing Hallo types, render this unartistic method of coloring of
some consequence, at least enough to make it worth while to
seek for those who practice it, the best way.

Photographs colored from the back, are made transparent
by means of oil, balsam or varnish, and are commonly attached
to a glass plate by means of varnish or balsam. The objec-
tions to the common method of procedure, in contrast with
the method I propose, are the nasty and sticky nature of the
materials used, the time required in manipulation, and especial-
ly the fact that the picture on exposure to light and atmos-
pheric influence, will generally turn yellow, and sooner or later
will invariably peel off from the glass. All of these objections
are removed in the following process.

The material with which I render the photograph transpar-
ent and cement it to the glass is, white wax. I melt the wax
on the glass plate, lay the photograph on and in the wax till
it is saturated, and while the glass is cooling, I press out the
superfluous wax and air bubbles with a roll of soft and clean
paper. The whole operation may be completed in a very few
minutes. If the picture be now backed up with white paper,
or preferably with a duplicate photograph, it has somewhat the
appearance of a well executed chemitype. The photograph
looks vastly clearer and smoother than if mounted in the
usual way on card board. If you want a colored picture, it is
only necessary to back up the transparent print with a dupli-
cate, rudely colored by any of the ordinary methods. If your
eccentric taste admires a Hallotype, separate the two pictures
by a sheet of glass, or if you are afraid of infringing the in-
ventor's rights, and desire to improve on him, keep the pictures
apart by a paper mat. Oil colors laid on the back of the
transparent picture will be displayed much clearer^and brighter,
than colors on the duplicate.

The most convenient way of warming the glass plate, in
order to melt the wax, is to lay it on a thin plate of iron, of
about the same size as the glass, and apply the heat by a spirit
lamp.

(The above was published in this Journal of Feb. 1st, 1858.
produced here by request.

It is re-

I have fouud that much of the photographic paper sold will not an-
swer for the process, for the reason that the wax does not penetrate it

256 THE AMERICAN

uniformly, leaving a kind of mottling or granulation. It is possible that
a solution in week acid would remove the difficulty.

The name, " Ivorytype," is most appropriate to the pictures with
light backgrounds.)

THE CUTTING PATENTS.

BY THE EDITOR.

I believe in patents — patent laws are desirable, and should
be founded on wisdom and justice. An invention is a product
of labor and skill ; its originator has paid for it — it belongs to
him as really as does his coat, when he owes the. tailor nothing,
and it is the duty of government to protect him in the exclus-
ive right to use it.

Our patent commissioners examine the evidences on which
the claims to proprietorship rest, and they make their decisions
solemn with a big seal, which decisions the people respect as
long as they deem them worthy. But inventors and patent
examiners are only men, often with eyes eo keener, in heads
no longer than rest on the shoulders of others. Men are con-
stantly inventing old things ; patent examiners constantly
give decisions which the courts reverse. The examiners are
not experts in all arts. It is our right to review their deci-
sions about photography ; and we need not hesitate to differ
with them and contest them.

Now, concerning the Cutting patents, that which claims the
use of bromide of potassium, is the only one which is of inter-
est, or is worthy of discussion at the present time ; and this
acquires importance only from the fact that the patentee pre-
tends to the power of exacting tribute from all who employ
any bromide whatever in the collodion, and in earnest promises
to exercise his authority. Did he limit his claim to the use of
bromide of potassium, no one would pay any attention to him,
however unfounded might be that claim. But as the matter
really stands, every photographer should determine Avhat he
will do in the probable emergency.

For myself, I do not believe that Mr. Cutting is entitled to
the exclusive use of bromide of potassium, or any other brom-
de. The points of an argument I would express somewhat as
follows :

JOURNAL OF PHOTOGRAPHY.

257

Suppose I introduce a new vehicle for photographs on glass,
a complete substitute for collodion — double-distilled buzz-fuzz,
for example, — T first try it with iodide of potassium, publish
my discovery in this Journal, thinking nothing of a patent.
Some Athens man reading the Journal, adds bromide of potas-
sium to my formula, thinks he has made an invention, rushes
to Washington, gets sweet on some patent examiner, who at
the end of six months is ready to certify that the Athenian
has a property in the use of bromide of potassium, whenever
employed with my buzz-fuzz. At this stage of proceeding I
think I should smile, being so moved by the conceit of the
Athenian and the simplicity of the official of a great people.
Would'nt everybody appreciate the ridicule ? So far supposi-
tion. The reality is not very different. Paper was first used
in photography ; then on glass we had albumen, gluten, gela-
tine, caseine, [&c. ; all of these substances being employed
with precisely the same chemical processes. At the time col-
lodion was introduced, I believe every variation and modifica-
tion of the chemical process which has been employed with
collodion, had been previously used with one or more of the
other vehicles. The various vehicles were equivalents of each
other in their use, and the theory and practice of the processes
with them were identical. It will be reeollected, that in the
famous case of Talbot vs. Laroche, the turning point was
chiefly whether the Talbotype and collodion processes were
identical, and that Talbot would have been victorious had his
patent covered the paper* process as practiced at the time of
the trial. If Mr. Cutting first employed bromide of potassi-
um in collodion, he deserves little praise or reward ; he had no
exclusive property in such a use.

Again : Supposing Mr. Cutting's claim to the use of brom-
ide of potassium to be just, such claim does not cover the use
of other bromides, unless they are equivalent for the same pur-
pose. Here is a chance for argument.

And supposing bromides to be equivalent, and that Mr-
Cutting was not entitled to the exclusive use of a certain one
of them, he could not appropriate any other. For example :
If I had used bromide of ammonium, and had published the
fact, he could not acquire a property in bromide of potassium.

Finally, was Mr. Cutting the first who made use of bromide
of potassium in collodion ?

There is strength in the above argument, and when sup-
ported by the facts which may be produced, will oust Mr.
Cutting from the whole of his claim.

I intend to pursue the matter until it is fairly put to rest.

258 JOURNAL OF PHOTOGRAPHY.

EDtTOMAt MtSCELUNY*

We have desired to present Pouncy's carbon process to our

readers in his own words, before we expressed an opinion about it.
But we are again disappointed. No Pouncy process came by late
steamers. Now we venture our opinion as follows :

Mr. Pouncy is an English Hill, only on a somewhat small scale ; — he
is satisfied with $500. In the beginning he makes the loudest preten-
sions, files a kind of caveat description of his process, gets talked about
n all the societies and papers, becomes the most famous man in the
photographic world. At the end of six months the process which he
had taken steps to secure by patent, is published, and nothing is found
in it but what was well known before. Pouncy declares process pub-
lished not the process, but a ruse — boasts louder and louder—goes
into the Photographic Society, and kicks up a row.

In the meantime Pouncy has made good use of his time in endeavor-
ing to so modify or improve the old process, that it will not be recog-
nized.

The fact is that the carbon chromate process is weak in theory. It
cannot take the place of a purely chemical process like that on silver.
Chemically reduced atoms are a very different thing from particles pul-
verized in a mortar.

Rev. L. L. Hill. John Pouncy !

— '■ In our next will appear Experiments on Gun Cotton Paper

-a New Washing Apparatus — Patents, &c.
To some English correspondent, (including Darl,) we would

say, that we probably shall make new arrangements — by which this
Journal will be published in Europe.

The Cutting patents are still the exciting subject of talk. In

New York no very active measures have yet been taken ; — warnings to
stop infringing a plenty, but no injunctions — and no new suits commen-
ced. In Boston, it is said, all the artists yield — save one — (what is the
name of the brave fellow ? ) — and pay for a license $25 !

What will our New York friends do — what our country friends.'
Pay $25 to secure peace, or

It is not generally understood that the breeze is not about balsam
sticking patent, and that the collodion patent was never sold — so that
the patent ambrotype folks may be called on to pay as well as others.

THE AMEEIOAN

ntmtal of fflofogcaplg.

[MUM ©HBQg.ga]

Vol. 1.]

FEBRUARY 1, 1859.

[No. 17.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE,

BY SOL SKYLIGHT, ESQ.

A New Era in Photography — Dawn of Collodion —
Recommencing the World in Bedford.

About the time of my visit to London much attention was
being excited to the discovery of the photographic uses of
collodion. Archer had just, in a modest pamphlet " price two
and sixpence," published its value, and one of the first things
I did after separating from Bristles was, to buy the said pam-
phlet ; it was nothing more than a pamphlet, showing the value
of the discovery, with a brief mode of practice. Archer must
have thought all photographers highly educated, and naturally
intellectual, since the work was only adapted to such, and
they could find sufficient in it to incite them to effort, but un-
less the profession generally has changed for the worse, he
made quite a mistake, most men in it now-a-days simply
adopting it as an easy mode of getting a living with little ex-
ertion and less need of study, and as a business of which all
others, has but little use for books. The possession of the
book caused me to hie off to our Photographic Chemist, Mr.
Hocken, who like all who have engaged in the chemical branch
of the Art, was also an enthusiastic practitioner. He thought
the collodion process was bound to supercede the Daguerro-
type, and endeavored to persuade me to adopt it as my line
of business. I however could not see it in the same light, nor
could be persuaded that the cold-looking collodion pictures, as
the first attempts were, would by any means take the position,
they now occupy, an error I have had cause to regret ; never-
theless, there was sufficient attraction in the new branch to

260

THE AMERICAN

engage me in it as an amateur, and my first and only lesson
was tbere and tlien taken. We took our pictures in his front
second floor room, closing the shutters when we wanted the
room dark. His bath was also his shield, and fitted into
the 'camera, and when he wished to expose the pictures he
placed it against the front of the plate glass, of which the
hath was made, and which was adapted to the focus of the
object glass, and exposed it the desired time. A few pictures
gave me an idea of the practice. I now paid a visit to Mr.
Archer, whom I found as modest as his pamphlet ; he showed
me some very fine pictures, especially some white pictures, in
which he used the bi-chloride of mercury. His camera for
views was also his dark room, aud he put his. arms through
sleeves on the sides of it, and looked through a yellow glass
on the top, to see what he was doing. When, traveling, his
hath and bottles were all stowed away in it like in a packing
case. The visit to Mr. Archer will always be to me a pleasant
reminiscence, and a stronger reason to regret, that one who has
contributed so much to the art and to science, should have been
unrewarded. Had he been less modest, and of course less wor-
thy, his reward would have been rich, and his family have
reaped the benefit of his studies and talent. Can you, brother
Photo., imagine a man in this country, who would have hidden
his light under a bushel, of unthankful people, and have
avoided the patent office and a fortune. If Archer has left a
family, you, reader, commence a contribution, one anew from
the one for the living man, to. which of course, you contributed
your mite.

After due consideration we concluded to take a tour, and
commenced preparing for it, but vjhere to go required "A
mighty dale of weighty consideration" as Sir Patrick 0.
Plenipo, is made to say. Daguerreotype tourists were by no
means common, and I was quite unacquainted with the modes,
beside I had not the slightest predilection for any one place.
I knew perfectly well that the same class of people as in the
U. S. would not be sitters, so it would be useless to try very
small places, and made the error of pitching on one too large.
Mrs. Skylight happening to have relatives near Bedford,
there we resolved to make our first start, though we saw none
of them while there. The twenty pounds would not go far
in an outfit, and it was desirable to take some c^.sh to allow
for a failure. So laying in as carefully as possible a small
stock we started with six pounds to pay fare, and risk.
Hurra! we are off; 'tis not a long journey — not many hours
brings us there, the change of scene pays for the fatigue and
close confinement of a second class carriage. Now I say em-

JOURNAL OF PHOTOGRAPHY.

261

phatically, confound those second class carriages, on English
railroads ; just fancy a long carriage divided into compart-
ments, like so many horse boxes, with your vis-a-vis knocking
his knees against yours, a narrow unhealthy crib with hard
uncushioned seats, and you locked in for safety, lest you might
take a notion to commit suicide from discomfort, and with no
chance of helping yourself, perchance an accident. You hard-
hearted, money-grabbing, miscalculating monopolists, have you
yet reformed yourselves, and improved on the wants and com-
forts of your customers ; if so, tell me I pray, as I may yet
visit you before I die.

A loDg straggling suburb leads into the old town of Bed-
ford, which will never be distinguished as great. A liberal
and injudicious exercise of one of the noblest traits of the
human mind, philanthrophy, has stunted the growth and en-
terprise of Bedford. Bedford is lethargic from its numerous
charities. Asylums and charitable institutions are scattered
through the town, until the energy of self-dependence is'dwarfed.
Nevertheless, though enterprise is stultified through charity,
it is better there should be less wealth, if it insure but little
poverty. Not knowing where to locate, I asked the landlord
of the inn we put up at, who recommended me to one Shep-
herd, who had a large roam he usually rented out for public
meetings, ooposite the market place, and near the Corn Ex-
change ; not liking this place, I tried hard to obtain a more
agreeable one, but failing, was forced to take it, at what I af-
terwards found out was a high rent, especially as the meetings
were allowed. As ill luck would have it, the man was high-
ly unpopular, at least with the better class of the towns-
people, which unpopularity communicated its influence to our
enterprise ; in addition, the family were what is termed rant-
ing methodists, and certainly the heads of it, hypocrites
of the darkest dye, as a very short observation of the differ-
ence between acts and loud prayers soon showed, and was pro-
bably the secret of unpopularity. A day or two showed the
speculation would not be unsuccessful, some few of the better
class being customers, including the curate and his wife, whose
pleasant influence was shown in recommendations to friends.
A slight illness of Mrs. Skylight gave the opportunity of
knowing the town was blessed with a very kind doctor.

Bedfordshire contains a large number of the descendants of
the pure Saxon race, large powerful frames, light hair, and
blue eyes, rather a difficult class of customers to commence
operations on, especially as I had been in the habit in the
States of hearing instructions given, to look straight at a cer-

262 THE AMERICAN

tain object ; the light blue eyes exercised me greatly; at last I
resolved to throw aside old notions, and tell my sitters to
blink as often as they pleased, the expedient answered exactly,
and dead-fish-like eyes were banished from my " studio." The
beautiful and wonderful stereoscope had long engaged my at-
tention and admiration, and I made some excellent pictures,
though, with a small southern side light; indeed, considering
the unfavorable light, I was highly successful. One market
day, amidst the odd people I had seen, the oddest of all made
his appearance and required my skill ; he was introduced by
Shepherd as the Pastor of a flock in a small village, who oc-
casionally visited and preached in Bedford. The man was
about six and a-half feet high, and by no means stout ; his fea-
tures were tolerably good, but lacked the expression of intel-
lect, the most remarkable characteristic being unclerical vanity.
Whilst engaged preparing a plate, I heard him telling Mrs.
Skylight how he made his appearance in chapel. " You must
know, Madam, I am not always so flushed as at present ; the
fact is, I have been taking two or three glasses of wine; when
I enter the Chapel I walk thus" — I looked and saw him walk-
ing as stiff as a grenadier, a slow as any stage hero condemned
to death, with his mouth puckered up as prim as a disap-
pointed old maid, — "I walk thus with my Bible under my arm,
for 'tis not best to be over familiar with my flock you know.
But I have a different walk when I return, from the consci-
ousness of having made a hit ; I turn round and talk and
smile with the leading people, but sometimes it would be a
source of great trouble, as so many young ladies seemed wil-
ling for a match, indeed, that is the reason I married young."
" A great disappointment it must have been to the others,"
answered Mrs. Skylight, slyly. " Yes, but I am not exactly
married now, that is, I am separated from my wife. It was
not a very desirable match after all you see. " Dear me," says
Mrs. S., " you ought to have had the pick." " You will observe
how I shave the upper part of my forehead to give me a more
intellectual look, for I think it advisable to make the best im-
pression possible." I chuckled inwardly, when he was gone
Mrs. Skylight declared him the vainest, empty-headed fool she
had ever seen. " How would you have liked the reverend for a
husband, eh ?" Oh ! heavens.

SPIRITS OIV CHEAP PICTURES.

Mr. Editor :— I picked up the following fragment which I
send to you. It seems to be a spiritual communication ; as I

JOURNAL OF PHOTOGRAPHY.

263

am only the medium, (a sort of spiritual postman in the flesh)
you will see the impropriety of fathering the effusion on me.
It is evidently "rapping" at somebody they call Cheapman ; that
is not my name, so I can't think why they threw it in my way,
unless they fancy, I, like Pharaoh's daughter, would pick up
their bantling and adopt it ; but I won't, indeed T won't, you
may do what you like with it. It appears to be an oration, or
something of that sort.

"An Oration against Cheapman in a variety of styles, a little
u Bombastes" not at all " Furioso," rather "Penseroso," illus-
trated with numerous quotations to enlighten those minds lost
in the " Cimmerian" darkness of Photography, and to enliven
the subject. ■

First, ye men of ambrotypes, I would ye knew the value of
your art and not degrade it. The prize you ask is low,>so very
low, 'tis almost nothing, for work which should have been the
wonder of the world, the glory of the age.

An art whose votaries should have been renowned, whose
works should all have stood upon the highest pinnacle of fame
and every " type" th?y made been worth a diadem, and "cheap
at that," is now " reduced so low there's none so poor as do
them reverence."

I need not tell you fellow laborers how this came about, or
by whose deeds we now are left to mourn our profit lost, our
glory gone, for all must know the deeds of Cheapman. Lost
to himself, oblivious of the cares of others, he entered the
Temple of Fame, by the gate Photos, and laid upon the altar
the sacrifice due only to mammon, but finding that such gifts
were never wanted there, but with contempt were hurled back
in his face, he in a rage took up his hat and with a blow fixed
it tight down upon his forehead, retraced his steps, forgetful of
the way, departing by the gate despair. Envy now took pos-
session of hs soul, for she is ever on the watch for those who
leave the gate, and s )othed him with the promise of revenge —
" reveuge is sweet," she whispered in his ear, now hearken
well to what I have to say — you cannot rise to imminence in
an art that suits you not. You have placed yourself in what
they call a false position — false then remain — sell cheap, and
call it " reasonable," thus you will learn to worship mammon
true, and for reward you'll line your pockets too. Poor Cheap-
man fell before the syrens lure, and in eternity he'll grovel sure
never to rise, his punishment shall be a warning to others. Let
me recount the dreadful woes and punishment reserved for those
who art degrade. '• Had I a thousand mouths, a thousand

264 THE AMEKICAN

tongues with throat of brass, and iron lungs I could not half
the horrid deeds relate" that wait poor Cheapman in the other
state. Deep in the caverns of a dark, dark room, or barely
lightened with a sulphurous gloom he'll sit. and fancy that he
sees the patrons that he tried to please ; some look with pity,
some will scowl, some with scorn, and all will growl curses on
the little soul that was so mean as cheat them. Cheapman will
scream in agony, " shake not your gory heads at me," and
turn his eyes another way to meet if possible, a ray of " hope
that never enters there." Anon with aching eyes he will view
a thousand tubes directed and rue with each an evil eye, there
gimlet eye will look so fierce, he'll fancy they were meant to
pierce right to the core, or with a savage twist to bore a hole
to let the day light in upon my soul.

In dull despair he will sit and shiver, his -ching 'flesh will with
anguish quiver to see Daguerrotypes with vim, and the dull
Ambrotype so grim, all staring mad, their eyes on him.
Cheapman will rush in terror through the gloom, and try to
find another room, but there the fading Photographs look down
upon him with an awful frown.

'Twas fate decree that art should rise,
And men her noble gifts should prize,
But thou vain man with soul elate,
Would drag her down to thy low state ;

For this the fates, thy soul may doom to wander in the dread-
ful gloom that hangs for ever round and o'er the dark'ning
nitras argent shore. If so, farewell, unhappy ghost, thy
doom is sealed, and thou art lost, for know there is no re-
demption left for those who impiously the G-ods oppose."

The rest of the fragment I could not make out; bits wanting
here and there prevented all possibility of arrangement. Some
of the scraps seemed to indicate a recommendation to raise his
prices ; for instance : one was " charge Cheapman, charge ; on
Cheapman, on;" here the piece was torn off. The last line
evidently shows that some attention had been paid to the re-
commen'dation, as you will observe from the commendatory ex-
clamation.

" There now ; I said that Cheapman was no noodle,
God save the Queen and Yankee Doodle.'7

A SciIMARTPIIELO.

JOURNAL OF PHOTOGRAPHY.

265

ON THE USE OF BROMINE IN COLLODION,

THE CUTTING PATENT.

BY H. GARBANATI.

The Cutting patents are exercising the photographic world,
not so much from the value of the discoveries Mr. Cutting,
claims to have made, as from the wide interpretation of what
he considers his right. 80 far as balsam sealing is concerned
it is scarcely worth a consideration, since nearly all who have
purchased " Plights," have abandoned their use ; few indeed, now
put up balsam pictures.

So far as the word " Ambrotype" is concerned, there are other
words equally as expressive ; the common use of the Word had
more to do with creating a demand for the style of picture the
patentee limits as an ambrotype, than the merit of the picture
itself.

So far as the " Flowing Bath " is concerned, in which also
Mr. Catting appears to have an interest, there is no reason that
I know, to doubt the validity of the patent, the only doubt is
about the value of the invention. The baths are now common-
ly rejected, are becoming obsolete, few indeed call for them,
and those who have them in use, do not generally see any ad-
vantage in the trough. The interest of the patents, focus on
the use of bromide in collodion, the last developed patent
right, which, if sustained, insidiously cuts up root and branch,
all supposed right in making or using collodion, as commonly
made.

It is well to consider thoroughly, the right to the bromide
patent, and the extent of the right, supposing the right sus-
tained. We must first consider the justice of the patent for
bromide of potassium in collodion, on the strength of which
claim, which they pretend has been sustained, they seek to im-
pose a tax of $25, on every one who uses bromide in any form
in collodion, reserving the right to assess damages for what has
already been used. The value they set upon the fact of having
used a common commercial article for a well known purpose,
but in a new material, which they did not invent, but which was
given by the inventor freely to the world, is some two hundred
and fifty thousand dollars, ($250,000) since there are at least
ten thousand person in the United States who use collodion.

Now, I deny the justice of the patent for bromide of potas-

266 THE AMERICAN

sium, since the iodide and bromide were well known as adapt-
ed to the specific purpose for which they are used, though on
other materials, paper, albumen, gluten, &c, and therefore
there was no invention whatever, in applying either to any new-
ly discovered vehicle which answered better than any of the
older vehicles, though the iodide and bromide were neither
better nor worse. Having been used as an accelerator for the
daguereotype, and afterwards for the paper, albumen, &c.
processes, it would have been strange had bromide not been
tried as an accelerator in collodion also, much stranger than that
it should have been used. People therefore used the various
salts of bromine as a matter of common property, like salt on
a dinner table. When the various films were tried on glass, it
was quite suggestive, that as the iodide of potassium or any oth-
er iodide was used, that the bromide of the same should be used
also ; and, that Archer did not publish it, cannot for a mo-
ment be supposed, because' he was unacquainted with it, but
that he preferred the iodide alone, a fact well known.

Had Mr. Archer patented his discovery, he would not have pa-
tented the excitants because they were already known, but the
new material to use them in, and there was no more judgment
and skill required to use them with the new vehicle, than there
is to turn soup from one tureen into another. He would not
have claimed he could use bromide also if he thought proper,
any more than a person when sitting down to dinner, would
deem it necessary to state a preemptive right of the use of pep-
per and salt, so as to debar the claim of any single person to a
monopoly of the whole. Yet because a man has thought prop-
er to claim all the salt, others are to be suddenly put to great
expense to prove their right to a portion of it. Nobody denies
Mr. Cutting the right to use bromide of potassium, but why
should his right debar the right of others ? Mr. Cutting is not
peculiar in using bromide, his peculiarity is in seeking a mo-
nopoly. Any one else would have thought the obtainment of
it absurd.

It would be difficult for Mr. Cutting to prove he was the
first to apply it to collodion, and all reason is against any right
to a monopoly, by the proofs of its use in before-popular vehi-
cles of excitants, but the more so, when so many persons claim
to have been using it, when his patent was obtained, not as a dis-
covery of their own, but as a well known material the uses of
which were published in Journals devoted to photography,
and read in essays in Photographic societies, long before the
patent was granted. I myself with hundreds of others was
using bromide of ammonium in collodion long before the patent,

JOURNAL OF PHOTOGRAPHY.

267

for bromide of potassium was applied for, and if it is the equiva-
lent of the latter, the patent cannot be valid. But supposing
the claim to the use of bromide of potassium, can be sustained,
does that necessarily give the sole right to the use of all other
bromides, known or used at the time, or invented since ? Are
the patent holders to have a lease of other men's brains for fu-
ture years, because they happened to put in the first claim to
one well known bromide? Is every experiment to be subject
to their taxation, or the discovery of some more combinations
with bromide, to eurich the patentee of potassium, and impover-
ish the one who improves the art? Are salts of bromine, hav-
ing no other use than photography, and which would not have
been made but for its use, to become the property of some man
who adopted some other and commercial salts ? rather an un-
reasonable supposition certainly. But why do they claim all
the bromides ? Because, say they, they are the equivalents of
the potassium. But as the editor of this journal says, "if bro-
mide of potassium is an equivalent of bromide of cadmum
ammonium &c, then Mr. Cutting debars his own claim, since
some of them were in common use when his patent was ob-
tained," and hence he has no right to a patent for an article
the equivalent of articles in common use. But I deny it is
the equivalent of some other bromides, they are superior to it
and the ammonium, magnesium, &c , being adapted to especial
results, which potassium cannot give, cannot be its equivalent.
If all bromides are to be deemed the equivalents of bromide
of potassium, because they are for the obtainment of the same
effect, acceleration, whether superior or inferior, then is bro-
mide of potassium the equivalant of bromide of lime, which
has so long been used for this purpose in daguerreotyping ; if
the value consists in its application to glass, then it is stultified
by the fact that it was used in albumens which were also used
on glass, and by that rule, the use of it on Niello or melaineotype
plate is free, or open to a patent to the first one who used it
on these materials.

Bat it is of no use to fight with mere argument. The Pa-
tentees claim to have a verdict, and they have the power of
levying a tax, or by means of an injunction, of shutting up
the business of any one who opposes. Consider well if it is not
best for all to oppose as one body, since all are interested, and
settle the question forever. It is too bad to levy a tax on such
flimsy pretensions. If they prevail in this matter, there is no
knowing what new claims may be put in; and how many taxes
are to be paid before you dare take apicture. It is so easy for
some one to put through a patent for some trifling variation in
chemical action, which the Patent Commissioners may not be

268 THE AMERICAN

thoroughly acquainted with, and through fear of litigation should
the patent be partly owned by some lawyers, make artists pay
another tax ou the patentee's wide interpretation of his right.

Who knows what claims may be extant, valueless, but tedious
and equivocal, as some one may claim a right to the sole use of
preservers, or something of that sort in common use, and then
what a trouble there would be. If this bromide patent is sus-
tained, there is a quirk yet to make ia gun cotton ; quite
an explosion will take place. Simple as it may seem, it may
yet be the source of trouble. Why did they delay the proof
of this right to a monopoly of collodion? was it to effect a
sale any how ? was it because they thought if pushed early, peo-
ple would find they could do well without the bromide of
potassium ? Have none of you been visited by colporteurs
and dry goods pedlars, who would leave some trifling article
with your wife or servant for a few days, which getting soiled
or misplaced, insist on a large payment for the same ? is there
a similarity in this trifling thing ? This bromide patent must
be settled but it cannot and will not be done by any one person.
You must combine and bear part of the burthen no matter who
is struck first, for those who are against you have means. If it
can be proved that bromide of potassium, was iu common use,
the patent officers had no more right to grant a monopoly of it
than of the air we breathe. To do so would be an exercise of
perfect despotism. The duty of the patent ofiice is to protect
inventors and encourage genius. But it is palpable a patent
on bromide of potassium is an estoppel on improvements in
photography, since in one material branch, such improvement
would enrich another and impoverish the inventor.

If the monopoly of bromide of potassium is the sole right of
Mr. Cutting, iet us see that hegets no more than his right.
But to pay a tax merely because he threatens trouble, is any
thing but patriotic, and certainly does not display any of that
spirit that animated people not so very many years ago, who
preferred a long and weary war rather than pay a certain tax
in part support of the government.

From Photographic Note*.

MR. POUNCFS PROCESS OF PHOTOGRAPHIC CARBON

PRINTING.

1. Prepare a saturated solution of bichromate of potass.

JOURNAL OF PHOTOGRAPHY.

269

2. Prepare a common solution of gum arabic, about the
consistency of thin varnish.

3. Prepare vegetable carbon, by grinding it with a muller
on a paint stone or slab, in the same manner that a painter
grinds his colors ; and be careful that it is ground very fine.
It is to be ground with water.

4. Mix together equal parts of solutions (I) and (2), say
four drachms of each, and then add one drachm of No. 3.

5. Stir the whole well together with a glass rod, and strain
it through the finest muslin that can be obtained.

6. Now apply the prepared solution in the following man-
ner : — Lay the paper, face uppermost, upon a glass slab, or a
very level and smooth board ; the glass is the best of the two.
Commence coating freely with a broad camel's-hair brush, lay-
ing on a copious supply over the whole surface ; and then
allow the paper to absorb for about two minutes.

7. This done, remove the superfluous liquid thus : — Take
a painter's 4 in. hog's-hair "softener," and work it regularly
over the paper, with an alternate vertical and horizontal motion,
until the whole presents a smooth, even surface, partially dry.
The drying may then be completed by the fire.

[Operators will of course infer that the whole of these ope-
rations must be carried on in a dark room. They should also
be informed, that any other method of application, including
floating, &c, will prove ineffectual.]

8. Expose it in the usual way, varying the time according
to light, say about four or five minutes in the sun, and from
ten to fifteen in the shade. This, however, will be affected by
the intensity of the negative, time of year, &c.

9. On removal from the pressure-frame, lay the picture,
face downwards, in a flat dish of clean water, taking care to
exclude all air-bubbles. It will be found advisable to place
some slight weight upon the picture, that the back may thus
be retained wholly under water and kept free from stains.
The time of soiking may be roughly stated at five or six
hours ; though in some cases of over-exposure pictures may
remain in the water for days, and come out equally good.

It may be observed here, that when the high lights of the
picture appear soon after immersion, the operator may conclude
that he has under-exposed, or that his gum arabic is too thick;
which last fault may be corrected by the addition of a little

270 THE AMERICAN

more bi-chromate. It is preferable to find the picture develop-
ing evenly all over. Each picture must be in a separate dish,
and fi:ially washed under a gentle strea-u of clean water from
a tip or a lip cup. Saould the margin be not quite clean, pass
a camel's-hair brush carefully over id before riusing from the
tap, and, if neeiful, any parts of the picture, but the best re-
sults are obtained by soaking only.

(The above, from Photographic Notes, of Jan. 1st, is the
whole of Mr. Pouncy's process, as writteu by himself for the
subscribers to the $500 fund. Our opinion, as expressed in
our last issue, is more emphatically confirmed than we had ex-
pected. We are unable to discover that Mr. Pouncy has ad-
ded a single fact or improvement to what was before known.

The Editor of Notes with very ill grace still praising Mr.
Pouncy and his alledged discovery, says,

" But the publication of this process is not the only piece of
good news with which we are able to commence a new vol-
ume of the Notes. We are happy to inform our readers that
M. Poitevin's patents for photolithography and carbon print-
ing, have lapsed in consequence of his not renewing them by
paying some additional fees which became due on the 13th nit.
These patents bear date Dec. 13th 1855, and were good for
three years; that term has now elapsed, and M. Poitevin has
not renewed them, so that they have become public property.
The only patents now to be avoided, are, that of M. Beaure-
gard for carbon printing, and that of Cutting and Bradford."

How " happy" Messrs. Pouncy & Co. have occasion to be,
may be inferred from the description of Poitevin's process,
which we find in Delestre's Annuaive de la Photographic

" To apply photographically the different colors, either liquid
or solid, I make an intimate mixture of the color with a con-
centrated solution of albumen, or fibrine gellatine, gum arable
&c, with the addition of an equal volume of bi-chromate solu-
tion : I cover with a uniform coating of this mixture, the pa-
per or other body which is to receive the color. After the dry-
ing of this coating, I impress it with light, either direct or dif-
fused through a negative ; I then wash it with water and a
sponge. The color remains adherent only on the parts im-
pressed by light, and in quantity proportioned to the intensity
of the light, We may, in the same manner, apply simulta-
neously or successively various colors."

It appears that Mr. Pouncy has appropriated Poitevin with^
out a blush.) — Ed. Am. Journal.

JOURNAL OF PHOTOGRAPHY.

271

Havana, January, 1859.

My dear Seely : — The object of your journal being to in-
form your readers of the progress of photographic science and
art throughout the world, I thought that perhaps a short com-
munication oa the subject would not be unwelcome, if directed
from the " ever faithful isle." During my wanderings through
this city, I have seen but four or five photographic galleries
opened to the public.

Now to those persons who have so often entered the splen-
did galleries of tho United States, the galleries here present a
most curious contrast. Just let your readers imagine them-
selves in a back alley of one of your American cities, where the
stables are kept, and they will then have a fair conception of
the streets of Havana. If they will imagine themselves en-
tering the carriage-house, with that vehicle on one side, and a
narrow passage for the pedestrian on the other, they will then
have some idea of the grand entrance to a photographic gal-
lery in Havana. Upon entering one of these galleries, the
person unconsciously fiads himself looking around for the horse,
but I believe that although the carriage is an indispensable ar-
ticle of parlor ornament here, that the horse has not yet been
assigned a place in that apartment.

Perhaps on one side of this carriage-house, you will perceive
a small recess answering the purpose of a window, in which are
some styles of photography. These, in most of the houses, are
sorry looking affairs, although there arc two or three houses
here which produce good pictures.

I believe that Mr. Fredericks of your city, produces the best
pictures on the island, if I am to accept four gentlemen who
have lately arrived here for the purpose of opening a gallery.
These persons are Robert and William Winter, S. A.. Conner
and Jas. H. Bonsall. Mr. Conner is said to be one of the old-
est practical photographers in our country, while the two broth-
ers Winter, are celebrated, not only as talented artists, but as
the inventors and exhibitors of the Chemical Dioramas, so suc-
cessfully shown in various cities of the United States. These
gentlemen, I have no doubt, with their Yankee enterprise and
energy, and their talent and experience as photographers, will
succeed equal with their expectations.

I dropped in one gallery, but found a Spaniard there who
could not speak the English language. As I could not speak
Spanish, of course we could not communicate our ideas to each

272 THE AMERICAN

other very freely. But my sense of sight soon informed me
that the gentleman was behind the age in photography. Not
only were his chemicals either impure or not compounded
properly, hut his taste in sitting his subjects, was wretched.
His lenses too, were worth nothing, for while they gave a sharp
picture in the region of the face, the other portions of the per-
son were quite undefined. His lenses were sharp, but they
possessed no depth.

I examined critically the pictures exhibited in the windows
of the photographers of Havana, (the native ones I mean) but
I saw none which I think would surpass those of our second
rate operators. It is through this reason, I suspect, that Mr.
Fredericks makes the art pay so handsomely in Havana ; for
he gives them a good picture and gets his price for it. From
the rather cursory examination of the subject I have made
here, I am of the opinion that this island offers a good field for
several enterprising photographers, provided that they thorough-
ly understand their profession. There is any quantity of money
on this island, and those who possess it are not niggardly of it
by any means. All they want here, is a first-rate picture, for
which they are willing to pay at least double the price that we
ask in New-York. But really, our beautiful art is now so
wretchedly abused by ignorant and unpracticed persons, that
its prestige has considerably abated of late. It is devoutly to
be wished that the present generation of artists, (I mean such
as form three-fourths of the photographers of the present day)
may be replaced by those who combine with their practical
knowledge, a thorough proficiency in chemical science. Such
men as these will give dignity to an art which a great majority
of the present ones disgrace. It is true that a few days' prac-
tice will enable a naturally clever person to take a picture
which can be looked upon without disgust ; but instead of being
an artist, that person should be regarded as a mere machine.
To make a successful photographic artist, the person should de-
vote months — nay 'years — to the acquisition of chemical sci-
ence, and to that branch of ^Esthetics which comprehends the
graceful and the beautiful. *

I can well imagine, friend Seely, that you can readily en-
dorse the above definition of a true photographic artist, for you
have gone through that long scientific drill which fully entitles
you to discriminate the gold from the tinsel. But I fear that
the great mass of photographers willjscarcely read with patience
the above definition, so little are they prepared to decide upon
the subject.

J. M. S.

JOURNAL OF PHOTOGRAPHY.

273

CARBON PRINTING-GUN COTTON PAPER, &c.

BY THE EDITOR.

Carbon Printing. — I have found no reason to change the un-
favorable opinion I have frequently expressed of what is known
as Carbon Printing*. It is not possible by that mechanical
process, to produce results comparable in fineness and other
desirable qualities, with those obtained by the ordinary purely
chemical methods. The powder fine enough — the homogene-
ous mixture — the uniform coating — the even developement
and, the penetration of the film by light — are all practical
difficulties which are beyond our skill. We may indeed make
fair carbon pictures, with much trouble and nicety of manapu-
lation, — and what then ? I would be proud to have been the
one who discovered the process, because it is an interesting
contribution to knowledge ; to modify it or show its extreme
capability in practice, is worthy of little praise. It is radically
defective in theory. Like the hot-air engine or the benzole
light, we may be instructed or amused by it, but no such con-
trivances can take the place of what we already know and use.

Yet a new printing process is desirable — and with carbon;
but we must not be satisfied with anything short of a process
as truly chemical as that we now employ. Show us how we
may eliminate the ultimate atoms of carbon from its combina-
tions under the action of light, and I am ready to abandon my
silver printing ; — and even then to place the matter of perma-
nence entirely beyond question, the carbon must be precipita-
ted wholly uncontaminated with chromium oxydes or any other
oxydes.

To those who are still willing to experiment on the mechani-
cal process, I would recommend that on page 121. In the
haste of writing that article, I omitted to mention that the al-
bumen on the paper should be coagulated previous to the expos-
ure : otherwise the picture on development is washed away by
the underlying albumen being dissolved. I believe the pro-
cess will produce as good pictures as any other of the kind
heretofore published.

But I have made a useful modification, as follows ;

Instead of carbon or a pigment in powder, I have used a wa-
ter extract of logwood. The solid extract may be procured
at drug stores, and when dissolved in water and filtered, is
to be added in proper quantity to the bi-chromate and gum.
A precipitate is formed from the bi-chromate and logwood,
which is of a fine black, and readily incorporates with the mix-

274 JOURNAL OF PHOTOGRAPHY.

ture. Moreover the formation of this precipitate is favored by
the light, thus affording an additional advantage. The pictures
made in this way, I believe may prove as permanent as any.
Instead of the extract of logwood other extracts may be used,
or solutions of certain colors in acids or alkalis.

Gun Cotton Paper. — I have been led to suppose that the
peculiar sensitiveness of collodion was due to the chemical na-
ture of gun cotton. I inferred therefore, that ordinary paper,
when converted into gun cotton paper, would prove advanta-
geous for photographic use. I found no difficulty in making
the gun cotton paper without injury to its original color or
strength, but on trying for printing in the ordinary way, I was
unable to discover that it acted materially different from ordi-
nary paper. The fact is worth recording as the first experi-
ment of the kind.

I am not satisfied with the common explanation of the quick-
ness of collodion, viz : porosity in the usual sense of the word.
Is it possible that albumen, paper &c, are made up of the or-
ganic cells into which the excitants do not pass, but that these
cells arc broken up by the perfect solution of the gun cotton ?
Is albumen like starch, made up offeculae, only finer? Let
us overhaul theories and make notes.

EDITORIAL MISCELLANY,

■ The Cutting patents are still the subject of immediate interest

to photographers. We talk a great deal about them, arguing abstruse
points of law, (splitting hairs like lawyers.) make historical researches,
and take more interest in photographic publications than ever before.
A conviction prevails of the utter unsoundness of the patent claims,
and little fear of the issue of another contest in the Courts. But
very few in the profession are willing or able, single-handed, to
fight the battle for the whole : so combinations for protection are talked
•about. We have had voluntary offers of contributions to a large amount.

The publishers of this Journal propose to devote one-half of its sub-
scriptions, received between the dates of Jan. 20th and March 1st, to a
defense fund for the benefit of subscribers. If no occasion should be
offered for the use of the money in a suit at law, it will be applied for
the general good, in the improvement of the Journal. A record of the
subscriptions, and the particulars of its disbursement, will be published.
Will our readers please assist in making this offer known?

We are indebted to several friends for letters commending our course,
and calling our attention to records of the use of bromine previous to 1854.

Since the 20th to the present time, subscriptions have been received
from the following persons :

M. O. C, N. Y. ; C. D., Pa. ; H. M. P., Conn. ; J. M. S.. Fla. ; L. C. E., N. T. ; H-
R. L., N. Y. ; J. B., N. Y. ; H. J. H., N. Y. ; B. &. W., Conn. ; L. B. T., Pa. ; E. G-
R. I. ; J. N., Texas ; J. S. C, Mass. ; P. H., N. Y. ; P. McG-., N. Y. ; S. D., N. Y. ;
H. S., Jr., N. Y. ; A. C, N. Y. ; R. &. L., O. ; R. C. N., Conn. ; J. W. P., La. ; C. S.
Jr., Mass. ; G. W. V., Mass. ; W. L. N., Conn.

THE AMERICAN

Hotiuaat of i^nfonttapTiu.

[ sa 1 w © e @ a s © o j

Vol. I.]

FEBRUARY 15, 1859.

[No. 18.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

Photographic Experiments — A mjpihill.

I soon availed myself of my chemicals, to try experiments
in collodion, but feeling disinclined to be confined to positives,
wrote to Mr. Hocken for necessary chemicals, a glass pan
and phot, p '.per, and also for instruction in the paper process.
Collodion positives were made in those days by backing the
collodion side with the smoke of a lamp, or a piece of black
velvet; soon came the articles from London, with the glass pan
broken, and a letter from Mr. Hocken ; one side of a sheet of
note paper contained all my instructions in photography, some-
thing thus,

Dear Sir :

Salt.

Sensitize,
Expose and fix.
Soak thoroughly.

dry.
dry.

Yours truly,

J. B. Hocken.

'Tis said that brevity is the soul of wit, and if brevity is the
essence of photographic instructions, I was amply supplied ;
after one more broken dish and at last one whole one, — a sheet
of plate glass, with glass sides, fastened on with gum shellac, —
I tried my process with tolerable success, for in those days
there were no really negatives, as we now know them, they
were simply overdone positives ; the systematic mode we now
have of reversed lights and shades, was confined to paper : re-

276 THE AMERICAN

developing was as yet unknown ; ammonia nitrate had only
just been communicated by Mr. Taylor : one of the most valu-
able and least acknowledged variations in the art.

There being no chance of making a decided hit, I accepted
the offer of Shepherd to accompany him to Ampthill on the
look out for a place, as I had much against his desire decided
on a change, and engaging the only available place there, I re-
solved to try my luck for a week or two, leaving "Mrs. Sky-
light in Bedford, though loath to do so, not liking the parties
she remained with.

I had sent my luggage by the carrier, and walked through
the beautiful park of Ampthill, and was proceeding on my way
on the road, and near the town, when I suddenly ' discovered I
had no cash, or at least but a few shillings. I knew well I
ought to have twelve pounds after having paid my debts and
left some with Mrs. Skylight, but where was it gone ? A nice
predicament in a strange place ; however there was no other
resource than to try and make some. Ordering some circulars,
and getting them addressed by the barber, the factotom of the
village, I commenced business the next day, and had the good
fortune to be in funds by the time the printer presented his
bill. A letter from the curate in Bedford to the curate in
Ampthill, had obtained the good favor of the latter, who ob-
tained the patronage of the rector and wife, so that before I
took my seven miles' walk to Bedford, on Saturday night, I
was quite flush of funds. I found I had left my cash in my
other pocket, and Mrs. Skylight had been persuaded by Shep-
herd to lend it to him, and had gone with his wife to London
on a pleasure trip. A fine prospect methought, of getting it back
again ; how agreeable, had I been unsuccessful in the village of
Ampthill, It certainly prevented me taking Mrs. Skylight
back with me, she would have to board some out, and try and
get back the balance. I took the precaution to take some
bread with me, for singular as it might seem, we had not tast-
ed apiece of good bread in Bedford, whether it was that none is
made there, or we did not, find out a good baker I know not. But
the Shepherds declared there was no better to be had ; true we
bought where they recommended ; true also, Ampthill is fa-
mous for bread.

Business commenced as soon as my return on Monday, chief-
ly through the influence of the curate, a young man exceeding-
ly fond of his pony, whose portrait I took for him several times
alone and in the gig. The curate was exceedingly popular
from his charities. People said he spent more than his salary
in charity, and that he drew on his small private fortune. Yet

JOURNAL OF PHOTOGRAPHY.

277

he was treated with reserve from an impression that he was a
Pusyite, and thus a converger towards the church of Kome;
the rector was also fond of the portraits of his horse, as was
also his wife, neither of whom had their own taken. The rec-
tor was the antipodes of his curate both in appearance and
manner, being a man of the world, tall and thin, and quite live-
ly for a parson ; the curate, grave and short. Ampthill is quite
remarkable for its private gardens, one of which, the Brewer's
— a Quaker — was almost as beautifully undulating as the
park. Quite an establishment was there in Ampthill, in the
shape of a reading room established by the Barber, a place
worthy a large town. The Barber was very successful in his
effort, and in addition to the reading room, had the best as-
sortment of books and stationery in the village, to say nought
of a stock of segars. One would have thought him a Yankee
or at least a former denizen of a large city ; I lookedupon him
as a valuable resident, and the more admired his versatility
when he luformed me he would undertake any printing I might
require. A worthy young schoolmaster confided his love af-
fairs to my keeping, thinking probably my travelled experi-
ence might afford seasonable advice ; the affairs of the village
were soon under my cognizance, and had I sought it, I might
no doubt have been posted up in every detail concerning every-
body, from the odd, droll, and old fashioned glover, to the lord
of the manor. G-arden scenes were the delight, and I was gen-
erally bobbing around, camera in hand, my landlord kindly carry-
ing some of the apparatus, to take the various groups. Once I
forgot to put mercury in the bath, and developed a picture by
the particles clinging to the rough iron.

One day the curate gave me a letter of introduction to the
pastor of a distant village, thinking he might require some pic-
tures, but having a distaste to seek work personally, a custom-
er who had become an acquaintance, proposed going with me ;
so one afternoon when business had slacked off, we started
across the fields for a short cut; when nearly there, it commenced
raining at a terrific rate, and being thinly glad, we were soon
soaked. However, we pushed on, and arrived at the parson's
house with the letter. The house was quite a large one, and
well situated in extensive grounds. Upon arriving there, the
maid took the letter . to present to her mistress, the parson
being out, and politely showed us into the — kitchen ; after
waiting quite a long time, I received word that Mrs. Rector
would present the letter to Mr. Rector, but that she, Mrs. Rec-
tor, had no order to give on the subject, and we started home.
The rain continued with unrelenting fury, when glad for a
chance of escape, my companion knocked at the door of a hum-

ble farm house, where he had sold some trifling articles of dry
goods. A good noggin of strong ale was speedily set before each,
and pleasant conversation entered into ; condolence for our wet
condition cheered us up; the rain abating, we again started,
when my companion managed to pilot me in safety through the
dark bye ways. The room I occupied having a permanent
tenant engaged for it, I had to cut my prosperous career short
as no other could be obtained in the town. Most of the houses
being furnished with the old fashioned lattice windows, while
those with modern windows were generally occupied by per-
sons whose means enabled them to keep the whole house.

I was very anxious to go to the beautiful town of Woburn,
but Mrs. Skylight's health prevented the journey-across coun-
try, so taking the advice of my pilot, I hired a cart to take me
to have a look at Hitchen, on the great northern railroad,
taking all my stores witu me. On the journey through a
beautiful country, the driver pointed out two churches, each
with a flock of under two score, but with pastors who received
good salaries; forgotten arrangements of the past; populations
had changed in the course of time, parishes had been altered,
dissenters had made arrangements for themselves, but salaries
remained unchanged ; parsons were too pious to think of filthy
lucre, though they received it without earning — why should
they know anything about cash ? Leaving my fixings in the
art, I took some dinner at the " cock" where I learned that
bread and cheese was as much a dinner as a full course, as far
as charge went, they probably thinking it my own fault for
being late, and not asking for better food.

I was fortunate in obtaining a good room with a bow win-
dow, and started off for Mrs. Skylight. The worthy Shep-
herds had a tolerable bill against us, propably charging a high
interest for the money they had borrowed, the balance they
were to pay in a week, Mr. S. would bring it himself; so hir-
ing a carriage, we started off for our new scene of operations
and were duly installed in Sun st., when I lost no time in pre-
paring for business, and Mrs. Skylight for cookiDg, and other
domestic necessaries and comforts.

From Photographic Notes.

ALCOHOLIC COLLODION.

The question of the best formula for collodion is one which
can easily be settled by experiment. Pyroxyline is insolluble

JOURNAL OF PHOTOGRAPHY.

279

both in absolute ether and in absolute alcohol, but it is soluble
iu any mixture of the two lying between one part ether to six
parfs alcohol on the one hand, and about ten parts of ether to
one part of alcohol on the other hand. Wbat then is the best
proportion to employ between the ether and alcohol? That
point mny easily be settled beyond the possibility of dispute.
It is well known that the instability of iodized collodion is due
chiefly to the ether which it contains ; it is also well known
that the sensitiveness of collodion is increased in proportion to
the preponderance of alcohol. We should conclude therefore
a priori, that by using the mininum quantity of ether and the
maximum of alcohol the stability and sensitiveness of collodion
would be increased ; and this is found to be the case. It is
found also that collodion containing the maximum quantity of
alcohol gives a film the most free from structure, the most ad-
hesive to glass, and the best able to resist violent treatment iu
washing. It only then remains to see whether there are any
practical inconveniences in using for general purposes collodion
which contains the maximum quantity of alcohol. It is evi-
dent tlmt a small excess of ether must be present in order to
meet the loss from evaporation, otherwise the film would set
too quickly, and the collodion would form ridges upon the
plate, and drop in the form of jelly from the corner of it into
the bottle. There are three states which collodion assumes,
viz., the fluid, the gelatinous, and the hard skinny state. Col-
lodion which contains the maximum of ether when poured up-
on a piate passes rapidly from the state of fluid to that of skin;
particularly in hot weather. Collodion which contains the
maximum of alcohol passes rapidly from the state of fluid to
that of jelly, and from jelly very slowly to that of skiu. Both
these extreme conditions must be avoided, and collodion must
contain sufficient ether to allow the operator to manipulate con-
veniently and with certainty. About one part of absolute eth-
er to three of absolue alcohol is a very safe, and good propor-
tion. The collodion then sets quickly upon the plate, but re-
mains in a state of jelly for a long time without getting dry
and skinny, which is very convenient in hot weather. On the
whole, the above proportions are perhaps the best. It is not
true that alcoholic collodion is an inconveniently long time in
setting. M. Duchochois is certainly mistaken in this respect.
According to our experience alcoholic collodion is superior in
every respect to that in common use. We know of no draw-
back to the use of it. — Ed. P. N.

(The above remarks are appended to the reprint of the paper
on p. 208. The Editor of Notes appears to ignore the various
qualities of the gun cotton.) — Ed. Am. Journal.

280 THE AMERICAN

THE CUTTING PATENT AGAIN.

BY H. GARBANATJ.

It appears I have much underrated the value Mr. Cutting
puts on his wonderful bromine discovery. $250,000 is bj
no means the value of it to the photographic world. The
twelve Apostles, (they say there are twelve interested) are by
no means satisfied with so insignificant a sum. They want more
than that per "annum, for having been lucky enough to lay
claim to a sole monopoly of the privilege of putting a com-
mercial article in a newly discovered agent in photography,
given freely to the world by its applyer. The fact of using
bromine in the now favorite, collodion, instead of the discarded
favorites, albumen &c. even though by no means satisfactori-
ly proven that Cutting & Co. were the first by hundreds, to
apply it, is considered a sufficient reasou for imposing an annu-
al tax on all who use collodion, even though some invent bro-
mide those great discoverers never thought of; beware, or Mr.
Cutting's lucky boldness will put a tax on your brains when-
ever you dare to think of bromide in collodion. The thing
would be too ridiculous to argue about were it not dangerous,
for they have commenced their work, and the profession so far,
have taken but trifling means to counteract their boldness.
The would-be monopolists, have already sent in printed forms
to the New York operators, filled up with their names and the
rate per annum, the lowest twenty-five dollars, a second
class gallery, fifty, and one, not one of the finest by any means,
was modestly asked one hundred dollars per annum for the
right of using, what in justice should be as free as air.

Just take a careful glance at your prospects, artists ; you
are called to pay from $25 to some unknown sum per year.
You must remember if you pay one years' liberty, no matter
how small a sum, you confess judgment. What guarantee
have you that the sum will not be increased as they find out,
or pretend to find out, that your business improves ? Do you
not know, that in the payment of the first years' tax, they can
assess you for the number of years you have used collodion, in
a like sum, on your own confession of judgment. Is it not ne-
cessary then, for your own interests, which I have not so much
in view as the principle of the thing, even though some of you
are regardless of the principle in the absorption of your inter-
est, is it not necessary to combine, and defeat this enormous
swindle on art ? I tell you plainly, that at first I thought the

JOURNAL OF PHOTOGRAPHY.

281

success of the " Apostles " too ludicrous to be contemplated
seriously, until I find you apathetic, and they energetic. Why
Barnum himself, might exhibit them, with blushes at his own
insignificance in the art of getting something for little, for they
seek an enormous something, for nothing at all. Barnum is
uo more to be compared to the banded " twelve," than General
Tom Thmub to Napoleon, or Julius Caesar. There is another
view of the case to be considered ; it unsettles business ; peo-
ple are afraid to go on, — men, anxious to sell, cannot find pur-
chasers, from the uncertainty of what taxes, beside rent, are at-
tached to the business. If you are determined to pay a tax of
twenty-five dollars and upwards, because you are engaged in
the photographic art, do it in a manly manner, and for a noble
purpose. Pay your yearly tax into a fund for the benefit of
disabled photographers, or the widows and orphans of photo-
graphers ; a desideratum, an undertaking you ought to engage
in ; engage halls for exhibitions of works of the art,' anything
good, but not as tax for the privilege of practising a right.
Pay it, and you will save twenty-four out of the twenty-five
dollars the first year, and all the other years, for the one dol-
lar per man Would inevitably settle the question for ever, and
give the opportunity to those who have paid the tax, to make
the taxers disgorge. But you must kill the snake, not scotch
it. You must eugage the best of legal talent, but you must
do it, not leave it to a single man, for no one man will under-
take it.

Possibly, Cutting & Co. will benefit the profession in a man-
ner they neither calculated on nor designed. This excitement
may, and ought to be the cause of banding together the great
photographic profession. You have interests as a body. The
art ought to be ennobled, and more than that, it ought to be
protected. Patents are sacred protections of men's brains, but
ought not to be the means of monopolizing dodges; there are too
many in the photographic art. If a man can find out some
kink in manipulation, in mixing his chemicals, he reaps the ben-
efit in his own operations, but he ought no more to tax others
for doing the same thing, than if he found out a short cut to
get from oue part of New York to the other, or the man, who
first discovered that it was the same distance around the bnse
of a hill, but caused much less fatigue than going over it. Has
anybody patented the sole use of the trade winds ? any one the
currents of the oceau, anybody the advantage of the knowledge
of the variations of the needle, or the influence of iron ships on
the compass? Yet it took much study aud observation to fix
these facts, but not the use of bromine in collodion, after it had
already been used in daguerreotypes, and in albumen. Form a

282 THE AMERICAN

photographic society for mutual protection, and let it protect
inventors iu photography, but let it see that they do invent, and
not allow patents on well known things and the inventions of
others.

From the Photographic Journal.

W DRY COLLODION PROCESSES.

BY DR. HILL NORRIS.

A thorough comprehension of the fundamental principles
of dry processes is the only guarantee of a fair proportion of
success in this branch of photography. It is not sufficient to
possess recipes and formulae; for photography, like physic,
cannot boast of specifics The remarkable list of substances
which stretched ingenuity has suggested to preserve the capil-
ary condition of the collodion film is a witness to the fact, and
evinces the almost total want of fixed principles fo guide the
photographer in a proper selection. We must hope that Jhis
empiricism, so fatal to true progress, will ere long give place
to a more philosophic spirit.

It is proposed tonight to discuss the subject of dry collo-
dion under four separate heads, viz : Adhesion of the film,
sensibility to actinic influence, retension of the invisible image,
and development, as under these four divisions the entire phe-
nomena of dry collodion may be treated.

First, then, adhesion of the film. — Non adhesion may occur
in two ways, viz. — by blistering and by stripping or washing
up. The former is peculiar to preservative substances, the
latter to collodion, without any superincumbent adhesive sub-
stance. The blistering results from the preservative substance
expanding when wetted. The stripping up, or washing off, is
the normal condition of a simply washed and dried film of
collodion ; to steer between these two conditions is therefore
clearly our course, avoiding the blistering on the one hand and
the fragility of film on the other. Fortunately this is easily
accomplished, as collodion will bear a sufficient amount of ex-
pansion, and at the same time a very small amount of gelatine
or albumen will confer stability on the film.

Applying these principles, if a given collodion rises in blis-
ters, with the application of a four grain solution of gelatine
all we have to do is to reduce the streugth to two grains, or

JOURNAL OF PHOTOGRAPHY.

283

even less, as one gr in is amply sufficient for conferring sta-
bility on the film during the various subsequent aqueous oper-
ations. It must be understood, that all these remarks refer
to dry processes properly so called, as from this category
all such are excluded as contain substances having marked
hygroscopic properties, or in a word, all such as will not bear
moderate friction with the baud when dry. It has been said
that the coagulation of albumen in the film prevents blister-
ing; but this appears to-be an error, for if any strength of al-
bumen be left on the plate, blistering will undoubtedly occur.
Meta-gelatiue has also been advocated on the ground that it
might be applied cold ; but my experience contra-indicates the
application of cold solution as likely to give 50 per cent, of
stained plates by an incomplete removal of the nitrate of sil-
ver, which being dried in the film is reduced by the pyrogallic
acid. Meta-gelatine, in the hands of amateurs, probably gives
greater freedom from blistering, owing to its fluidity and a
smaller quantity being left on the plate ; but this is counter-
balanced by the tenderness of the film, i. e., its liability* to
strip. — We now pass on to consider the sensibility of the dry
film to actinic influence. The greatest degree of sensitiveness
with which at present we are acquainted exists in the most
exalted conditions of the wet collodion film; and as that film
is saturated with free nitrate of silver, photographers have
generally imagined this to be the direct cause of sensitiveness,
and that its partial or complete conservation in the film would
confer the much-to-be-desired end, forgetting that the state of
the nitrate in a dry is totally different to that in a damp pro-
cess. By the use of organic substances, it is quite possible to
retain the whole of the nitrate in the film without decomposi-
tion ; but it no longer exhibits its peculiar influence as in wet
processes, nor is it correct that the existence of an organic salt
of silver (as the albuminate) confers any sensibility. The fact
is, neither nitrate of silver or any organic salts of this metal
have any direct action in the sensitiveness, but the former acts
in an indirect manner, by preserving the integrity or " in-
tact condition" of the compound on which sensitiveness de-
pends.

The maximum sensitiveness of a dry plate from any given
collodion, is obtained by simply washing such plate from the
nitrate bath with distilled water and drying. No preservative
application capable of complete dessication at present known,
no matter how applied, has the slightest accelerating effect;
but, on the contrary, many substances so employed have a dis-
tinct deteriorating tendency. Gelatine and albumen are in
this respect perfectly neutral, but the latter so only when it3

284

THE AMERICAN

affinity for metalic salts has been satisfied, as under other cir-
cumstances it tends to the destruction of the sensitive com-
pound, ultimately reducing the plate to complete insensibility.
Looking upon moderately sensitive collodion as uniting plates
without any preservation, or preserved with gelatine or albu-
men, will be represented by six, or in other words, will require
six times the exposure. It was not my intention here to en-
ter into the chemical nature of the sensitive compound, as this
with the nature of the invisible image, will be found fully dis-
cussed in a paper preparing for the Royal Society of Edin-
burgh ; but as the subject has been alluded to, I will call your
attention for a moment to the composition of the iodide used
in photography. On precipitating iodide of silver by double
decomposition, taking care to retain an excess of silver salt,
we have a decidedly yellow precipitate, and on repeating the
experiment with the alkaline iodide in excess, we have a white
salt. On the very outset of our inquiries we observed their
physical difference, and numerous subsequent experiments,
have led me to infer, that instead of their being only one com-
pound of iodide of silver in use in photography, there are no
less than four. The composition of which may J)e thus ex-
pressed—

Ag. 1 +Ag. O, NO. 5 The collodion albumen or paper com-

poun

Ag, I. .
Ag,I+KI
Ag. I 2 .

The daguerreotype compound.
The insensitive iodide of chemists.
The precipitate with free iodide in
excess, also insensitive.

Or iu other words, the most sensitive compound of iodide of
silver consists of one equivalent of iodide of silver, plus one
equivalent of nitrate of silver. This salt, in an amorphous
condition, but not so sensitive, may be crystallized, as shown
by Schauss, and is still sensiti/e as in its amorphous state. It
is immediately destroyed on contact with free iodine or alka-
line iodide, and is depreciated by water, but not absolutely de-
composed, at least so long as the smallest proportion of free ni-
trate of silver exists in it. Indeed, iodide of silver and nitrate
of silver cannot exist together without determining its forma-
tion. Alcohol does not decompose it; hence, if the free ni-
trate of silver were soluble in this menstruum, and could thus
be removed and a preservative substance applied, itself having
no tendency to discompose this compound, we might make a
dry plate as sensitive as wet. The daguerreotype compound
comes next in order of sensitiveness, but is far inferior iu this
respect to the former compound, the ratio being about one to
thirty. By a peculiar combination with bromine, its sensibility

JOURNAL OF PHOTOGRAPHY.

285

is well known to be exalted, but even then it does not reach
the sensitiveness of the former compound. The remaining
salts are both nearly, but not absolutely, insensitive to light,
but so much so as to render them useless in photography. Some
explanation may here be necessary as to the various degrees of
sensitiveness found in collodion albumen and paper processes,
but as we have seen that mere washing interferes with the in-
tegrity of the compound, it may be readily conceived how cer-
tain substances by introducing special affinities, diminish the
sensibility; and this is borne out by the fact, that where the
conditions are the most perfect for preserving this compound,
we have the greatest sensitiveness, owin^ to the presence of ex-
cess of alcohol, ether, and nitrate of silver.

Retention, of the invisible image — Dry collodion plates
possess the singular property of returning perfectly to their
former sensitive condition, after having been exposed, if kept
for a sufficient length of time in the dark. Extraneous con-
ditions influence, to a great degree, the rapidity with which
this occurs, requiring as it does sometimes months, and at oth-
er times weeks only. Damp or moisture assists materially
this action; and therefore damp processes must be expected
to fail in this particular. The thickness also of the preserving
pellicle modifies the result ; for if thin, this phenomenon oc-
curs more rapidly, probably on account of the readier access
of moisture, the presence of which appears to assist in the re-
version of the chemical changes induced by light. This will
at once indicate the impropriety of setting aside preservative
substances, even if collodion could be made to develop well
without them. Minute proportions of the vapors of iodine,
bromine, acetic, nitric, and sulphuric acids, also destroy the
image : but as some of these remove also the sensitiveuess of
the plate, their action is not analogous to the spontaneous re-
turn of the exposed compound to its normal condition, and is
referred to here as a caution against keeping exposed plates
amidst the emanations arising from a well-stocked laboratory.

Development — In development as in sensitiveness, the
wet plate is our model ; and certainly the best test' of a really
good dry process, is the ease, rapidity, and cleanliness with
which it developes with pyrogallic acid. Inferior processes may
'yield tolerable, or even good, results by the slower method of
development with gallonitrate. It may be stated as a rule,
that no plate should occupy more than five minutes in its com-
plete development, and should not require the developer to be
renewed more than once. The greatest objection to the use
of albumen, as a preservative substance, is the fact, that when
coagulated, it resists the permeation of liquids and prolongs

286 • THE AMERICAN

materially the development. This does not apply with equal
force against collodio-albumen, as the particles of coagulated
albumen have not that continuity, or do not form a skin over
the iodide.

It has been shown in former papers, that brilliancy and in-
tensity depend almost entirely on the porosity of the film, and
that this condition was common to collodion long iodised.

It has been recently suggested to bring about this condition
by means of ammonia, and if from five to ten minims of strong
liquid ammonia be added to twenty ouncss of plain collodion,
in about a week thepyroxyline undergoes a change, technically
known as craping, the film being visibly opened — if now a
small proportion of new collodion be added, just sufficient to
remove the openness, we have a product suitable for dry work.
The collodion so trea ted should contain more than the usual
quantity of pyroxyline, and should be iodised freely as the ac-
tion of the ammonia renders the collodion thin and fluid.

In conclusion, I must allude to the importance of tempera-
ture in development, as cold entirely suspends this action ;
therefore in cold weather it is necessary to pay special atten-
tion to this particular, and if the chemicals are below 60 ° , to
warm them artificially, and also the water with which the plate
is wetted.

THE PATENTS.

Jersey City, February 5, 1859

Ma. Editor : — As the photographic community has been
thrown into a ferment by the decision in favor of the Cutting
patents, it might be as well to calmly consider for ourselves
the justice of the case.

If a patent be taken on the fourth of July, 1854, for any
thing, say the use of bromide in collodion, can the patent be
sustained if it be proved that the bromides were used prior to
that date ? It is true that patents are sometimes retrospect-
ive; I do not know if it be so in this case. If so, Mr. Catting
claims to have " had it in successful use in the month of April,
1853," and says, if required, legal proof shall be furnished of
the same, (Letter of June 7, 1854.) The proof however, does
not go further back than July 1853, and the commissioner
says " that is one month after the date of Mr. Crooke's paper
in England. The specification is accordingly returned that

JOURNAL OF PHOTOGRAPHY.

287

you raav cancel the fourth claim, and amend the papers to
suit" (letter June 22., 1854.)

Now, allowing the claim to remain just as it is, let us see
how far it can be sustained.

The use of bromide in the daguerreotype process is so well
known to act as an accelerator, that there cannot be the small-
est doubt tliat the mind of the practitioner when he came to
work in collodion, would revert to bromine as an accelerator
in this process also — and knowing that Iodine which was used
in the daguerreotype process, was now used with a base in
collonion, be would, without doubt consider that bromine
should be used with a base also — It is a course of reasoning so
natural, that every man is gifted with it, and daguerreotypists,
as a body, are by no means deficient of it. The question now
is, ought a patent to be granted to any one man for doing that
which all men are alike able to perform, without using any oth-
er means than the mere reason, nay, almost instinct which na-
ture has bestowed on them. If so, then it becomes a mere
matter of cunning who shall get the ear of the commisioner
first, either by dexterity or interest, and the office which was
established for the protection of the arts and sciences, becomes
a tyrany for the oppression of the people ; and then we are at
liberty to consider what other means are left to escape from
the thraldom of an unjust act. Fortunately, in this case, there
are not wanting good and substantial reasons for our consider-
ation.

In 1853, M. Laborde published his process on bromized col-
lodion— " I have studied the action of bromides by tbemselvts
11 and in combination with collodion," and, after giving a reas-
on for using certain bromides (that of their being soluble in
alcohol) he gives the best proportion.

Bromide of Cadmum . . . 12 gr'ns.

Iodide of potassium . . . . 03 " "

Collodion I£ oz's.

It is unfortunate that we are not at the present moment able
to fix the exact date, but there can be no doubt we shall be
able soon. It could not have been later than October first,
because it was published in America on that date. Now it is
reasonable to suppose it would take at least one month before
the republication here; then if we consider September to be
the date of publication in France, we are left just two months
behind Mr. Cutting's " successful use" in July 1353 ; but we
ought not to restri2t M. Laborde to two months — in making
up his mind as to publishing his experiments. Mr. Cutting
was one whole year — from the first of July 1853, to July 1854

288 THE AMERICAN

— and m common charity we ought to allow to one philosopher
the same priviliges another claims : this, would of course, place
M. Laborde one year before Mr. Cutting.

Suppose we go a little farther back. In a work published
by Robert Hunt entitled "Photography — a treatise &c " — a
reprint of which was published in New York, January 1852,
page 93, we find that, "M. Blauquart Everard successively
employed albumen, gelatine, serum, collodion" — and he goes
on to say " other substances have been recommended for appli-
cation on glas r — the albumen is recommended as being the most
perfect. The iodizing is then given, 100 grains iodide of po-
tassium, and about 20 grains of the bromide of potassium.

Now the argument here resolves itself into this form. Is it
likely that the bromo-iodizing was not tried in the gelatine as
well as the albumen ? To doubt after being told is simply ab-
surd, and if in the gelatine why not in the serum, and also in
the collodion ? The fact is the bromo-iodizing was never
changed except probably in proportion — the film alone was
changed, and the albumen suited them best, but this does not
prove that collodion did not suit others better.

In the same book, page 87, we read as follows, " M. Le Gray
has also employed collodion gun cotton dissolved in ether, mixed
with spirits of wine, and spread over paper instead of isinglass
with very good effect." Now the question is, what was in the
isinglass V on page 84 we are informed that it was iodide of po-
eassium 200 grains, bromide of ditto, 60 grains, chloride of so-
dim, 34 grains. Now here we have the fact that the bromide
of potassium was used in 1851 by M. Le Gray, and lest there
should be any mistake, afterwards, wiih a prophetic eye no
doubt to the Cutting patents, he describes what collodion is,
"gun cotton dissolved in ether, mixed with spirits of wine," (al-
cohol.)

Now, after these distinct statements, would any sane man
grant a patent for the use of bromide in collodion, and yet these
facts were all published previous to July 1854. How comes it
then that a patent was granted ? On the 4th of July 1854,
when all were jubilant in honor of the day when the chains of
the tyrant were broken forever — a citizen of the very city
whose sons first stood the brunt of battle, and upon the veiy
day which was set aside in commemoration of the event, busied
himself in binding his fellow countryman with chains far more
ignoble because mercenar}*, far more disgraceful beause unjust
— and the sans of the very men who so bravely fought for lib-
erty, it is reported, have succumbed and paid tribute to live in
inglorious peace. W. Campbell.

JOURNAL OF PHOTOGRAPHY.

289

From Photographic Notes.

PHOTOGRAPHY UPON WOOD.

BY THOMAS SUTTON

One of the most important uses to which photography may
be applied is that of obtaining a design upon a wood block from
which the engraver can cut in the ordinary way. This subject
has for some time occupied the attention of experimenters, but
no very successful results have yet been obtained. We are in-
clined to think, however, that carbon printing may afford the
means of solving the difficulty. The process which we recom-
mend for trial is as follows; —

I st. — Take a negative in the usual way, and print from it a
carbon print upon paper by Mr. Pouncy's process.

2ud. — Prepare the wood block in the usual way, by rubbing
over it a mixture of some white pigment ground with alcohol,
or gum water.

A.11 is now ready for the last operation, which consists in
transferring the black carbon print to the whitened surface of
the block. This is exceedingly simple, as will be seen.

3rd. — Moisten the carbon print with an alcoholic solution of
caustic potass, (the proper strength may easily be determined
by trial,) and lay it immediately, face downwards, upon the
whitened surface of the wood block; then lay a piece of card-
board upon the back of the print, and rub upon it vigorously for a
minute or two with a paper knife, or burnisher ; — on removing
the cardboard the design will be found transferred to the block.

This operatioii only occupies a couple of minutes, and the
design is then in a fit state for the artist to work upon and
hand over to the wood engraver.

Such is the process which we think the most satisfactory so-
lution of the problem of photography upon wood.

CUTTING'S PATENT.

In discussing Cutting's patents in your last number, you do
not appear to be aware that bromide of potassium had been
used some time previous to th<- issue of said patents. You
suppose it must have been tried. Now both bromine and bro-
mide of potassium were used, as will be seen from the follow-
ing, which I copy from "The ambrotype and photographic in-
structor, by M. H. Ellis, published by Myron Shew 118 Ches-
nut St. 1856. In his remarks on Cutting's patents, which are
published at length, he says, " since some photographers use
other bromides instead of bromide of potassium, we understand

230

JOUENAL OF PHOTOGKAPHY.

he claims that his patent includes the use of bromine in every
form." The following extract will show that bromine was used
in Philadelphia more than two years previous to the date of
his patent. In the journal of the Franklin Institute for June
1852, we find among the proceedings of the monthly meeting,
May 20th, the following : — " Dr. Rand exhibited some further
specimens of Hyalotypes,* taken by the collodion process, by
Dr. C. M. Cresson, to which he had called the attention of the
members of the last meeting. By the addition of bromine, the
sensibility of the 01m had been very much increased. The pic-
tures exhibited were taken in from six to thirty-two seconds
in diffused light, in one quarter and one half seconds in the
open air."

We have a work on photography published by A. Hart, be-
ing a reprint of an English work, by J. H. Croucher. In giv-
ing the process of taking possitive photographs on glass, we
find on page 139 the following — '• I use the collodion as rec-
commended to be prepared by Mr Archer : to this I add one
grain per ounce of Arsenious acid : a very little bromide of
potassium also seems to have a beneficial effect." This work
was published here in May 1853, and of course must have been
published in England some time previous. Cutting's patent
for bromide of potassium is dated July 11th 1854, more than a
year after, so that he has of course beeti anticipated, and his pa-
tent is null and void. Bromide ofpotaasium was not included
in his English patent. D. B.

EMTOMAl MtSCElUKY.

Lately the general sentiment regarding the bromide patents

seems to have assumed a more definite form, and excitement has given
place to quiet determination. The bromide claims have been examined
and found wanting. Any attempt to enforce them will be met with de-
termined and unyielding resistance. The photographic profession has
been thoroughly aroused, and for this occasion at least, they will act in
h. rmony. Material aid will not be wanting for anyone who may be
called upon to suffer; — indeed there are plenty of men who are willing
to become martyrs or champions.

We are not aware that anything as yet has been done by the patent
owners to carry out their wishes, beyond offering rights for sale — and in
some cases, threatening — nobody wants to buy ; no one is frightened by
threats.

We have received scores of letters about the patents — and in our next
we purpose to make extracts from twenty or thirty of them.

—The names of new subscribers will appear in our next.

* Photographs on glass were called hyalotypes at this time. Messrs. W. <fe F.
Langenhoim were the first to produce them in Philadelphia.

THE ^MERICAJNT

Dttttttat of ^Dlogpap%

[MEW @1@0S@.]

Vol. 1.]

MARCH 1, 1859.

[No. 19.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

Hospitality and success — Hurrah for Hitchen.

The first thing to be done was to get circulars printed, and
I had been recommended to a printer — a P — less and fl — less
Thompson. Tomson was an original in his way, short, and
slightly humpbacked, and as usual with such persons, quite
self-satisfied. Tomson was quite a business man ; knew how
to make a bargain, that is, he would bar-gain to the other par-
ty to the agreement if he could get a chance. Tomson was
induced by the temptation of getting a picture at a nominal
price, to be the first sitter, some well known character was re-
quired to exhibit to the townspeople, and who could mistake
Tomson. Unfortunately, for some days Tomson was the only
customer ; dull indeed was the prospect of trade. On the third
day my Ampthill cicerone on the wet expedition to the Par-
sons, made his appearance, and introduced the two daughters
of the landlord of the "Cock" with whom he was well acquaint-
ed, and they brought others, so that there was a little spirt of
trade. A visit from Mrs. Skylight's mother enlivened the
scene a little.

Some one strongly advised me to call on the rector who was
potent ; what he did would be followed ; much as I disliked it,
I resolved to call, as the town was large enough to command
a good business, and some ought to be done.

" Is Mr. Rector within ?" " He is in his study." " Please
to hand him my card," "Mr. Skylight, American daguerreo-

292 THE AMERICAN

type artist," on a neat piece of card board, nicely impressed
from a copper-plate, was duly handed to the Rev. Rector.
Presently the servant handed me a card and said, "Master
does not want anything in your line." I looked, 'twas my own
card returned, Mr. Rector was the pink of politeness, and I
was properly humbled I thought. Never mind, I should be
as polite as the Rev. did I express it, and too much politeness
you know, is nauseating. As I passed the parlor window, I
observed some young ladies, who set up a giggle ; doubtless
they said to each other, "the impertinent Yankee, to expect
we would sit to him for our pictures." I was told they were
the Rector's daughters, and said to Mrs. Skylight, "my dear,
if I were a single man, I assure you I should not desire to
marry one of those young ladies ;" would they not have
thought that double distilled impertinence had they heard it ?

Now this state of things was by no means inspiriting ; we
were not clearing expenses; people said customers would flock
in, but they did not, still they said, wait. One day, quitedis-
gusted with hope deferred which, was making the heart sick, I
got Tomson to print a neat card, "The last week," and putting
it in the windw, I got up early in the morning, for the pur-
pose of walking to Baldock, some six miles distant, in search
of rooms, feeling as if I could not afford to ride, business being
so scarce and time so plentiful. A drizzle prevented the dust
turning to mud on my clothes. I liked ihe aspect of the town
and speedily secured a fine room at the "White Horse." I
walked back again, expecting to take up our quarters there
in a week. When I returned, great was my surprise to find
several engagements, the notice had had its effect. I had un-
consciously baited a trap. People had been procrastinating,
and now began to think they would lose the "delightful oppor-
tunity." Several ladies had expressed the greatest interest
in our welfare to Mrs. Skylight, and presently put their good
will into practice ; there was Mrs. Dryer, a lively and pleasant
lady, determined to make Mr. Dryer have all the family ta-
ken, and Mr. Dryer like a kind and obedient spouse, obeyed,
rather liking it than otherwise. There was middle aged Mrs.
Hawks the philanthropist of the town ; what a high state of
excitement — she is determined all the respectable people of the
town should have pictures, and she knew them all : and now I
was busy in earnest, as hard as I could drive. I took pictures
— Mrs. Skylight waiting on customers, at night gilded and
colored, rather a disadvantageous time, but no other way ;
money came in in earnest. A great place was Hitchen, and
Skylight made his profit. Opposite our rooms lived a Quaker
family — a brewer, who had a splendid garden. Mr. Quaker

JOURNAL OF PHOTOGRAPHY.

293

paid us a visit, and engaged pictures for the whole of his family
and the whole family counted up quite a number, including
grand parents, uncles and aunts, and cousins, to say nothing of
the heads of the family, their children and nurses. As the
Californian would have it, we had struck a rich vein. At each
success " capital" was the word ejaculated with strong em-
phasis, until it became quite a byword. The whole town was
now quite agog. Skylight and wife were a lion and lioness ;
our room was crowded all the time, being a small room, I had
scarcely space to take, pictures in. It might have been called
a daguerreotype levee . no chance of going to Baldock, and
less wish, so I wrote to the "White Horse," "Please not hold
the rooms for us. I will pay you what damage you have in-
curred " Mrs. Skylight was an immense favorite with tbe la-
dies ; being unwell, they vied with each other in doing her
kindnesses ; they would sometimes meet one another in our sit-
ting-room, one loaded with some delicacy, another with a bo-
quet of flowers, another charged with freshly plucked fruits,
and then they would laugh at each other, so prettily catching
each other on a similar mission. Our place was crowded with
flowers — it was hard to dispose of them all; — fine times had Mrs.
Skylight with the large hearted ladies of Hitch en ; the gen-
tlemen were not far behind, the wives of useveral informed her
their husbands had requested she would consider herself wel-
come at any time to perambulate their gardens, and help her-
self to fruit and flowers ; being passionately fond of the latter,
she would have readily availed herself of the. privilege, but
that she had already converted her sitting room into a flower
garden, or rather conservatory, from the numerous contribu-
tions of the ladies. Tomson had not failed to put his business
tact to account, for be obtained permission for me to put ray
specimens i the corn exchange, where the recognized likeness-
es of some prominent townspeople gave me much credit, and
more cash. One leading Quaker family was quite scandalized
and could not be induced to break through the rule of vanity,
though the number of Quakers who sat to me for pictures
quite surprised me. Having had visits from nearly all the
prominent people of the town, including some near relatious
of the rector's family, (who were amongst my best customers)
I was not very much surprised to see the young ladies them-
selves walk in, when their behavior proved they were
educated as ladies, though sometimes momentarily oblivious
of the fact, possibly their window giggling was the only case
of forgetfulness. With all my admiration of the to wnsfolks,
it was evident there was much scandal in the town, the
wonder being that people spoken so slightingly of, should be
on terras of familiarity with the scandalmongers and others.

A daughter of one of the ladies we prized the most, was amongst
the traduced, yet it was quite easy to see that youthful animal
spirits and confiding buoyancy are too often mistaken for levi-
ty, or at least there are too many persons willing and ready
to avail themselves of its appearance merely for the purpose
of talking. Oh ! that slander were a flame of fire, that would
burn the tongue that uttered it ! One day I was called for,
to go out and take the likeness of a very old lady, who was
troubled with a sort of palsy. The window I could take her
picture by, was exceedingly small^ yet the old lady had such a
wonderful power over her nerves, that she managed to remain
perfectly quiet for three minutes, though the effort shook her
much ; the three pictures I "obtained of her, were perfectly
sharp and did much good, as the old lady was very popular,
and well she should be, having done much good .in her time.
Amidst our prosperity in Hitchen, our popularity was proven
by an invitation to an evening party at Mr. Hawks, who being
a leading gentleman in the town, passed us a great compliment,
considering we were strangers. At that time I was quite un-
acquainted with itinerant artists, but have since known many
and heard of more, some I regret to say have not conducted
themselves as gentlemen, possibly because it would have an as-
sumption of character ; others have left their temporary so-
journing places in debt, the latter oftentimes may have been a
misfortune rather than a fault. But let me make a suggestion
to those about commencing that mode of life: conduct your-
selves like gentlemen, and a part of gentlemanly behavior is
honesty; it is an act of justice to your successors and the pro-
fession ; it is a guarrantee to your next place of visit, and any
other course of conduct will not "pay ;" each act of good be-
havior is an investment for the future ; a seed sown in good
ground, insuring a crop of ultimate profits ; assist in making
your profession respectable — post yourself up in works devoted
to it, and render it intelligent.

Our time was now drawing to a close in Hitchen, though
business was still good. The rooms we occupied were engaged
by a dentist, who paid fortnightly visits of three days — but
fortunately missed a visit, — and was about returning to take
possession. No other place in the town being available, we
were obliged to turn from the stream of our success. So Bal-
dock was now again in order; tripping there again, I found
the White Horse not comeatable, and engaged apartments at
the Red Lion, on most favorable terms ; the landlord was new
in the business, had heard of us, and being anxious for some
excitment in his house, was induced to be liberal in his offer,
and the Lion proved better than the Horse would have done,
and bore us to good luck.

JOURNAL OF PHOTOGRAPHY.

295

A LETTER FROM JEFFERSON.

Jefferson C. H., Feb'y 20th, 1859.

I have just made a discovery, and hasten to record the fact,
it might fade into nothingness, prove as the subject upon
which it treats, and become rapidly consumed by forgetfulness.
So having a just fear before my mind's eye, I rush off, and seiz-
ing my pen, have fixed the idea in fadeless ink. Excuse me
if I write somewhat spasmodically, but when a man makes a
discovery founded on the discovery of another man, it is natu-
ral he should be in a hurry to let the world know it, lest the
other man claims both.

You remember, or if you don't, you ought to, that some time
ago I marvelled in a sort of querical style, how the dickens the
proprietor of the Mysterious Black Bottle Journal, could
make it pay by giving it away, or rather by throwing it in
places where it might be picked up. Well, though you were
not polite enough to inform me, the unsophisticated — I have
found it out — that is my discovery ! Great thing is it not ?
quite as great as the discovery that led to it. Just now visit-
ing a place that shall be nameless, for a purpose that is none
of your business, I chanced to pick up some paper put there
for k reason that is not necessary to state. Glancing over it
I fcrud it was the M. B. B. Journal. In large conspicuous let-
ters, the proprietor made known an " Important announcement,
a new discovery, photo, lithography," and proceeded to dilate
on his theme as something new that had just been introduced
by our friend "Cutting" and another. Aghast ! bewildered !
at the great flexibility of mind, the versatality of talent of the
wonderful discoverer in photography, I suddenly bethought
me that I had seen this subject some months ago in the Ameri-
can Journal of Photography, and furthermore, that one of your
contributors, since unpleasantly known to the genius, had not
paused to cut in, and with hands innocent of gloves, show up
the pretensions of the discoverer. Searching over my Journals
I found in the number of June 15th, the subject was so well
known at that time, that Mr. Joseph Dixon had an article stat-
ing he had made photo-lithographs, and published the fact to
the world in 1840, and at the same time he sent you an ab-
stract from the Scientific American, dated April 3d, 1854,
wherein Mr. Dixon's mode was much commented on. Here is
the grand secret, a matter of conscience ; the owner of the M.
B. B. Journal could not think of charging for paper contain-
ing such stale news, especially as the M. B. B. Journal had

296 THE AMERICAN

advocated the claim of the inventor to something else he was
not entitled to, and for which he wishes to levy an annual tax
on every photographer; ought not a bad lecturer pay for the
privilege of boring ? Besides is it not worth something for an oc-
casional ride on the highfalutin horse? Thecase sir, is as clear as
dish water, and the motive as pure. And if there were any
dangerous tendencies towards backsliding, any probability of
backing out and smoothing up the calls of conscience, he felt
the more urged when he remembered the bad grammar he in-
flicted. Rollling up his Peeksuifnan eyes, he perhaps, said,
" can I with justice, charge for adding to the ignorance that
perchance prevails with some of the fraternity, when I tell them
"we have recently seen some photo-lithographic bills which
would require a good judge of money to detect," would it not
be too bad to make them pay for the bother of thinking it was
a difficulty to detect what was before them, &c. But that only
accounts for the reason of not being paid, how it pays is yet
the mystery. Possibly a case of pure and unmitigated benevo-
lence. Yet methinks if I, G-ossip, wished to be benevolent,
and present the profession with paper, I would have it of such
a sort that it might be used as a note book, or, for anything
they wished. I would not soil it with printer's ink, nor con-
taminate it with the touch of type, but send it clean, and save
the expense of printing. I would have a neat cover, with my
name and address, and perchance, an advertisement of my
" collodion brassing," which may yet be introduced, and thus
if some hundred or two conscientious gentlemen, who would
insist upon paying for all they received, would send me two
dollars per year, I should be well paid, and obtain my purpose
of putting nice clean paper to good account without stale news
and misleading tales to spoil the gift.

By the way, you pounced on Pouncy in quick time ; another
case of appropriating the invention of another, though not pa-
tented. But what do you mean by Kev. L. L. Hill ! John
Pouncy ! you have them in a distinct sentence with no connect-
ing information.

A few days ago stepping into a gallery I got into conversa-
tion with the proprietor, on the Cutting claims. "I wonder
who Gossip is ?" suggested my acquaintance, " it is strange that
in his travels he does not notice the various galleries and say
what progress they make." "My dear sir," said I, with much
dignity of course, "I should be sorry to see him blow up the
profession in any other manner than for their faults and false
pretensions, especially as pandering is the chief reliance of other
journals devoted to the art." "Oh certainly — certainly," re-
plied he, with some embarassmeut, for he is a very good fellow

JOURNAL OF PHOTOGRAPHY.

297

in intentions. As he is a subscriber, he will find his question
answered, but I hope he won't publish it.

Are the Cuttingites doing anything further than assessing
their would-like-to-be income ? (won't they spare me some when
they get it,) or have they commenced fire ? Country artists
are full of indignation; if they prove as full of determinatiou
and cash, there will be nothing left of the Cutting claim, but
the remembrance of its impudence.

Oh that some wonderful discovery were again made known,
to startle the astonished profession, and supply them with that
excitement so needed by their artistic nerves. Do they not
think a journal almost valueless without something new every
issue, or unless it. be crammed with useless and expensive ex-
periments that shall lead them into annoying failures. Had
the profession as a body, taken a good Journal devoted to the
art, they would not just now be finding out that photo-litho-
graphy, the use of bromides, carbon-printing, &c, were not new
and of course not patentable by present claimants, nor would
they be drawn up in battle array to protect their rights, or per-
haps, look on while some individual, patient, otherwise called
obstinate fellow, fights for them, whilst they remain in doubt
and distrust : but perhaps they like it, so hurra for excitement,
and false pretensions, the prolific parents of it. Cannot any-
body just fiud out that alcohol dries quicker than water, and
hence is a good thing to use with rotten-stone in cold weather,
and so get a patent on it ? what fun it would be to

Gossxp.

A NEW RE-DEVELOPER.

BY HABVEY WENDELL.

Having a few months since stumbled upon a method of treat-
ing negatives which were wauting in intensity, and having
proved it to my entire satisfaction, I feel desirous of giving -
the readers of your Journal the benefit of my experiments. I
do not know that there is anything wanting to make this a
perfect method of strengthening negatives, however weak they
may be, provided the detail of the picture is well brought out.
The following is the process :

Take four ounces of developing solution, and add to it about
one or two drachms of dextrine solution or paste, such as is

298 THE AMERICAN

used for mounting photographs. Shake thoroughly in order
to'mix perfectly, and set aside. This may be kept prepared
for some days. Then take the negative you wish to strength-
en, after it is thoroughly fixed and well washed, and pour
over it a solution of nitrate of silver, about fifty grains to the
ounce, and let it run back into the bottle. (T have used for this
purpose an old, discolored nitrate bath.) Then flow over your
plate quickly and evenly the dextrine developing solution, and
leave it on, keeping up a gentle motion of the plate, until the
desired intensity is obtained. If the first trial of redevelop-
ment does not produce the intensity you wish, wash your plate
andtrepeat the experiment. All this should be done before
the negative has been dried, if possible ; but it can be done
even afterward, with some risk of removing the .collodion from
the plate.

The advantages in the use of the above method are, that ic
taking pictures of children, you are certain of a good negative ;
if you have succeeded in getting time sufficient for a good,
well defined ambrotype. In copying, it is invaluable. A few
trials will satisfy any operator of this fact. You will not fiat-
ten the high lights, as is the case with some of the re-develop-
ing agents. The roundness of the picture and the delicate
forms are beautifully preserved.

I have, however, found that where too much dextrine has
been added to the developer, there is a tendency to beget small
pin holes in the highest lights. The same cause, and continu-
ing the re-development too long, has, in some cases, fogged the
shadows. The causes for these results I leave with the savans
in the art to explain. I am only stating facts in honest An-
glo-Saxon.

A number of my brother photographers, to whom I have
given my formula, are using it with good results. I write
with the hope that it may benefit some, and with the expecta-
tion of being laughed at by a certain small class for whom
" there is nothing new under the sun." In either case I shall
be equally happy.
Albany, Feb'y 9, 1859.

LETTERS ON THE BROMIDE PATENTS.

The following was addressed to Mr. A. Bogardus : —
Dear Sir : — I have been instructed by Mr. Wm. A. Tom-

JOURNAL OF PHOTOGRAPHY.

299

linson to address you on the subject of your infringement of
his patent rights, and say that if you will forthwith pay to
him the sum of $150, he will grant you a license, for one year,
to use the improvements patented by Jas. A. Cutting; the
right to which improvements for the city of New York, as you
are aware, is now owned by Mr. Tomlinson. Unless you elect
to take such license, I am further instructed to say that you
will at once be proceeded against with all the rigor known to
the law, for your violation of his rights, so fully vindicated in
a late suit against you -

I shall expect to hear from you to-day or to-morrow, but if
I do not, Mr. Tomlinson will evoke the aid of a Court of Equi-
ty to protect his rights. Very respectfully yours,

Euper J. Bell,
129 Nassau Street, Peb't 16, 18*». ATT'Y, &«.

Mr. Bogardus, having no occasion to use the processes of
Mr. Cutting, did not "forthwith" make the investment so
delicately suggested.

" All the rigor known to the law," and " the aid of a Court
of Equity" are no doubt terrifie ; yet we are able to assure his
anxious friends that Mr. Bogardus is still quite well, — good
natured and prosperous as ever.

On reading the many letters we have received about the
patents, from all parts of the country, we find such a similarity,
that we think it worth while to quote only such as are peculiar
or representative. Nine-tenths of the letters fully approve the
course which this Journal has taken. We extract only enough
from each letter to give the sentiment.

" For myself I cheerfully pledge myself to give $5, or more
if necessary, for defending our rights, and I believe all our
Alabama photographers will do as much. $10,000 can be
raised in the United States if required." M.

"Considerable excitement prevails herein consequence of
the formal visits of the patent owners to all the galleries in
this city. We are notified that we must make no more auibro-
types. But I believe all customers get supplied as yet with
something" E.

"I will subscribe 5, 10, or 20 dollars, to a fund of protec-
tion. Why not call a convention — say in New York ? Let
a few well known photographers sign a call, and it will be res-

300 THE AMERICAN

ponded to from all parts. There would be no difficulty in
raising funds — and the convention might anticipate similar
extortions for the future." S.

" The idea of Cutting levying a tax of $25 or any other
sum on the photo, artists of America, strikes us as ludicrous
in the extreme. He will have a 'good time' in our opinion.
May be it's all right though, if it is n't we'll see him through
sure." B. & S.

" I think you are mistaken in regard to the artists in Bos-
ton paying $25 for Cutting's bromine process. I think but
few have paid, and I know that many have not paid, and, I
also think that if the case were properly tried, no one would be
obliged to pay." ' S.

The above is from Boston. S. is good authority. We were
positively assured by Messrs. Tomlinson, Barnum and Turner
and some others, that all save one, in Boston, had purchased
rights. — Hence, our former statements. What are the real
facts ?

" I admire your courage in taking hold of this patent busi-
ness. Are your neighbor editors cowards, or are you in the
position of that honest miller we read about in the story of
the great chief justice of England ?

" At all events the profession look upon you as their cham-
pion, and your Journal as truly the 'organ of the photographic
profession in America.' " N.

" Mr. Cutting has it now in his power to strike a deadly
blow at those cheap picture dabsters, who have done and still
are doing so much to degrade this beautiful art. I believe if
Mr. Cutting will fix upon a standard price for collodion pic-
tures which are made under his licenses, and sell licenses on
condition that they will be forfeited if the regulations are not
complied with, that it will do so much for the advancement
and elevation of the art, that this decision of Judge Ingersoll
will be looked upon as a blessing instead of an injustice to
photography." E.

" It seems to me your course is calculated only to irritate
the owners of the patents, so tha^ they will make higher char-
ges. By defying them as you do, you will provoke them to
anger, so that they will not settle so easy.

" I do not wish to have anything to do with law, and I shall
pay $25 rather than have a fuss." R.

JOURNAL OF PHOTOGRAPHY. 301

One of the prospectusses of this Journal was returned,
(postage unpaid,) to the publishers, with the following words
written thereon :

" Too old a bird to be caught by chaff." J. H.

The author of the impertinence we have discovered was one
of the race of quack process pedlars which we exterminated
last summer. — Hinc cocoanutti lac- The old bird is caught
by his own chaff.

THE AMERICAN PHOTOGRAPHIC SOCIETY.

At a meeting to organize a Photographic Society, assembled
in the lecture-room of the American Institute, A. W. Whip-
ple of Brooklyn was appointed Chairman, and M. Haskell of
New Jersey, Secretary.

The object of the meeting was stated by the Chairman, and
appropriately endorsed by him.

The call for the meeting was read by the Secretary, as fol-
lows :

New York, Feb. 22, 1859.

Dear Sir : — You are respectfully invited to be present at
the American Institute, No. 351 Broadway, at half past 7 P.
M., Saturday, February 26, to assist in organizing a Photo-
graphic Society.

Suitable arrangements have been made to render the Meet-
ing interesting and efficient.

Tnis Invitation is addressed to the Photographic Amateurs,
and a few others who are known to the subscribers to be in-
terested in the progress of Photography.

JOSEPH DIXON,
ALEX. H. EVERETT,
P. C. DUCHOCHOIS,
JOHN CAMPBELL.
LEWIS M. RUTHERFORD,
HENRY H. SNLELING,
BENJ. T. HEDRICK,
CHARLES A. SEELY.

On the part of the Invitation Committee it was stated, that
about forty invitations had been sent, some of which however,

302 THE AMERICAN

had not reached their destination ; that they had received ex-
pressions of deep interest in the proposed society, from gentle-
men who were unavoidedly kept away by reason of illness or
previous engagements.

A letter from Joseph Dixon of Jersey City was read, re-
gretting his inability to be present on account of severe illness
and suggesting that the society be organized as a section of
the American Institute.

Explanations of the non-attendance of the other gentlemen
invited, were offered by Messrs. Tillman, Everett, Johnson
and Seely. It appeared that all who had been invited, would
desire to become active members of the proposed society.

C. A. Seely. — In order to procure a full and free inter-
change of views, and to settle the great questian of the evening,
I offer the following resolution :

Resolved, That we do hereby constitute ourselves an asso-
ciation, to be known under the title of " The American Pho-
tographic Society."

S. D. Tillman. — The chemical effects of light is one of the
great subjects of the day. We have much to learn. This
Society will render our study easy and more rapid. The rela-
tion of light to vegetable and animal life should be comprised
within the scope of our investigations. The fact that photo-
graphy here is a useful art, in which a vast amount of capital
is invested, renders a society for its improvement desirable.

Dr. Deck. — Would take a great interest in the Society as
encouraging and making popular the study of chemistry. Was
once associated with Daguerre, and would exhibit to the Soci-
ety some of Daguerre's earliest work.

John Johnson, — Thought it desirable to establish, in con-
nection with the Society, a museum of specimens of apparatus
and pictures, with the design of illustrating the history of the
art. He had many curiosities which he would be pleased to
contribute.

H. H. Snelling. — We need a society to show that Ameri-
can photographers are not mere mechanics. Photography will
be studied and advanced as a science.

The Chairman. — Had found Photography a delightful rec-
reation ; this society would make it popular. Many of his
friends had expressed a desire to learn. In England photo-

JOURNAL OF PHOTOGRAPHY.

303

society.
There

Timm,

graphic skill was considered a high accomplishment ; photo-
graphic news was reported by all the papers.

A. H. Everett. — Fully indorsed the project of a
There was inherent interest and importance enough,
should be no lack of efficient workers.

The discussion was further continued by Messrs.
Garbanati, Campbell, Hadfield, Cady. Seely and others, when
the resolution was put to vote, and carried unanimously.

Ou motion of Mr. Everett, the Society comprises all present,
and all gentleman who had been invited by the committee, and
expressed a desire to become members of the Society. Carried.

It being proposed to receive amateur photographers as a
class —

H. C, Timm — Amateur photographers have no object beyond
instruction or recreation. They will bo found to be gentlemen
of education and leisure. We ought to have all of. them in
the Society, yet if any of them prefer not to come, we must not
compel them.

Moved that committees consisting of tkree members, each,
be appointed as follows : on Constitution and Laws — Place of
Meeting — Nominations — Correspondence.

Constitution — S. I), Tillman, I. Deck, P, C. Duchochois.

Place of IY^eeting — A, W. Whipple, A. Pell, Jr., H. H.

Snelling.

Nominations— A. H. Everett, John Campbell, John John-
son.

Correspondence — H. C. Timm, James B. BrowD, Henry
Fitz.

The Chairman volunteered to procure a place for the next
meeting.

By request, Mr. P. C. Duchochois presented a paper on
" The Albumen Process."

Specimens of Photo-lithography, Photo-glyphic Engraving,
and Photo -galvanography were handed around. The pictures
elicited a lively discussioD.

Mr. Seely made an oral communication on the effect of
acetates in quickening gallic acid development. Paper prom-
ised for next meeting.

Thanks of the meeting tendered to Mr. Duchochois for his
paper, and to the Trustees of the American Institute for the
use of their premises.

a It beiug now nearly eleven o'clock, the Chairman addressed
the meeting on the auspicious beginning of the Society, and

304 THE AMEEICAN

the prospect for usefulness. The address was received with
applause.

The Society then adjourned, tr meet on Saturday, the fifth
of March.

ALBUMEN PROCESS,

BY P. C. DUCHOCHOIS.

Many substances have been proposed to destroy the tenacity
of coagulated albumen, and to render it more favorable for
photographic preparations, by giving it a greater sensitiveness.
Bat nearly all such substances, besides their solubility which
permits to employ them only in very small quantities, have
their peculiar inconvenience; thus dextrine, soluble starch
tend to render the albumen film more subject to scale and
split ; Honey keeps it in a too damp state, and sugars very
easily establish the fermentation of albumen, thus preventing
to keep its solution. I thought that the substance the best
suited for albumen preparations, will certainly be that which
possesses the following properties :

1st — To become insoluble when in contact with diluted

aeids.

2d — To prevent, like sugars, the crystalization of the alkaline
iodide and bromide, by maintaining the layer of albumen in an
incomplete state of dissection.

3d — To add to its sensitiveness by its tendency to reduce
the silver salts. Such is Glycyrrhizine, and experience hav-
ing confirmed me in all that I expected of its union with albu-
men, I present you the following albumen process as one of the
quickest, and giving very fine and harmonious proofs :

Albumen — White of eggs, 1 fiuid ounce.

Solution of glycyrrhizlne, 3 fluid drachms.
Iodide of ammonium, 6 grains.
Bromide of ammonium, 4 grains.
A particle of iodine.
Dissolve the iodide and bromide in the glycyrrhizine, add
the white of eggs, beat till a thick froth is obtained and let
settle.

The glass is coated with this albumen according to the ordi-
nary process, or spread on a sensitive collodion film as in the
Taupenot process, and of course the sensitiveness is still greater.

JOURNAL OF PHOTOGRAPHY. 305

Silver Bath — Water, 1 fluid ounce.

Nitrate of silver, 40 grains.
Iodide of ammonium, £ grain.
Acetic acid, No. 8, 40 minims.

Developer — Water, 1 fluid ounce.

Alcohol, at 95 per cent., £ fluid ounce.
Gallic acid, saturation.
Acetic acid, No. 8, 5 minims.

Before using this solution, add a few drops of a 20 grain
nitrate of silver solution, and 2 or 3 minims of
Water, 1 fluid ounce.
Acetate of lead, 25 grains.

Solution of Glycyrruizine — To make, boil for several
hours, 1 pound of liquorice roots in 25 fluid ounces of scrum
of milk; filter and evaporate the solution to 10 fluid, ounces.
It would, without doubt, be better to prepare pure glycyrrhi-
zine, but the above solution answers well the purpose.

From the Photographic Joornal.

ON OLD SILVER BATHS.

BY F. HARDWICH,

Sir : — The plan which Mr. Eliot proposes for removing the
iodide of silver from old nitrate baths, so as to render them
available in the printing process, appears to be one of theoret-
ical as well as practical interest. I have given it a careful
trial, and with very good results, although I do not find that
the citric acid alone is sufficient in all cases to throw down the
precipitate. The presence or absence of acetate may perhaps
make a difference ; but if the liquid remains clear after adding
citric acid, the whole of the iodide will go down in combination
with citrate of silver on neutralizing with ammonia.

Mr. Eliot is evidently a practical chemist, and therefore it
will be better to leave the matter in his hands ; but perhaps I
may be allowed to suggest that he should pursue the subject,
and prepare, if possible, a definite compound of iodide of silver
with citrate of silver. That such a compound may be formed
I cannot for one instant doubt, as also others of a correspond-
ing nature, such as iodide of silver with albuminate of silver,
iodide of silver with glycyrrbizinate of silver, &c. These mat-
ters are important in establishing the theory of the dry collo-

306 JOURNAL OF PHOTOGRAPHY.

dion processes, which, as they become better understood, will,
I think, be seen to depend very much upon affinities existing
between the sensitive iodide and organic bodies coagulated by
nitrate of silver, Mr. Eliot has certainly every encouragement
to proceed in the investigation.

EMTORtAl MtSCElUUUY*

We take great pleasure in announcing the fact that at last we

have an American Photographic Society.

At the first meeting, although held at an inconvenient place, and on
one of the most inclement nights of the season, there was. a good atten-
dance. The greatest interest pervaded the whole proceedings ; our
report is but a faint shadow of what was really done. A useful and
permanent society is now beyond all question.

We shall take great pains in future to procure very full and accurate
reports of its operation.

The next meeting will probably be held at the Cooper Institute.

Further information concerning the society may be procured from
the Chairman, A. W. Whipple, Esq., 63 Wall Street, H. H. Snelling,
93 Duane* Street, or the Editor of this Journal.

At a late meeting of the London Photographic Society, Mr.

Pouncy delivered himself of a paper on Carbon Printing, which occupies
five pages of the Society's Journal.

Hear him: "This has happened with all discoveries. They have
been the more warmly opposed the more decidedly the truth was des.
tined to be rendered apparent ; and I cannot expect the carbon process
to be exempt from the same ordeal.'* Pouncy does not invoke by name
the illustrious shades of Gallileo, Harvey and Jenner.

The paper closes as follows : " Therefore operators ean be supplied
either from myself or any of my agents, with all that is requisite. I
believe operators will experience most difficulty in obtaining the carbon
suitable; therefore I have prepared a quantity ready for use, in bottles,
at 2s. 6d. each." ! ! !

Since our former record, subscriptions have been received from

the following :

W E. S., N. Y.: S. A. G., Conn.; J. T.. N. Y.; C. R. E., Ky.; J. H. F., N. Y; M.
G Pa • S D M O.; P. CD.. N. Y.: W. N.. N.Y.; M.M.F., S. C; G. F. G-., Teun.;
E '"W K NY; H. D., O ; H. & V., N. Y.; A. C. M., Ala.; C. H. B, Miss.; J. W.
S S C ; L L C la ; E. B. V\ ., 0.; 1. B., N. Y.; J. E. H., Ga.; C. H M., R. I.; H.
M . 111.; H. F. Y.. N. J.; W. D., O.; H. ML N. Y.; J. I., N. Y.; J. A. S., C. W.; E.
E , S. C; O. T., Ind.; J.W., O.; J. P. S., Mass.; L. C. E., N. Y.; S. L., N.Y.; J. H..
Pa • V7. 7 . W , N. H.; G. M.E., Mo.; G. M. S., Me.; G L. W., 111.; D. W. B . O.;
J. T. G., Ga.; M. J.R., O.; J. W. "W., 111.; N. B., Me.; B. & 1 .. Ind.; D. M. K.,
Mass.; J. E. T., R.I.; J. B., N. Y.; J. W. C, P*.; H. Y . C, Mass.; J. C. L., N. Y.;
D. H. I)., 111.; F. S., Vt.; S. G. P.. Vs.; N. S., N. Y.; S. R. O., Del.; G. V.. Fla.;
VS. K., F. Y.

THE .AMERIC^iS

numal nf fTiofoncanlut.

[ KJ S W ©EKOEQo]

Vol. 1.]

MARCH 15. 1859.

[No. 20.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

15 Y SOL SKYLIGHT, ESQ.

I shall ever look op our visit to Hitchen with much pleas-
ure— it remains a bright spot, in memory, and has occasional-
ly lighted up the dreary path of disappointment. Along the
dark vi*ta of trouble, occasional thoughts of pleasant moments,
epochs of happiness, halting places of care, like lamps, illumin-
ate the darkness and gloom, lights set at the uncertain inter-
vals of experience — All have their dreary paths, some with
bur. few lights, just enough to render " darkness visible" ; oth-
ers, so closely have them set together, that they make a gala
of their illumination. Yet, a vista of trouble is the path of
all, lucky are they who have a supply of lamps, let them keep
a supply of fuel also.

A branch of the rail-road brought us to Hitchen in the dark
of the evening. A coach brought us to our Inn, where we
were soon installed in a snug parlor in the right wing of the
house, our bed room above; it did not take long to find out we
were going to be very snug, much snugger, as far as our domes-
tic comforts were concerned, than we had been, for each touch
of the bell was just as likely to call forth two attendants as
one. Clean and neat, the arrangements of the Red Lion were
the ideal of country comfort; a pleasant reminisence to com-
mence with. Now it is an excellent thing to be on good terms
with those whom circumstances place you in contact, es-
pecially in a country town, every fixed inhabitant must have
some influence or disparagement, for his sojourner. It is very
important for- the travelling artist to know who is his landlord.
In the morning I took possession of my operating room, a large

one with a bow window on the ground floor, with an excellent
stock of books, and well furnished. A room over head served
for developing, so stretching my yellow curtain in an angle of
the room, and making my trunk a bench, I had a dark room
with plenty of light iD, nnd was ready and eager for the fray,
Baldock is situated on the "great north road," so famous in
the coaching days of England, when a journey to York was an
event: an event indeed, would it be to see one of those famous
coaches. The great north road is deserted ; droves of cattle
sometimes traverse it, private carriages occasionally journey
over it, a stray wagon may perchance be seen on its surface,
but though still well kept, its glories are in the memory of the
past.

The road in passing through Baldock is so wide that the
tallest houses do not cast their shadows across even at the set-
ting of the sun. A double row of houses might be built in
its centre, and yet leave an excelleut roadway on each side.
What Yankee would tolerate such a waste of space ? Just
put a batch of live ones in, as village officials, and they would
soon plan it off into building lots, and run the village in debt
in making its fortune.

My kind landlord strongly advised a visit to the Hector?
who was popular, and influential as a matter of course, and
though I disliked the idea, a visit to his church on Sunday
confirmed the judicious advice of •' mine host." The Rector I
found a kind and withal jovial old gentleman, who promised a
speedy sitting for himself, and good success for myself, little
did I think at the time, that that merry head contained steadi-
ness of purpose to plod over one of the most difficult literary
tasks of the age.. Yet so it was, and no corroding lines of
care were the results of the labour ; a young old man he seemed.
Punctual to promise came the good rector, and soon returned,
with an excellent and characteristic likeness of himself, on his
self-imposed task of showing it about as a specimen of my skill.
The results of the rector's friendly interposition, combined with
the knowledge of our visit to the adjacent town, were soon visi-
ble in the visibility of townsfolks intent on facial presentiments.
One of our early sitters was Mr. Veser, the leading lawyer of
the Town, and as great a punster as the rector, and lively
tonguey encounters they often had in our " gallery." Mr. Ve-
ser and his lady, as much in a spirit of friendship as from de-
sire, managed to have quite an assortment of pictures, standing
and sitting, together and separate, on horseback and by the
side of their horses, No sky was bluer than the eyes of both,
much to the detriment of their otherwise pleasant features,
so far as pictures were concrned. " Blink as often as nature

JOURNAL OF PHOTOGRAPHY.

309

suggests," was my frequent injunction. One day Mr. Veser
resolved to have a pair of perfect eyes, and blinked most vigor-
ous^ the result was a blind man, the lids had remained over
the eyes the most part of the sitting, and a precious good laugh
the rector and all of us had at him. The lively rector having
found a new duty, the welfare of the strangers, used to visit
us two or three times a day. Baldock was blessed with a
philanthropist of a very singular turn An old lady had a
large stock of furniture and linen which she lent to poor peo-
ple on occasions. A mode of charity singularly appropos
and convenient. The old lady's popularity was of much service
to us, as her portrait was much in demand, and was furnished
bountifully at her own expense. Our time was occasionally
enlivened by visits from our warm friends from Hitchen, who
would often take an afternoon ride on horseback. By the way,
how is it that English ladies indulge so much more in that
graceful and vigorous exercise than almost any other ladies ?
Walking also, they practice in a manner that would cause some
of our delicates to open their eyes wide with wonderment.
He would be his country's benefactor who would preach a cru-
sade against the non- exercise of American ladies. Fie would
improve the stamina of American women's sons and daughters,
who could induce those who have means to indulge in Horse
riding, and all to do much walking ; debilitated mothers give
deteriorated children ; let us beware that the want of out door
exercise does not degenerate into positive inability. One day
a carriage drove up, and who should come out but the old ner-
vous lady from Hitchen, in pursuit of more pictures. A jour-
ney. I was assured she had not taken for years, but the desire
of her friends to have her picture, induced her to undertake it.
Quite a rivalry was established between the Lion and the
Horse. Finding we were successful, the Horse was inclined
to kick against our host, though indifferent to having us in his
house. Hut success makes all the difference, and hence the jeal-
ousy of the Horse at the Lion attracting all the fashionables.
We set the fashion of daguerreotype-portraits; they were not
much known until our entre. Business being prosperous, Mrs.
Skylight thought she would like to take a ride, as not being
well, it would do her good ; agreed. Soon the gig was brought
to the door, and off we drove. It is a very excellent thing to
have a good turnout ; a handsome horse that can go ; a vehi-
cle not to be ashamed of; but it is quite necessary the horse
should be equal to his appearauce, and worthy the carriage.
But our horse was a deceitful horse ; he may have been very
obedient to one thoroughly acquainted with his propensities ;
perfectly under control, his owner said he was, my experience
was different. He was a regular shier, had a will of his own,

310 THE AMERICAN

and was quite willing to test it against mine, for the first tiling
I observed in his ways, was an effort to back us on a pile of
stones. By Bacchus, thinks I, but you don't though ; then he
took a notion to try how exactly ue could mark a circle with
his feet, making the wheels a pivot ; we quite disagreed on the
utility of the practice, and the nag gracefully yielding to the
necessity of a straight movement, took a sudden start, until he
came to a descent in the road, which he determinedly resolved
not to go down, (I afterwards learned he had had a fall going
down hill) ; he was quite willing to turn around and go up
again, but he'd be blowed if he'd go down, and certainly he
nearly got blowed with his exertions; doubtless a good lashing
would have proved an argument adverse to Monsieur Cheval.
But potent. But what was to be done? It would all be very
well with another gentleman, but a lady, and not well at that,
was another matter. A lashing might be productive of a break
in of the dashing board. " I am sure he will overturn us, do
get out and lead him." No other remedy. So Photo, leads
the horse with one hand and his wife with the other, but the
cunning rascal, he would turn around occasionally with a neigh
which seemed to say, kk you might try all day, but here I do
stay. I would not go down hill, though I went to the town
ill, with the lashes you gave till I could not well stand still.
I could see a twinkle in the rogue's eye as of laughing, until I
felt inclined to grit in the gig again, and take the fire out of
him. Leading nim up to a ioud>ide in , I gave him in charge
of a man who brought him. home safeh, where the folks laughed
at the adventure, and I at the horse.

The good rector paid us daily \isits, sometimes two or three
times a day ; did he perchance miss a da\, we thought he must
be sick. Says he one day, kMrs Skylight, how is it your hus-
band is a lazy man?" " A. lazy mat., sir," says the good lady
bristling up, slightly amazed, but more puzz'ed. l> Why cer-
tainly, does he not like a licjkt place ? he ! he ! ! ha ! ha ! !" not
so bad Mr. Hector. "Business must be very g«.od with you,"
says he one day. " Yes, I am tolerably successful at present,
but what suggests the remark V" " Why, you have taken a
partner." ik A partner," says Mrs. B.. remembering the recent,
entanglement. "' 'Pou my word," says I, *• I am oblivious of
the fact." " Why, wheu I was here yesterday, you could not
get a picture — you kuow you are allied to the sun ; * Skylight
and Sun,' is your firm." Better, Mr. Hector, for. withour *he
sun what would we poor photo's, do ? may the partnership
exist forever.

PARALLELS,

EY II. GAREANATI.

In ages gone by, people u.sed to drink out of shells, hollowed
stones and wood, or hard baked earthenware. 13y and by, some
observing fellow, by accident found out th>*t certain sands made
very hot, aud mixed with certain alkalies, when cool, formed a
solid and transparant mass. Hence arose the fashion of mak-
ing beautiful glass drinking vessels, ulrimatjly to borne in com-
mon use. If patent laws had prevailed in those days, would
each man upon the introduction of a new beverage, have been
entitled to a patent for putting it in a gjlass vessel ? A patent
for putting wine in a wine glass, aud beer iu a tumbler ! what
a bother it would have been.

Upon the introduction of tea, contrivances were in use for
drawing it in, in accordance with materials n<rd fur making
vessels suitable for holding boiling liquids in. Some knowing
fellow invented an amalgum, since called britania metal. It.
became exceedingly popular, since with careful cleaning and
polishing, it is a tolerable rivnl to silver — in appearance — for a
poor man's use Manufacturers soon found out it was a first
rite article f»r making tea pots of. If any patent wer<j grant-
able, would it have been 'to the inventor of the britania metal
and fashioner of the tea pot. or to the man who first put tea in it ?

• When collodion pictures were a new thing, the puzzle was
to get a material best adapted for holding the bath solution.
Seely and Grarbanati after much persuasion, induced a hard
rubbber company to make baths, pans &c, they furnished
sizes, gave designs, regulated proportions; their object was pal-
pably fur photographic purposes If a man thought proper
to put the bath solution in the developing dish, and the develop-
er in the bath, or if he thought proper, to make a soup plate
out of the dish, and a drinking vessel out of the bath, ought
he to have a patent if there were any granted, or they, who
adapted the material to photographic uses ?

Ifany one invents a new material, he is certainly entitled to
a patent. lie may even have a right to one for turning an old
material to a new use, provided there is adaptability about it ;
that is, it is made in shape to suit the especial purpose; but
certainly no one is entitled to a patent for putting something
in the material or article invented for receiving the something.

What differences then, is there between the above cases, and

312 THE AMERICAN

the use of bromide in the material collodion. Yet the man
who claims to be the first to have used one salt of bromine in
collodion, especially prepared (but not by him) for the recep-
tion of such excital, claims also a patent for the use of all
salts of bromine, to the tune of one hundred and fifty dollars
per year for one gallery, (an adv ance you see,) making a return
if he could but get it, of nearly half a million dollars a year.

PHOTOGRAPHY AND PRINTERS' INK— PHOTO-W00D-

ENGRAVING.

BY THE EDITOR.

Photography has been thought of since its oeginning, as a
subsidiary or, substitute for the old-fashioned way of printing
pictures. How can photographs be made in printers' ink-
how can photographs be printed from the typographic press ?
These have! been the great problems of the last twenty years.
Joseph Dixon, of Jersey City, in 1840, gave the first practical
but partial solution. His original process is still the basis of
ail successful photo-lithography — very little has been added to
his first instructions.

At a later day, Mr. Fox Talbot, of England, by a modifica-
tion of Mr. Dixon's process, Nieper de St. Victor and others
invented photo-metal-engraving, for the copper-plate press.

The very best results of these processes thus far still leave
much to be desired. Photo lithography in theory is the most
reasonable, and in practice is found most useful ; yet its utility
ijg quite limited. (I mean utility in the industrial sense.)

The printer's ink pictures of most consequence to the people,
are wood cuts. The process which could chemically prepare a
block to give a perfect photograph impression in a typographic
press, has seemed to be the grand ultimatum and climax of
photographic art ; for example, as if we knew how to prepare
a block, so that it should come out of the camera engraved
and ready to print from. But such a process is beyond the
present resources of science ; I do not believe in any chemical
etching or building up ; inventors have wasted their ingenuity
on impossible schemes.

Yet I consider the practical problem regarding wood en-
graving as solved, and that the whole merit of the invention
belongs to one of our countrymen.

JOURNAL OF PHOTOGRAPHY.

313

I am assured by engravers that they minutely and accurate-
ly follow the drawing given them; that they can engrave their
wood so that in printing it will give the most faithful copy of
the drawing. Now it seems only necessary to get a plain pho-
tographic impression on the wood, and the engraver can enable
us to reproduce it. At fir.st sight this appears easy enough to
do, yet all attempts till recently have- been more or less failures.
If the sensitve chemicals are applied to the wood directly, the
picture will be marred by stains, and the wood being of a color
somewhat dark, the impression will not be distinct and bold as
on paper. Moreover, the chemicals penetrate the wood and
very seriously injure it. If any film of the nature of collod-
ion be used, it tears up under the tool.

The method heretofore most practised in New York, con-
sists in blackening the block and then producing an ambrotype
on it. At the present time this process Is in great disfavor
with engravers- If anything is saved in drawing, it* is lost by
the increased trouble in engraving.

Mr. Charles 13. Boyle, of Albany, has invented a process
which meets every requirement. He takes a wood block as
commonly prepared for engravers, with the usual white ground,
and prints a photographic impression ou it with about the same
ease and perfection as is done on paper, and the block is en-
graved with as little difficulty as if the impression were a
pencil drawing.

The outlines of Mr. Boyle's process are given in his patent
claim which we extract from the " Scientific American :"

Photograph y on Wood.— Charles B. Boyle of Albany, N. Y.
Patented in England, January 7, 1859: I claim first, the described or
substantially equivalent method of applying albuminous matter, and af-
terwards coagulating it by heat, so as to form an insoluble base within
the pores of the wood, for the purpose set forth.

Second, Taking photographic pictures upon wood, the pores of which
have been tilled with gelatine or its equivalent, and subsequently re-
moving the gelatine from the block without injury to the picture by the
application of a warm solvent.

Mr. Boyle has had the kindness to demonstrate his process
before me, and allowed me to practice it myself. I find it
simple and certain. I believe it will satisfy engravers equally
as well as photographers. It meets every objection to any
other process with which I am acquainted. The impressions
(being made ou a white ground,) have all the brilliancy and
strength of a paper photograph, while the wood block is in as
good condition for engraving as one prepared with a pencil
drawing ; no film to tear up — no silver in the wood to blacken
by exposure to light. The impressions may be freely washed

:U4 THE AMERICAN

with water, and when dry may be retouched with ink or the
pencil; or they mny be removed, and the block re-prepared for
another in a few minutes.

The only doubt of the greatest, utility of Mr. Boyle's pro-
cess rests upon the skill of the engravers : — can they repro-
duce the accuracy and truthfulness of the photographic
drawing? If yes? I cannot but consider that the he plus
ultra of photo-ink printingas nearlv reached. Certainly, now.
wood engravers do produce fine work — they nre not very fir
behind the metal engravers It is certain, also, that wood en-
gravers produce more perfect pictures than I have seen or ever
expect to see from photo-lithography, or photo-etching. At
all events, tin value of this process is great, and will imtnedi,
ately be put in practice for many purposes. In my opinion-
those who need it most are the proprietors of illustrated pa-
pers, which publish portraits and views of scenery. Hither-
to, thier pictures -fail in truthfulness; their portraits are as often
carricatures as likenesses. In future, a truthful likeness will
be cheaper than any other ; light can draw more accurate and
quicker than any human hand.

In conclusion, I would say that I owe an apology, perhaps, to
some of my readers for not giving Mr. ISoyle's process in de-
tail. The fact that such publication would be prejudicial to
the inv liter's interest, I trust is sufficient explanation. It is
a process of that nature which is tempting to those who are
ever ready to get pos^essum of, and appropriate the property of
another.

CHEMISTRY FOR PHOTOGRAPHERS.

(No. I.)

BY THE EDITOR.

Photography is a chemical art ; the scientific photographer
will be a chemist, at least to the limit of his business. Scien-
tific principles ought to be studied ; — making pictures is only
mechanical drudgery, when we don't think and engage our
minds in the work. Slaves do as they are bid, getting better
only like a fiddle by use. Free men have a reason, or ought
to, for what they do ; they have curiosity, and always ask :
why ?

Yet, at the present time, I believe photographic manipula-
tions are rather in advanoe of the photographic science. It

JOURNAL OF PHOTOGRAPHY.

315

has not been in the way of practical photographers to learn
chemistry, however well they might appreciate the value of
such knowledge. Moreover treatises on chemistry contain
too much matter irrelevant to their wants — and the books,
like Hardwich's for example, professedly teaching photograph-
ic chemistry, are. too learned, or too theoretical in their style
for men who have not the habits of study.

I am going to write out the principles of chemistry, keeping
always in view their application to photography, constantly il-
lustrating by materials and facts known to photographers, and
doing all in a way so different from others that I shall have
no doubt that some who are unsatisfied with the common treat-
ises, or begin the study for the first time, will learn something
of which otherwise they might remain in ignorance. Also, for
the young men in my laboratory I shall make this a text book
— saving labor for myself and them.

So far prefatory.

What is Chemistry ?

If we want to know what a substance is made of or how to
make it, we go to the chemist. If we want to know the na-
ture and properties of a substance, the chemist tells us. It is
the chemist who tells the doubting court and jury, if the sus-
picious stain is of blood or no, — if it is really poison he has
found in the dead body. The chemist takes raw materials as
he finds them in nature, and makes substances quite curious —
being at first worthless, he makes new things of great value.
From the sea water he extracts iodine and bromine; from
ashes and stones he gets potash and cadmium, and combining
these, by his skill he furnishes the photographers with iodides
and bromides of potassium and cadmium. Chemistry is the
science of the chemist. Chemistry treats of the Composi-
tion and Properties of Bodies.*

The composition of a body is ascertained either by separat-
ing it into its constituent parts, or by uniting by trials, the
supposed constituents till the substance is produced. The
first process is called analysis, the last, synthesis.

The burning wood in a stove is a kind of analytical process.
Ashes remain behind; soot smoke and steam pass up the chim-
ney. And if we take either of these products of the wood, we
may separate them into others. But it is evident the analysis

* " Nature is composed of certain elementary bodies or elements. The knowl-
edge of these bodies, of their mutual combinaiions, of the forces by which these
combinations aro brought 8 bout, and of the laws in acoordance with which these
forces act, constitutes Chemistry." — Berzclius.

316 THE AMERICAN

must end, for we shall soon find products which we cannot de-
compose; such are elements or simple substances. An ele-
ment then, is a body which has not been separated into differ-
ent kinds of matter. For example, iodine is an element. It
is always the same; however you torture it, you only get iodine
out of it. Also gold, bromine, silver, chlorine, &c, are ele-
ments. Chemists have agreed that there are in all about six-
ty elements, out of which all the matter of the globe is com-
posed. Some of these elements are very scarce ; I do not
know that any man has seen all of them. In fact it is only a
dozen or two that people care anything about; we might not
miss the rest if they were taken away. Some of the elements
are found everywhere and in almost everything about us. For
example, eight ninths of the water we drink, and four fifths of
the air we breathe, is oxygen. Take oxygen out of the world
and what would become of us ?

Very few of the elements are found in nature in their simple
state ; the chemist uses his art to separate them ; we are in-
debted to him for iron, copper, lead, sulphur &o, which he
extracts from what other people look on as only stones or dirt ;
and the chemist combining the elements in various ways offers
us useful substances, which nature unaided, would not have
produced. Nature never made gun cotton, ether, or pyrogal-
lic acid.

If the scientific chemist had all the elements before him, by
combining them he might make any substance * he pleased.
Let him know what elements are in a body he knows how to
reproduce it.

Therefore, it seems necessary that in the start I ought to
teach what are the elements by name. But before giving a
table of them, I wish to have some other things understood,
which I shall display with them, so that the whole will be a
valuable page for reference.

In the first place, chemists sometimes use a kind of short
hand way of writing the elements, and expressing some facts
about them. For example, instead of writing the word oxy-
gen, they use the initial letter, 0 ; instead of hydrogen they
write 11, &c. These letters used instead of the name are
called symbols, and are generally the first letter of the name.
There are about sixty elements, and as we have but twenty-
five letters, we are obliged to add a letter to one of two or
more symbols which would have the same letter. Thus the
symbols of carbon, copper, and chlorine, are 0., Cu., and CI.
With the name of each element in the table, will be found its
symbol.

Except organic.

JOURNAL OF PHOTOGRAPHY.

S17

Pure water wherever we find it, is always the same thing.
Can we doubt then, that it is always composed of the same
elements and the same proportion of them ? Can we have
any such doubt about pure common salt ? Now. it has been
shown that water is composed of the elements Hydrogen and
oxygen, and in the proportion of one part by weight of hydro-
gen to eight parts of oxygen. Salt, or as the chemists term
it, chloride of sodium, is composed of the elements chlorine and
sodium, in the proportion of 35 to 23. . Thus it appears that
the elements combine with each other in certain definite pro-
portions. The figures which express these proportions are
called equivalants. Thus the equivalant of oxygen is 8, of
hydrogen 1. In niue pounds of water there are 8 pounds of
oxygeu and 1 pound of hydrogen. I shall have much in
future to say about equivalants : I have introduced the mat-
ter here only that they may be more conveniently introduced
in the table. The equivalant of each element is given with
its name.

OIV THE USES AND ABUSES OF PHOTOGRAPHY.

[In the former part of the paper, Mr. Hains alluded briefly
to the most important uses of Photography, with which our
readers are familiar, and then proceeded to the second part of
his subject viz , the abuses of Photography. — Ed. P. N.]

Let us commence from the first and let us suppose a person
fired with enthusiasm for the art. He takes up a newspaper
where he sees advertised " A complete set of Apparatus, with
Chemicals, complete for 30s." — He rushes to the shop of the
advertiser, purchases his "apparatus," never stops to think if
In knows anything about the process, and stumbles over every
part of it until perchance he gives it up in despair and abuses
the art to all his friends, just because he himself has been un
successful.

Think you that the painter or the sculptor succeeded in the
first painting or model they attempted ? No ! They required
to know the nature of the materials to be used, and the work
to be done, and even then, knowing all this, they wanted prac-
tice before they could accomplish it. Not so the photograph-
er, as he immediately calls himself, (for in many minds the
mere possession of the apparatus constitutes the man.) He
rushes headlong into the art, without knowing the nature of

318 THE AMERICAN

that light which is the chief essential for his work ! — without
enxuiring the properties of those chemicals which are to assist
that work, and in fact without having the knowledgo of the
process or anything belonging to it, thinking forsooth, that as
"Light" was to be the agent by which the picture was to be
taken, he need know nothing about it; and what is the conse-
quence ? He makes a miserable attempt and fails, and worse
than all, he attributes what his own folly has caused, to the
failing of our glorious art.

Again, let us suppose that our young tyro has purchased a
shilling pamphlet on " Photography made Easy," or a book
with any other such title, and has at length mastered its con-
tents, he can perhaps take an image fairly in the camera. He
at once considers himself an artist, but he is not .so. A man
may be a photographer indeed, and may be able to take like-
nesses, but it r< quires much mote than this to become that
great essential to the true practice of photography, an Artist.
He thinks, so long " s he takes picture.*, as he calls them, it is
enough and that nothing more is required. If he is taking a
portrait, he cares not for the posture of the sitter, which way
the light falls, or the color or description of the background ;
or if lie has progressed so far as to have a background painted
in imitation of a landscape, he thinks nothing can be better.
But, as you all know, the beauty of a portrait is not only in
the background or the distinctness of the figure, but it consists
in having that depth of t-hadow and roundness of the features
£0 seldom discerned in the generality of the portraits taken in
the present day, and which can only be obtained by a proper
management of the light. Thus then I conider that a want
of proper knowledge of the art, a want of intimacy with the ne-
cessary chemicals to be used, and a want of the true artistic
spirit necessary to make a good photographer, are some of the
chief abuses to which photography is exposed.

Another great abuse is the frightful exhibition which is now
to be seen in almost every street and almost every town in
England, to which notice is requested by a voice which an-
nounces that you can have a "correct likeness and frame com-
plete for 6d." Indeed I heard the other day of one spirited
individual who, it seems is determined to cut all the others
out, and who has reduced his price to "the low charge of 2c/."
Now you will perhaps say that the epithet "frightful" is too
strong ; but all I ask of you is to honor one of the said exhi-
bitions with your patronage, and I feel sure that you will agree
with me that the pictures shewn there are really frightful and
it is also frightful to see how low one of the noblest arts can
be brought by a parcel of unscientific men, who perhaps have

JOURNAL OF PHOTOGRAPHY.

319

left their shop-board, or their bake house, to become what they
are pleased to denominate on their address cards, a " Photo-
graphic Artist." Many of these so-called "artists" again, not
content wito simply perpetrating such vile things as their por-
traits usually are, must needs make ugliness still uglier by
daubing them with paint, for which they will inform you they
11 charge 6^ extra." A pity it is that such men would not
keep to their shop-bords and bakehouses, and leave photo-
graphy, of which they kaow nothing, to stick to their original
trades, in the pursuit of which they would doubtless make re-
spectable members of society.

Another abuse of photography consists in the indeoent and
disgusting pictures which are exhibited in many of the win-
dows in London, and indeed in some few of onr own town. I
cannot, I think, do better than take a few extracts from an ar-
ticle which appeared a short time ago in the "Morning Post,"
on this subject. After calling on the authorities, on .behalf of
public decency, the writer goes on to say, that although he is
not squeamish, and is not shocked at seeing a Cupid without
pantaloons, or very fastidious about the pose of a Venus, yet
to see a too life-like representation of courtizauship in all its
faithful hideousness to paper, this he says, is one of the things
he cannot look upon without disgust. " Unlike ordinary pic-
tures," says he, " where models supply the mere ideals, the pho-
tographic slides are very models ; every one of those startling
poses has its representative in nature ; every trait of the orig-
inal is theae."

I consider this then a serious abuse of our art, and one that
we should endeavor to put down as far as possible.

One dreadful abuse of photography is the way in which
many in this town, an I am afraid also in many others, violate
the Sabbath through its means. I know several places within
a mile from the spot where we are met, where, with the most
bold-faced impudence, it is announced that "portraits are taken
on Sundays from 9 in the morning till dusk ;" now a more
fearful desecration of the Sabbath than this one can hardly be
imagined. For a man in Christian land to thus use God's
first creation, without which all else would have been of none
effect, for the very purpose of breaking one of that God's com-
mandments, is iudeed dreadful to contemplate; it is indeed a
thing which in my opiniou ought not to be allowed.

I might, mention many other abuses to which the art of
photography is subject, but I think it is quite unnecessary for
me to do so to-night, so I will, with your permission, pass on

320 THE AMERICAN

to my last point, "The duties of every practical photographer
in the present crisis."

The crisis of photography is at hand when it will depend on
you what shall be its end. It is easy to say we know and ap-
preciate its uses and intend to cherish and increase them, but
this is not all that is necessary for the safety and welfare of
the art ; you must also lend your aid for the purpose of caus-
ing, as far as possible, the discontinuance of those abuses which
are so fatal to its well-being. This c^n easily be done ; the
first step has, I am happy to say, been taken in this town, and
also in many others in England during the last two years.
The formation of this society I consider the first step towards
the safety and progress of photography in this town.

Once make the eye of man appreciate the beautiful, and he
will soon loath the sight of the ugly. The exhibition last year
was 1 think very likely to benefit the art, not only in this
neighborhood, but also elsewhere, for till that oxliibition took
place, the idea on the minds of most people seemed to be that
photography was only intended for portraits, and not at all for
anything else. Bat the formation of a society, or the holding
of an exhibition, is not all that is necessary to be done. These
are but links in the long chain of duties which apply to every
member of this or any other society. Every member I say
has his duties to perform, and unless he performs them, he will
have himself to blame if the noble art of photography should
sink into disgrace, and ultimately to ruin. Let me then enu-
merate a few of the duties which I think binding on all of us,
if we really with heart and soul love our profession ; and first
let me press on you the necessity of a good attendance at our
meetings. This is necessary, not only for the welfare of the
society, but of the art itself; for what a handle does it give to
the scoffers at the science, if they can say that if out of a body
of men who profess to love the art, we cannot get a sufficient
number to attend, how can it be expected that others would
interest themselves in it. Let me then earnestly impress upon
you the necessity of a better attendance at our monthly meet-
ings. Again, let me also beg each of you to iucrease, as far as
possible, the number of our members, for let it be remembered
that '• in numbers is strength."

Another duty, which I conceive to be equally binding on all,
ir the duty of all contributing their share towards the papers
which are read at our meetings. Let not one among us refrain
from this on account of supposed unfitness; each one must
have something to say, however little that something may be ;
each has had his own private experience, and something inter-
esting to all must arise from some of his successes or some of
his failures. Let us then endeavor, one and all, to promote

JOURNAL OF PHOTOGRAPHY.

321

the welfare of the society, and help on the progress of that art,
for the good of which the society was formed. Let no one
hang bade, but each come boldly forward, and we shall not
only do out selves good, but also promote the prosperity of that
for which we all profess to have a love.

However short the papers or the remarks may be, there
must always he something in them to both interest and to im-
prove, and as by exciting interest and awarding improvement
among our members, will do our society good; so the well-
doing of our society will largely benefit photography, by causing
the formation of other societies, by infusing into others, by
means of our Journal, the interest and knowledge we have
ourselves obtained, and by bringing more under notice such
things as may be useful and beneficial to the lovers of the art.

One more duty I will mention, and that is that of all con-
tributing to the album of our society. I am aware that this
was mentioned in our last annual report, but not so fully but
that I think I may venture to say a few more words respect-
ing it. The album, as I suppose you are aware, was provided
by the societ}', as you will learn by your rules, for the " recep-
tion of photographs." Now by filling the pages of this book.
I conceive that we should be doing one of the best things to-
wards the promotion of photography that is possible ; for in-
stance, you press a friend to become a member of your society
and he may tell you that he is so disgusted with the vile pro-
ductions of the present day that he is determined to have
nothing to do with it; you have nothing to deny in all this;
you are aware, painfully aware, that many of the productions
of the present day are vile ; but if you have an album that is
full of pictures that are not vile, but good perfect, and above
all, artistic, then indeed may you boast, and little can be said
against the society, whose members can produce such a sample
as this, or against the art by which they were produced. Bear
in mind your album may be obtained for your drawing-room
table, on application for the same, and how proud would, or
ought to be, that man, who with his fingers upon a handsomely
bound book full of views and pictures, worthy indeed to be
admired, could say to his friends, h See what photography cau
do aud what our society has done by its aid." I must now
leave the subject in your hands, as I trust I may safely do, hop-
ing that each member present will, from this time, do all in his
power to promote the knowledge of this all-engrossing artj and
that the Birmingham photographic society will be, as it ought
to be, one of the first in the kingdom to aid in the object for
which it was framed, namely, " The cultivation aud promotion
of photography in its various applications to science and art
and the extension of its sphere of usefulness."

322 JOURNAL OF PHOTOGRAPHY.

EMTORWt MtSCEUUflY*

A publication of considerable notoriety, on account of Hallo-
type collodion gilding, &c, has published the redeveloping process of Mr.
Wendell given in our last, as a communication of an original discovery
by one Thompson of Albany. If we were not aware of the facts, that
Thompson received all his information of the process from Mr. Wen-
dell, and that Thompson is a relative of the publisher, we should be
well enough prepared to suspect them. In truth this scurvy trick is not the
first or the tenth of the same sort, which has emanated from the editor
or the contributors to the publication in question. How many, for ex-
ample, discovered Howell's transfer process ? What a wonderful thing
one Gage, made of the matter of yellow paper for the dark room, and
foggy nitrate bath, &c, &c. Indeed, strike out of that journal all that
was pilfered from these pages, or otherwise obtained surreptitiously,
and what original motter would remain ?

At the point of going to press, we have received the particu-

lars of a great photographic exhibition to be held at the crystal palace in
Paris, on the 15th, April, next. American photographers are invited to
contribute. Unfortunately the notice is now too late. We were aware
that an exhibition was to be held, but were not sure till the present
time that American contributions were expected or desired.

Carbon printing is still the prominent subject treated in our

foreign exchanges, — also M." Poitevin's claims are still ignored. Why 1

Mr. Pouncy has modified -his process as follows, — we quote from
"JVotcs."

" Take 1 oz. of gum arabic solution, about the thickness of copal
varnish : add to it about 3 oz's. of filtered rain water, immerse the
paper ; hang it up by one corner to dry, as you would after flouting
upon silver ; when perfedtly dry proceed as I have before directed.
With ten minutes exposure in sunlight I obtain good pictures, fully de-
veloped after soaking in water for two hours."

Mr. H. Anthony of this city among several variations of the carbon
process suggests as follows ; — First a mixture of gum arabic, sugar, and
bi-chromate, spread on paper ; upon this coating when dry, evenly dust
or rub carbon powder; upon the black surface spread the first mixture
again. Mr. Anthony has had good success and understands the subject
thoroughly.

The next meeting of the photographic society, will be held at

the Cooper Institute; on Saturday, March 26th.

THE AMEEICAN

ottnaal of f^ologtfapljjj.

[MgW ©SBaSQa]

Vol. 1.]

APRIL 1, 1859.

[No. 21.

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE,

BY SOL SKYLIGHT, ESQ.

The landlord of the Red Lion was decidedly a " tip-top "
fellow, and by no means illustrated the common charge against
English inn keepers, of overcharging : there may possibly be
something in the nature of inn keeping, to make a man greedy
and exacting, but certainly I have not had much experience
in proof, though in many instances I have thought a less charge
would have been more reasonable. But mine host was quite
an exception to the fraternity of inn keepers ; little kindness-
es and extras he might have readily put in the bill, were taken
no account of. His wife and those about were equally kind
people. In my experience of a travelling daguerreotypist, I
again came to the conclusion of a necessity of change, not be-
cause business had failed, but was dull. My landlord prog-
nostigated much more success, but did not urge it, possibly
because he thought I might suppose he was consulting his own
interest, But finding I was bent on trying a new place, he.
recommended "Stevenage," and offered to drive me there. I
gladly accepted his offer, we set off on the old, but now almost
deserted coaching road, on our way to Stevenage, towards Lon-
don. The nag.of whirligig fancy, was in the shafts, but under the
guidance of one who knew his fancy, and well paid him for the
trouble he took to amuse us, but somehow or other, not liking his
pay, he struck for less wages, and soon gave up his entertainment,
through the excessive pay in whip cord he received, and only
did his work. The few miles between Baldock and Steven-
age, is very picturesque, that part of Hertfordshire being chal-
ky and much broken. We drove through a long straggling

324 THE AMERICAN

village, to an old fashioned tavern, whose principal entrance
was up the gateway that led to the stables. The bar and par-
lor looking more like a kitchen, while its enormous chimney
place, and everything about, showed it was a coaching house
of the past age. Its diminutive windows put it out of the
reach of my purpose. A tramp through the village with
"mine host," who was well acquainted there, met with no bet-
ter success. I was sorry, as the place seemed quite porten-
tous of success for picture taking.

Stevenage is, or rather was, quite famous for carriage build-
ing, and had been a mart for vehicles, but with the advent
of rail-roads, most of its trade had departed, and no other
branch had taken its place. It is very ancient, and the few I
inquired of knew nothing of its origin, so if I suggest it took
its name from King Stephen, I shall only be doing what hun-
dreds before me have done in arriving at a haphazard guess,
for it was certainly named after King Stephen.

As Stevenage would not answer, my host proposed driving
me over to Biggleswade, a large town in Bedfordshire, and a
very short distance from Bedford, and as he offered at a very
low price, I accepted, the more especially as he would not
charge for the drive to Stevenage, nor for the memorable drive
"up the hill and down again."

We looked in vain for quarters here also, though probably
not thoroughly, when I was persuaded to engage apartments
at an old fashioned inn, in what used to be the best part of
the town, but unlucky for us, was of the "things that were."

Well, we were again to move. Oh ! the bother of packing
— no little joke is this packing — getting a large quantity into
a small space — selecting those things that will fit just so, iron
glass, wood, all sorts of things, every kind of thing mixed up
together. I had had a box made in Bedford, with a hole in a
centre-board for each bottle, and packed trifling articles be-
tween, so that upon one occasion when a careless rail-road
employee knocked off the front of the box, such a variety of
things closely packed together quite astonished him, and the
only thing broken was a glass funnel, so that it pays to pack
well and carefully, though it does take a long time. But first
before packing, must be "the last week,". but not with so much
success, though it answered its purpose. The next business
is the paying of the bill, which, not a common case by any
means, surprised us by its moderation, not even the beer at
dinner was charged extra, that at least I expected to pay for.

We really felt unwilling to leave Baldock, so comfortable

JOURNAL OF PHOTOGRAPHY. 325

had we been and so kindly treated. Mrs. Host presented Mrs.
Skylight with a very beautiful piece of workwomanship as a tes-
timony of her esteem, and. quite sorry she seemed to part with
us. So bidding good-bye, off we were again in a snug carriage
our traps preceeding an hour in a donkey cart. The drive
was not altogether pleasant, as the motion made Mrs. Skylight
sick On the way, in the distance, we observed what appeared
to be an obstruction in the road, but which proved to be our
donkey cart, drawn by a very little donkey who seemed over-
shadowed by his load, crawling on at a snail's gallop, estimated
at about one mile per hour, we appeared to pass at a steamlike
speed at a trot, so that upon arriving at our destination, we
had time to prepare for our long expected luggage.

I was not long in unpacking and again getting ready for a
start. Each particular start was like beginning the world anew
with all its cares and anxieties, its uncertainties and perplexi-
ties, no certainty of success, no guarantee of expenses, at most
a living or a little more, how much better for those who can
locate with a probability of even ordinary success, to grow up
with the institutions and townspeople, so as to have a stake in
the country; still for those who want to see the country, to
travel and yet clear expenses, is a great treat for young men,
and no occupation offers such an opportunity as the photograph-
ic profession. Were I a bachelor I would continue it for years.

THE NEW RE-DEVELOPEE,

To the Editor ok the American Journal of Photography.

In the No. of Humphrey's Journal for March 1st., I observe
that S.J. Thompson of this city has published, over his signaturo
and without giving credit in any direction, the process I pub-
lished in your Journal of the same date. His letter is dated
December 1, 1858. As we may seem to the readers of both
these journals as rival claimants to the discovery of this new,
and according to his own statement, excellent process, I wish
to state a few facts in relation thereto.

I cannot state the precise date of my first trial of the dex-
trine, but it must have been about the middle of September
last. I was in New York about the 13th of October, when I
mentioned it to you and also to Mr. Gardner operator for
Mr. Gurney. He tried it and showed a print to Mr. Gurney
in my presence. They will both remember the fact, and I can
prove the date from other evidence. At that time I affirm

826 THE AMERICAN

that Mr. Thompson knew nothing at all about it. I told sev-
eral operators in this city and Troy, the process, and in some
way he obtained it. In fact I made no effort to conceal it —
Mr. Thompson himself knew that I intended to publish it.
In a conversation he had with a friend of mine about the time
his letter is purported to have been written, he made no claim
to have discovered it. He said, however, it was no new thing,
but that the same thing had been published in some book
about three years ago. I afterwards asked him about it, and
he said it was not the same but dextrine in the bath. Since
his article was published, I asked him again for the book, and
offered him enough to compensate for the trouble of looking
it up, but the book has never been produced.

I only make these statements to show how good his claim is
in the matter. He may say he does not claim the discovery,
but any reader of the article would judge that he gave it as
his own.

If it was ever published or used by any person before I
used it, I am entirely ignorant of it. It was quite new with
me, and I judged it of sufficient value to communicate to oth-
ers. Whether it is they will judge.

One query. As Humphrey's Journal is not burdened with
original articles, why was this of Mr. Tho.npson laid
over for three months f Perhaps its editor can give us
some light on the subject.

I would not have it understood that I give this as a formu-
la for developement gen '.rally. It is useful mainly in niakiug
enlarged copies, and for children. In copying in sunlight it
will be found, with a little practice, an excellent plan, to give
a little more than the usual time in the camera, and put a lit-
tle dextrine solutiou in the developer, thus saving the trouble
of re-developement.

Harvey Wendell.
Albany, March 18th., 1859.

A LETTER FROM LAPORTE.

Makch 19th., 1859.

The secret is out, no mistake this time — the riddler has un-
cerimoniously cut the gordian knot, and I, Gossip, have been
mistaken — erred in favor of humanity, that's the pity — for hu-
manity, not for me. The owner and talented compiler of the
M. B. B. journal, is not a philanthropist after all, he does not

JOURNAL OF PHOTOGRAPHY. 327

publish his inky sheets for the sole benefit of ignorant photo-
graphers, nor does he furnish them for jthe many purposes
pieces of paper may be put to. gratis. I could bump my own
head for my blunder, did I not happen to blunder on the right
side. The whole tribe of crammers and process pedlars will
question my authority, and some few — very few — photo's who
could have sworn by me, now find me fallable, like common
mortals. The owner, publisher, compiler and editor of the M.
B. B. journal, has given notice that he wants pay, remorseless-
ly demands it for all M B. B. journals he has sent, solicited
or unsolicited, for who knows how many years past. He pub-
lishes the law relative to publications, and calls the particular
attention of those, and there are many, who decline to pay be-
cause they did not order it, to the clause saying 'tis a swindle
to order and not pay. Did you not take it from the Post- Of-
fice ? inquired the owner of the M. B. B. J. You have used
it and ought to pay for it, and then he hints, you shall too.
Well, this all requires some slight consideration ; undoubted-
ly anybody engaging even the M. B. B. J., ought to pay for
it, even though its proprietor, who says it must be paid for in
advance, should lead them into the trap of several year's sub-
scription, by not presenting the account, though if the rule is,
it must be paid for in advance, an ordinary person would think
that rule would be the limitation of subscription. Still Mr.
M. B. B. J. make those pay 'who ordered it.' if the law will
sustain you. But as regards the other, and by far the greater
number, if my experience goes for anything, why should they
pay because you thought proper to send your wrapping paper
to any address you could find ? Why should you put them to
the expense of postage, they not knowing what the article was
they were taking in at first, and why are they to be put to the
trouble of returning or declining the grand re-publication ?
One man declares he supposed it was sent to him as a circu-
lar, a puff of the M. B. B., and if several were sent, how
did he know but you wished to keep the puff before his eyes.
Another states that he took it simply because it was addressed
to him, he did not inquire the motive nor who sent it, nor did
he rush to consult a lawyer on the subject, not supposing he
was expected to pay for what was voluntarily sent, for some
reason to suit the sender. Another asserts that most of the
numbers were taken in by some one about the establishment,
and wants to know why the devil — printer's devi! of course —
he was to bother about, or pay for it ? Quite a number have
told me they looked at a number and left the balance in the
P. 0. without comment.

Now Mr. Editor you publish a journal and ought to know ;
can any one who did not order the M. B. B. journal, be held

328 THE AMERICAN

responsible for its price per annum ? is the law all on the side
of you journalists ? is it nothing in the eyes of the law ? — has
it eyes, and do they always see clear, that the party to whom
a publication is addressed, should have the trouble and ex-
pense of receiving and returning said publication, should it
turn out to be something he neither ordered nor wanted ? Well,
whatever your answer is, mine is, " Not by no manner of means
whatsoever." Why display, and point to the law on swindling ?
is it suggestive of an attempt at swindling ? if so, let each one
as they will, answer by whom.

How gets on the so called bromine patent ? have those hea-
vy guns, those long toms, that heavy artillery of fact and ar-
gument, the American Journal of Photography, has brought
to be&r — oh '! the hackneyed phrase — on it, or that announce-
ment, so fatal ito the chance of the timid going up to the cap-
tain's— putting's— office, and paying their fees, that" attempted
levy of one hundred and fifty dollars per year license, with
.the right to call for arrears of damages, save the mark ! The
twelve apostles have been too overreaching, too many cooks
have spoiled the broth, their mess is scorched, and they have
got into the mess. If their greatest enemy had advised, he
could not have induced a more pig-swimming mode for making
a fortune, for who won't fight for $150 per year and arrears,
or $25 per ditto, according to means : no fear now but the pro-
fession will stick together and knock the banded monopolists
into particular nothingness, for safety if not for patriotism ; a
scarce and unprofitable sentiment nowadays, I fear. Hit them
again Mr. Editor; I almost wish some other grand scheme
would develope, whilst I am in the savage humor.

Yours in Chemicals, Cameras, and Cases,

Gossip.

From the Pbotogrnphlc Journul.

(SOLD TONING ON ALBUMENIZED PAPER.

Mr. Hardwich has communicated to the photographic socie-
ty of London some observations on photographic printing, in
which he deprecates, as unjust, the prevalent disposition to
decry the methods of toning and fixing now in use. In skil-
ful hands, doubtless, the methods in vogue are fully adequate
to secure permanency, but the host of pictures " fading away"
that meet us on every hand, prove too forcibly that some radi-
cal defect exists, if not in the formula at least in the manipu-

JOURNAL OF PHOTOGRAPHY. 329

lation. It is better to seek to improve the former than the
latter ; therefore Mr. Hardwich proposes an improved toning
by alkaline chloride of gold. This mode of toning is adapt-
ed for any kind of sensitive paper, but its peculiar value is seen
in the case of albumenized paper, which is sometimes difficult
to color by the set cFor process, and even in the ordinary fix-
ing and toning bath of hyposulphite of soda and gold, does not
attain to an agreeable tone, unless the bath be kept in a very
active condition. Make a solution of chloride of gold, one
grain to the ounce of water ; take of this

Solution of chloride of gold 1 fluid drachm.

Sesquicarbonate of soda - 1 drachm.

Citric acid - - 20 grains.

Water (pure) - - 12 fluid ounces.

This solution will not keep when mixed, as it gradually under-
goes a change, becoming colorless, and toning more slowly.
It is not clearly understood what part the citric acid play3 in
this mixture ; in a warm alkaline solution of chloride of gold
it throws down an indigo blue deposit of metallic gold.

A strongly albumenized paper is to be preferred for this
method, especially one that prints rather red, otherwise the
gold is liable to yield too blue a color. A rich velvety ap-
pearance is promoted by using a sensitizing bath of full strength ;
sixty grains of silver to the ounce for a paper salted with a ten
grain salting solution.

The prints may be kept for a few hours after removal from
the printing frame, but it is best to tone them at once. Wash
them in two or three changes of water until milkiness disap-
pears ; they may be left in the water until it is convenient to
tone them, which is done as follows —

Mix the ingredients of the formula given above in an evap-
orating dish, and when effervescence ceases, place a spirit lamp
beneath*, and raise the temperature, with constant stirring, to
about 120 ° F., which is indicated by the steam beginning to
rise, and a bluish discoloration, due to commencing reduction,
is seen. The lamp must now be removed, else much of the
gold will be reduced, changing the color of the fluid to an inky
black, after which it will be nearly useless. Filtering is un-
necessary.

This warm liquid is poured into a flat dish, and the prints
are put into it, two or three at a time. A little discoloration
of the toning solution may be disregarded, since it is caused
by a quantity of gold quite microscopic, and will not injure

330 THE AMERICAN

the whites of the proof. The first two or three may perhaps
be toned in about five minutes ; but as the liquid cools down,
and the quantity of gold decreases, twenty minutes or longer
may be allowed. The time, however, is greatly influenced by
the quality of the paper ; English papers strongly albumenized
requiring a longer action.

If the prints are removed from the toning bath as soon as
the blue color of the gold is seen, they will generally change
in the fixing bath to a warm hue of brown ; but when left for
two or three minutes longer, the deeper tone acquired is per-
manent. The proofs are ready for fixing, when they cease to
appear red by transmitted light. Over-printed proofs yield
the blackest colors, because they may be kept in the gold a
longer time without losing the half tones. It is not advisable
to attempt to obtain pure white and black tones on proofs
printed from feeble negatives, for unless there be a percepti-
ble amount of bronzing, the deep blacks cannot be obtained
on albumenized paper.

Each grain of chloride of gold ought to tone six or seven
prints, 5x7, and two or three of 10x12, which is rather
more than the number yielded by the same quantity of gold
in the sel $or process.

Fixing — The proofs must be rinsed on both sides upon re-
moval from the gold bath, and fixed in the following solution —

Hyposulphite of soda ... 6 ounces,
Water - - - - - - 1 pint.

Carbonate of soda ... - 1-2 ounce.
This solution will keep many weeks, and imparts a slightly
improved color after being much used. The carbonate of so-
da is added to prevent the fixing solution from acquiring sul-
phurtoning properties to an injurious extent. The time of
immersion is from ten to fifteen minutes, or until no mottling
appears in the proof when held against the light. The proofs
are washed in the usual way.

THE TRANSFER PROCESS IMPROVED.
\

BY SENECA BULLOCK.

I have lately adopted the plan of varnishing all my pictures
to be transfered, with Hough's collodion varnish as described
in the American Journal, page 19.

JOURNAL OF PHOTOGRAPHY.

331

The advantages of this plan of working, are :

1st. The film is made thicker and tougher, so that the trans-
fer becomes easier and more certain.

2d. The picture does not come in contact with the asphal-
tum or other black surface, and is hence not lowered in tone,
and will be more permanent.

(This is a valuable improvement and will be immediately
adopted by the profession. It needs no argument ; — it com-
mends itself.

By the way, Mr. Hough may be considered the father of alco-
holic collodion ; yet the fact seems entirely to have been ignored
by our coteniporaries.) — Ed.

CHEMISTRY FOR PHOTOGRAPHERS.

No. 2.

BY THE EDITOR.

Table of the Elementary Substances, with their Equiv-
alents and Symbols.

Aluminum

Antimony (Stibium)...

Arsenic

Barium

Bismuth

Boron.

BROMINE

CADMIUM

Calcium ,

CARBON

Cerium

CHLORINE

CHROMIUM

Cobalt ,

Copper.

Didymium

Erbium

FLUORINE

Glucinium

GOLD (AURUM)....

HYDROGEN

Ilmenium

IODINE

Iridium

IRON.

Lantanium

LEAD (PLUMBUM).

Lithium

MAGNESIUM

Manganese

MERCURY

[ i

Symbol Equiv.

Al 137

Sb 129-

As

Ba

Bi

B

Br

Cd

Ca

C

Ce

CI

Cr

Co

Cu

D

E

Fl

75*
68-50
212*
10-9
80'
56-
20-
6-
47'
35-50
26-7
295
317

19-

Symbol EquiT

G i 6-9

An

H

II

I 127

Ir ' 99-

Fe ! 28'

La j 30-

Pb 103 5

Li 69

Mg 12-2

Mn I 27-6

Hg 1100-

Molybdenum

Nickel

Niobium

NITROGEN

Osmium

OXYGEN

Palladium

Pelopium

PHOSPHORUS

Platinum

POTASSIUM (KALIUM)

Rh"dium

Ruthenium

Selenium

Silicon

SILVER (ARGENTUM).
SODIUM (NATRiUM)...

Strontium

SULPHUR

Tantalum (Columbium) . . .

Tellurium

Terbium

1 horium

Tm (Stannum)

Titanium

Tungsten (Wolfram)

URANIUM

Vanadium

Yttrium

ZINC

Zirconium

Mo

Ni

Nb

N

Os

O

Pd

Pe

P

Pt

K

R

Ru

Se

Si

Ag

Na

Sr

S

Ta

Te

Tb

Tb

Sn

Ti

W

U

V

Y

Zn

Zr

46'
296

8-

533

32-
98-7
392
52-2
52-2
40-
21-3
108-
23-
44-
16"
92-
64-

59-

59-

25*

94-

60-

68-6

32-2

32-5

22 4

332 THE AMERICAN

The above comprise all the substances which are recognized
as elements at the present time. Possibly some day we may
be obliged to add to the list, names of substances not now
known ; possibly also, we may discover that some of the sup-
posed elements are compound.

In the table, the elements which are printed in italics are
very rare and not used in the arts ; those in capitals are such
as the photographer has to do with in his art.

I wish now to give a clearer notion of what is meant by the
word equivalent. The very smallest particles into which a
substance can be divided are called atoms. For example, if
we take a piece of sulphur we may break it into two parts, one
of the parts may be again divided into two halves — and con-
tinuing the halving process, we may proceed a long time till we
cannot see the parts without the aid of a microscope ; it is
supposed there is a limit to divisibility and that limit is an
atom, perfectly hard and impenetrable. Thus we speak of an
atom of oxygen, of sulphur, &c. Now an equivalent of an element
is the relative weight of its atom ; and as the hydrogen atom
is the lightest of all, we take it as a starting point, and call it
1. An oxygen atom weighs eight times as much, and its
equivalent is eight. An atom of mercury weighs down a hun-
dred atoms of hydrogen. Now, do you understand exactly
what is meant by equivalent ? If not, turn back and read this
paragraph again.

In chemical compounds the elements unite by atoms ; one
atom of hydrogen (1) unites with one atom of oxygen, (8) pro-
ducing one atom of water. Sometimes one or more atoms of
one element, unite with two or three or more atoms of another
element. Thus one atom of gold (98) will unite with three
atoms of chlorine, (35 5.) Also compounds may unite with
each other, and in that case the proportion of the constituents
will be represented by the sum of their equivalents. Exam-
ple— Sulphuric Acid is composed of one equivalent of sulphur
(16) and three equivalents of oxygen (8.) Then the combin-
ing proportion of sulphuric acid would be 16-f-3 >< 8=16+24
= 40. Oxide of iron is composed of one equivalent of iron
(28) and one equivalent of oxygen (8.) The combining pro-
portion of oxide of iron is then 28-(-8=36. Sulphuric acid
will therefore unite with oxide of iron in the proportion of
40 to 36. Combining proportions are also called equivalents.
The equivalents of elements are given in the table, and the
equivalents of compounds are readily found by adding togeth-
er the equivalents of the elements which compose them.

To represent the composition of a body by symbols, we simp-

JOURNAL OF PHOTOGRAPHY. 333

ly write the symbols of the elements one after the other. Thus
HO explains the composition of water : IP of iodide of
potassium ; AgO of oxide of silver. If more than one atom
of an element is to be expressed, we write the number with
the symbol, either before or after it. Thus 20, or 02 mean
the same thing, viz ; two atoms of oxygen. Sulphuric acid
would be expressed thus, SO 3 ; sulphate of iron, SO3 Fe
O. or SO3 + FcO. In future, in naming substances I
shall give at the same time the symbols.

Now as we have some notion how compounds are formed, we
are prepared to learn the names by which they are known.
Chemical names generally express the composition of a sub-
stance to which they are given ; also generally the composition of
a substance suggests its name. Otherwise this part of my sub*
ject would be as difficult to understand as Greek. As it is, any
person of ordinary capacity, is able to learn millions of names
in a few minutes. The system of chemical names is called :

The Nomenclature — The name of a compound is generally
composed of the names of the elements composing it.

If the compound is composed of two elements, the name of
the most active element is slightly changed (so as to sound
better,) and the termination ide added ; the name of the other ele-
ment is unchanged, and connected with the first by the word
of. Thus the compound of iodiue and potassium is called
iodide of potassium, (IP); chlorine and sodium, chloride of
sodium, (Na CI.) Can you have any doubt of the meaning of
the folllowing ?

Bromide of silver .... (Ag Br.)
Sulphide of iron ... - (Fe S.)

Oxide of lead (Pb O.)

According to this system, water, (HO) would be called
oxide of hydrogen, and if water were not such a common thing
and its name so familiar, we should always call it oxide of hy-
drogen. Also, in the same way, we use the familiar names
soda, potash, and lime, instead of the more scientific names
oxide of sodium, (NaO.), oxide of potassium, (PO), and
oxide of calcium (CaO)

To express the number of equivalents, of the first element
named, we prefix to the compound name one of* the numerals :
Proto (1) Bi (2) Tei (3) Quadro (4) &c. Thus:

Terchloride of gold - - - ( Au CL3 )
Bisulphide of carbon • • - (C S2 )
To indicate three equivalents of the first, and two of the sec-
ond, we prefix the word, Sesqui. Thus:

Sesqui-oxide of iron - - - (Fea O3 )

334 THE AMERICAN

PROCEEDINGS OF TEE PHOTOGRAPIIICAL SOCIETY.

The second meeting of the Photographieal Society was con-
vened at the Cooper Institute March 20th.

A. "W. Whipple, Chairman; Matthew Haskell and Charles
A. Seely, Secretaries.

Minutes of the last meeting were read and approved, — also
list of members.

S. D. Tillman Chairman of the Committee on the Consti-
tution and By-Laws, presented a report, which was accepted
and adopted unanimously. Mr. Tilimau remarked that in the
title of the society, the word "Photographieal" had been substitu-
ted for " Photographic " which is in common use in England.
The words are given in Webster's Dictionary as synonyms,
but he thought the former more comprehensive, and therefore
more appropriate for a society having for its highest aim, the
discussion of all topics relating to the action of light : besides
"Photographieal" corresponded with Geographical, Geological,
Historical, etc. English terms universally connected with the ti-
tles of scientific societies. A mistake had been made in the
first application to a new and beautiful art, of the word "Pho-
tography," which means discourse, or writiting about light, —
and not writing or marking with light. It was, however, too
late to correct that error, but not to introduce into general
use a legitimate word which is broad and comprehensive in its
meaning, and calculated to place this Institution in its char-
acter and scope, on a level with kindred scientific societies.

(The annual meetings for elections are to be held on the
third Monday in February. The ordinary meetings are to be
monthly, on the second Monday in each month. The fees of
membership are, initiation, $3 ; annual, $2. Candidates for
membership are to be presented by a standing committee of
three, and to be elected by a four-fifth vote of the society. The
officers of the society constitute aboard of management.)

The committee on nominations presented their report. The
election which ensued, resulted in the unanimous choice of all
the candidates proposed by the committee. The officers of the
society are as follows :

PRESIDENT,

tnt jo:j:; w. dili1*e&

JOURNAL OF PHOTOGRAPHY.

335

VICE-PRESIDENTS,

LEWIS M RUTHERFORD, ESQ.
DR. R. OGDEN DOREMUS.
H. H. SCHIEFFELIN ESQ

. CORRESPONDING SECRETARY,

A. W. WHIPPLE, ESQ.

RECORDING SECRETARY,

DR. ISAIAH DECK.

The pro-tempore officers of the meeting were instructed to
convey the formal notices of the election.

The standing committee on membership, was then chosen as
follows : Thos. D. Stetson, Benj. S. Hedrick, Charles A. Seely,

Peter Cooper Esq., by request, addressed the meeting on
the plan of operation of the Cooper Institute. A library,
reading-room, lectures, &c.,areto be established, to be support-
ed and endowed from the rental of the lower part of the buil-
ding. He expressed his high appreciation of the art of photo-
graphy, and the good that might be expected from the Photo-
graphic Society. Mr. Cooper's remarks were received with
applause.

Alexander Benjamin exhibited a number of pictures to il-
lustrate a method of representing statuary, by presenting two
or more views of the same object on the same plate. The statue
is placed before a black background, an image impressed, the
plate shielded, the statue turned around, and another image
made by the side of the first. One of the pictures shown was
a portrait, — two profile views looking at each other. It was
also explained how the process was useful for the stereoscope,
and for making comic pictures, — for example, representing the
beautiful head of a lady on a man's shoulders.

Charles B. Boyle of Albany, exhibited his method of print-
ing photographs on wood, for engravers. The specimens elici-
ted remarks from various members —

S. D. Tillman. — Such a process brings us nearer nature, — it
enables us to dispense with one middle man, the draughtsman.
The photograph is a true picture, but too often before it comes
before the public in printer's ink, the draughtsman has spoiled
all likeness. I hope, some day we may dispense with the en-
graver too.

C. A. Seely. — The camera presents a different perspective
from the draughtsman. The draughtsman represents horizon-

336 THE AMERICAN

tal receding lines as approaching, while the perpendicular lines
are invariably drawn perpendicular and parallel. The camera
shows perspective as seen by the eye.

C. B. Boyle. — Also the camera lucida. As a professional
draughtsman I have had occasion to observe the same thing.
The camera station geuerally, should be as far from the object
as possible.

Dr. Vanderweyde. — In looking at a properly drawn picture,
regard should be had to the point of view. Alludes to the ana-
mosphosen pictures, in illustration.

The thanks of the society were tendered to Mr. Cooper for
the use of the room.

On suggestion of the chairman, most of the members present
signed the Constitution and paid their fees to the treasurer
elect. Twenty-one names were subscribed; the iist begins
with Peter Cooper, and comprises the familiar names. of several
others who are distinguished for their liberality and scientific
attainments.

NEW TONING PROCESSES OF M. BAYARD AND

M. LeGRAY.

These Processes have recently appeared in the Bulhtin, of the French Society.

M. Bayard's Process. — In 500 grammes of water, dissolve
one gramme of chloride of gold, and add it, in small quantities at
a time, to the following solution : —

Water 500 grammes.

Hypo-sulphite of soda * 5 grammes.

Chloride of ammonium >

or common salt \ « -15 grammes

The mixture, which is at first orange red, soon becomes col-
orless, and is then ready for use.

Wash the print in water after taking it from the pressure-
frame, and immerse it in the above toning-bath. The tone it
assumes is first red, then violet, then black, and finally blue.
To stop the action remove the print and immerse it in a
fresh bath of hypo, strength 15 per cent. Leave it there a
quarter of an hour, and wash and finish it in the usual way.
The hypo-sulphite affects the tone very slightly ; the proofs
should not therefore be printed too deep.

M. Le Gray's Process. — My object has been to produce
the same effects as I described some years ago in a process of
fixing prints with chloride of gold acidified with hydro-chloric
acid ; but avoiding the objectionable re-action of the acid on
the hypo-sulphite of soda.

JOURNAL OF PHOTOGRAPHY.

337

I had already succeeded in substituting an alkaline salt
for the acid in my former process, but my object was not com-
pletely attained, the chloride of sodium not removing completely
the yellow tint which the paper assumes, particularly when al-
bumenized and kept for a long time.

I have therefore made fresh experiments, and have now I
believe succeeded by turning to account the bleaching property
of chloride of lime.

The formula is as follows :

1st — Remove the free nitrate of silver from the print by
washing it for some minutes in two changes of water.

2nd. — Immerse the print in the following gold-bath.
Distilled water .... 1 quart.
Chloride of lime - - - • I 40 grains.

Filter, and add 15 grains of chloride of gold dissolved in 4
ozs. of distilled water.

The print acquires in this bath a black tint, which tends
more and more to a blue, at the same time that the yellow tint
of the lights passes into a clean white.

It takes from ten minutes to a quarter of an hour to pro-
duce the maximum effect.

Practice is the best guide to abtain this or that tint.

However, as a guide in the first trials, I should say that
leaving the print a minute in the bath would yield a red violet
tint after fixing ; and that the clear blue black tint would be
got after remaining in it an hour or two.

During this interval of time the print passes from the vio-
let tints, through all the intermediate shades, to the strong
blacks in the shadows, and thence to the blue-blacks, which
become feebler and feebler ; it being understood that I mean
after the final fixing with hypo.

There are then two periods, one of increasing the other of
decreasing intensity.

3rd. — Wash the print quickly in two changes of water, Tto
remove the chloride of lime.

4th — Fix the print in a hypo bath containing one part of hypo
to six of water.

This bath should only be used for a small number of prints.
The object of it is to remove the unaltered chloride of silver.
This effect is produced in from 10 to 15 minutes, according to
the temperature.

When the print is put into the hypo it loses a little of the
blue black tint, and becomes redder.

If the tint thus obtained is satisfactory, finish with the
usual washings. But in order to increase the chance of per-
manency I advise that the operations be continued in the fol-
lowing manner :

338 JOURNAL OF PHOTOGRAPHY.

5th. — Obtain the final black tint by means of the following
bath.

Distilled water 3 pints.

Hyposulphite of soda - - 10 ozs.

Chloride of gold ... 30 grains.

Leave the print in this bath at least fifteen minutes; that is
the shortest time necessary for the certain permanency of the
proof; but it may be left as long as you choose, in order to obtain
tho desired black tint.

6th. — Wash in the usual way, but above all finish with hot
water, in order to remove all traces of the salts.

I observe that prints obtained by this process, besides the
good qualities of tone which they possess, have the advantage of
not fading, — a result which 1 have proved in some portraits
fixed by this method eight months ago.

EMTOmAlMWCElUUJY.

-It will be seen by the report of its proceedings, that the Photo-

graphic Society is fully organized, and in active operation ; there ap-
pears to be the proper interest and the kind of talent to make it one
of our most useful and permanent scientific institutions.

The object and the character of the Society are well defined by the
following extracts from its Constitution.

" §2. — The object of the Society is to increase 'and diffuse knowledge
of those physical laws which relate to the action of light, and particu-
larly to promote improvements in the art of photography.

$3. — All men of science, all practical and amateur photographers and
others who are anxious to further the objects of the society, shall be
deemed eligible to membership."

The report of proceedings we offer our readers is not at all official.
We desire to have reported in this journal at our discretion, what shall
appear of most general interest, — and all fairly and impartially. Of
course we assume all responsibility.

The next meeting will be held at No. 23 Cooper Institute, on Monday
evening, April 11. We understand that some subjects of great import-
ance will be introduced.

• ■ The interest regarding the Cutting patents is subsiding. We
are not aware that anything of more seriousness than threats and hard
words, has transpired. Rumors of war have come from New Haven
and Providence — but nothing more. In New York a few affidavits have
been sworn to concerning Frederick's gallery, — but nothing more. The
whole subject is still in such a state of suspense, that the proprietors of
this journal, prefer to wait a little longer before finally deciding about
the funds which were collected by them.

We are able to confirm the statements of Mr. Wendell as to

the allusion maie to us. The letter of Mr. Wendell was written before
he had seen the comments on the subject, in our last.

THE AMERICAN

oimaal of ^^ofognaji^g

[M2W ©SBQ (?©«.)

Vol. 1.] APRIL 15, 1859. [No. 22-

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE,

BY SOL SKYLIGHT, ESQ.

BiggUewade — Fine weather and bad business.

The White Horse at Biggleswade was a rare specimen of
an old time inn. I can readily conceive the high state of con-
tinuous excitement, as coach after coach rapidly drove up to
the door. The jolly, fat, and weather-beaten coachman, with
tier upon tier of drab cape piled on the broad shoulders with-
in the heavy great coat, as with a twist and a turn, full of the
conscious ease he would twirl a kitten, he turns the four pant-
ing horses -rushing along the high road at fourteen miles an
hour speed, clear up to the door, and brings them to a halt
with a sudden stop, so sudden, that it would seem as if the
heavy vehicle, would topple over with its own momentum. Out
pops the obsequious, yet withal, independent landlord, to wel-
come old faces, or new comers. In a moment, the active ost-
ler has possession, when the passengers, and driver, and guard,
turn out, and jump off, to take refreshment, or put up for the
night. The White Horse used to be one of the most consid-
erable inns on the " Great North Road," but its glory was of
the past, its coaching events were only occasional, its tavern
busiuess a partial occupation, its great inn-yard used for livery
stables ; and the greater part of the large house was let off in
lodgings.

The room I had for operating room, reception room, work
room, parlor and all, had been the reception parlor of other
days, and had a window on the front and side, so that though

340 THE AMERICAN

old-fashioned, and very small, I managed to obtain a good light
by putting up a white curtain in front of the window that let
the sun in, and having clear glass opposite, and a little distant.

Over our parlor was our sleeping room; a large room, form-
erly the principle bed-room, having an immense bedstead that
required steps to go up to it, and which Mrs. Skylight managed
to fall off of one morning, causing me to run up stairs in much
affright. Along, and the whole length of the house, was a
gallery or corridor, with the old numbers yet on the doors ;
under this corridor and succession of rooms, were a number
of rooms divided by movable partitions, which in old times
used occasionally to be removed for the assembly balls, or other
congregations of a number of people, but when partitioned off,
serving for parlors for the various groups of guests. One of
these rooms served for our meals during business hours, but at
other times, we preferred our own parlor.

The landlady, though not to say old, was a vigorous relic of
coaching days, the survivor of the last landlord, of what were
to them the " good old times ;" for not more than twenty years
had elapsed, since the White Horse was in full tide of success
and prosperity. Mrs. Cooper was a rough-looking, hearty
specimen of a landlady, with a much kinder heart than her face
would lead one to suspect, which was proven by the motherly
care with which she waited on Mrs, Skylight ; the thoughtful
consideration with which she would add some fresh productions
of her large kitchen garden to our table, and insist upon not
remembering it in the bill, or declare she would like us to taste
her productions, or her mode of making pudding.

Printing was of course the first thing in order. Our printer
was an oddity ; a funny old bachelor of the old school ; like
the P-less Thomson of Hitchen, he was the printer, stationer
and bookseller of the town. The old fellow didn't seem to
•care whether he did business or not; so would not hurry ; in-
deed I believe he gave out his printing to be done, and took
in penny jobs by contract, and gave them out by the same mode.
The services of a schoolmaster again came in welcome requisi-
tion to address our circulars, he of course knowing everybody
in the town.

Th« prospect for business was by no means good; it was soon
palpable the situation was against us. No chance of getting
the leading townspeople to <fche White Horse, though a few
years ago, no person in the land but would have deigned to
cross its threshold. The rector was fey far too elevated to
visit an itinerant artist in such a place. The curate however,
who occupied the anomalous position curates generally occupy

JOURNAL OF PHOTOGRAPHY.

S41

to rectors in England, of educated gentlemen, with not enough
pay to keep a mechanic comfortably, yet expected to keep up
t; appearances," soon paid us a visit. The townspeople said the
curate's wife was a beauty, but there was a discrepancy of taste
between the villagers and myself. They however did all they
could for us, but with little success ; many days passed with
very little business, though the weather was unexampledly fine ;
no Italian sky could surpass some of the evenings and mornings
at Biggleswade. Oh ! for such weather in some other places
we visited, the next place for instance. Biggleswade was in-
deed a dull place to us, scarcely anything to do to engage our
attention ; a ramble in the woods offered but little diversity
and a visit to the old church occurred but once a week ; a
crowd of cows would sometimes vary the monotony by run-
ning down the street, and scaring Mrs. Skylight.

This state of things becoming intolerable, and more especial-
ly unprofitable, I jumped on the train to have a look" at the
ancient city of Huntington ; its very narrow streets offered no
attraction, though its antiquities would, had I stayed ; but a
daguerreotypist, half artist, half tradesman, persuaded me there
was no opportunity, some one had just gone and had failed of
success, and I, in the plentitude of ignorance, as regards travel-
ing, took his advice for gospel, though I am satisfied a city, or
large town, is no place for temporary business, though the place
ought to have offered an opportunity for a permanency.

Returning, I called at the small and well laid out town of
St. Neots, where I engaged rooms, gave directions to the print-
er, and engaged the cryer to post the bills and deliver the cir-
culars, my new landlord writing them ; so with less than three
weeks' experiment, we were again to try our fortunes. Once
more I packed up and called for our bill. The landlady seemed
to think that in some way our ill-luck was attributable to her,
and offered some condolence, and her bill, which like its pre-
decessor at Baldook, was a very modest one, and no trouble
to discharge. Tomson had caused some little trouble for hav-
ing much overcharged for our printing at Baldock. I object-
ed to its payment, when he threatened suit, so I paid by advice
of Mr. Fry, to save trouble.

**

.■....-.-.

342 THE AMERICAN

COLLODION VARNISH.

Mr. Sbely. — Dear Sir : I received the last number of your
Journal containing an allusion to my article on collodion var-
nish, published nearly a year ago. I have been using this var-
nish for transfering, for some months. The method I have
employed, is the following. I take the picture on the smooth-
est plate-glass, and vfhen dry, give it a coat of collodion var-
nish— dry again and repeat. I then flow it with a solution of
asphaltum and gutta percha, in chloroform, quite fluid, and
perfectly free from sediment or undissolved particles.

When dry, I flow again with collodion, and immediately
place in contact, a firm strong tissue paper the required size,
which becomes, as it were, a part of the picture itself.

All this is done in a very short time, and I then place it in
a dish of cold water — the colder the better — and in a few min-
utes it is loosened entirely off — as pliable as photograph paper,
and as brilliant in tone as any collodion pictures can be.

I do not find it necessary to use acid in loosening the film,
and think it gives too great a disposition to curl.

In all cases where I wish to preserve a picture, on glass not
reversed, as an ambrotype view, I varnish with two coats of
collodion, then with black varnish, and the whites are perfect-
ly preserved.

I find a great difference in cotton, when making this var-
nish. Some will not work at all, but curdles before there is
sufficient alcohol added to prevent the ether dissolving the
dried film. Other samples will bear twenty or more parts of
alcohol, to one of ether, and yet flow beautifully. But eight
parts to one, are sufficient.

I have much pleasure at being able to assist in confirming
Mr. Wendell's statement regarding the discovery of his re-de-
veloper.

I was in his rooms at Albany, the first week of October last,
and during our conversation, he described to me his method,
and took a picture to illustrate, which I saw him develope and
re-develope, and I am confident from what I saw and heard
then, that the idea was original with him.

E. K. Hough,

LoUttBTTRO, N. 0., April 5th, 1859.

JOURNAL OF PHOTOGRAPHY.

343

A SUPPOSED LAW OF COLOR.

BY THE EDITOR.

Who has not admired the gorgeous display of sunset during
our Indian Summer ? You recollect that the sun and the sky
in its neighborhood, change always through the same series of
colors/ — The series is yellow, orange red, and every school
boy recognizes it as part of the series in the rainbow. The
rainbow series in one way or another, is before us every day.
In modern times the phenomena of the spectrum, are a simple
thing; the laws of retraction and interference, explain every
case.

The ancients did not know the intimate relation between a
sun-set and a rainbow — between the colors of the mother of
pearl and of their rusting armor. They observed the palpable
facts more than we do ; often displaying a religious interest
in them It would not have been strange if some illustrious
sage had propounded the dictum ; The Gods love that rain-
bow series. Indeed, I am inclined to account such an express-
ion as wisdom, even for the present time.

In the Indian Summer, you remember, our poets sing of the
golden harvest, of the sere and yellow leaf. At that time the
grapes become purple, the maple leaves are red. All nature is
changing its hue. Now these changes in color, of fruits, leaves
and animals, are in the rainbow series. Is it a law of nature that
changes of color shall be according to this series ? As color
follows chemical constitution, we should examine the simplest
forms of matter.

Many of the elements are easily classified by means of analo-
gous properties. Every tyro in chemistry associates chlorine,
bromine, iodine; carbon, boron, silicon ; and sulphur, selenium,
tellurium, as natural series, in respect of their equivalents and
chemical action. They are also series in respect of color.

Sulphur, Yellow.
Selenium, Red.
Tellurium, Violet. (?)

Chlorine,

Bromine,

Iodine,

Carbon,

Boron,

Silicon,

In binary and ternary combinations, we find the same cor-
respondence to the spectrum series. (Proto combinations are

Yellow.

Red.

Violet.

(?)

Green, (olive.)

Red.

344 THE AMERICAN

distinguished from per compounds by this progression. (Iodides
of mercury, oxides of iron, maganese, and copper, chromates,
molybdates, chlorophyl, chloride of silver, &c.)

This progression of change of color, seems to be an index of
change from life to death, strength to weakness, simplicity to
complexity.

Am I deceived ? Are the coincidences I have pointed out
only accidental ? If not, I have little doubt that one day we
may fiud as satisfactory an explanation as we have now of the
rainbow.

CHEMISTRY FOR PHOTOGRAPHERS.

No. 3.

BY THE EDITOR.

To indicate the smallest proportion of the first, with the
second element, the prefix sub is used ; the prefix per indi-
cates the greatest proportion of the first. Examples ; sub-
chloride of mercury, (Hg2 CI), per-oxide of iron, (Fe2 O3 ).

Thus far the system of chemical names is simple enough*

1 must now explain modifications, which will make it some-
what more difficult.

It happens that many of the compounds of two elements are
acids, (a very important class of substances) and it is desirable
that the name shall express the fact. The name of an acid is
made by joining the names of the elements, and adding the
termination ic; as in other cases, the more active element is
placed first. Thus chlorine and hydrogen form an acid, which
is named chlorhydric acid, (HC1) ; Iodine and hydrogen, iod-
hydric acid (HI) ; bromine and hydrogen, bromhydric acid (H
Br). But the greater part of acids contain oxygen as the most
active element, and it is agreed to drop the word oxygen in the
name, as no misunderstanding can arise. The name sulphuric
acid, (SO3 ) indicates an acid composed of sulphur and oxygen ;
nitric acid (NO5 ), of nitrogen and oxygen; carbonic acid, (C

02 ), of carbon and oxygen. Oxygen often combines in several
proportions with the same element, to form acids. To distin-
guish these, the name of the acid of the smaller proportion of
oxygen, terminates with the syllable ous. Thus the name sul-
phurous acid, (SO2 ), indicates an acid with less oxygen than
sulphuric acid, (SO3 ). To express an acid with still less oxy-

-

JOURNAL OF PHOTOGRAPHY.

345

gen, the prefix hypo is used; hypo sulphurous acid (S2 O2 ) is
an acid with less oxygen than sulphurous acid (SO2 ).

I have now shown how all compounds of two elements may
be named.

All the acids which contain oxygen, (sometimes called oxy-
acids,) combine with oxides. For example, sulphuric acid
(SO3 ), combines with the oxide of iron, and the name of the
new compound, is sulphate of iron (FeO,S03 ) ; nitric acid N
O5 ) combines with the oxide of silver, and the compound is
called nitrate of silver (AgO,N05 ). In these cases, as in all
others of the union with an oxide, of an oxyacid terminating
in ic, the termination ic of the name of the acid, is changed
into ate. If the name of the acid terminates in ous, it is
changed into ite. Thus ; hyposulphurous acid (S2 O2 ) with
soda, (NaO) becomes hyposulphite of soda (NaO,S2 O2 ). Only
the name of the base of the oxide is expressed ; oxide is un-
derstood before it ; sulphate of iron means sulphate of the ox-
ide of iron.

PROCEEDINGS OF THE PHOTOGRAPHICAL SOCIETY.

THIRD MEETING.

The Photographical Society held its third meeting at the
Cooper Institute, on the evening of March 11th, Dr. John
W; Draper presiding, and Dr. Isaiah Deck, acting as Secretary.

Letters of acceptance from the officers elect were read, ex-
pressing a deep interest in the object of the Society, and assur-
ances of co-operation with the members.

The routine of business as provided by the laws of the So-
ciety, was announced by the President.

Under the order of written communications, R. L. Pell,
Ex-President of the American Institute, read a paper on the
recent progress of photography. The paper comprised a his-
tory and description of various discoveries and inventions of
the past few years, in all departments of photography. It dis-
played the author's well-known ability and was peculiarly appro-
priate for the initiation of the society's active operation. Mr.
Pell's remarks were received with applause.

S. D. Tillman, in allusion to a process described by Mr.
Pell, contended that photo-chemical etching for the typograph-
ic press, was a problem eapable of satisfactory solution.

546 THE AMERICAN

Charles A Seely read a paper " On a supposed law of color."
(see page 343.) Mr. Seely added to the paper, explanatory
remarks, and showed a co-iucidence with his theory, of some
apparent exceptions.

Dr. Deck, (in allusion to a remark by Mr. Seely that chlo-
rophyi by oxidation, or change to a substance of greater com-
plexity on exposure to air and light, became yellow aud red,
I have found that chlorophyl is not a simple green, but is com-
posed of a blue and a yellow element, which may be separated.

The President confirmed the statement regarding the com-
position of chlorophyl. He exhibited a photograph presented
to him by Sir John Herschell in 1842, of which the original
sensitive substance was chlorophyl. The picture, although
not much faded, had changed from green to blue, the yellow
was nearly extinguished. He had observed that there was a
tendency of colored light to destroy the same color in sensitive
bodies, and to strengthen or produce the complementary. Yel-
low light falling on green, would extinguish yellow rays, while
the blue would be more vivid. A direct heliochrome picture
would be complementary to the object. These facts indicate
the path to be pursued in the search for a process to produce
pictures in the natural colors.

C. A. Seely, — My remarks about chlorophyl, were founded on
statements made in Loewig's Organic Chemistry. But I place
the experience of gentlemen here above the authority of any
book.

Prof. Reuben,— The theory of Mr. Seely affords us one more
example of the symmetry and simplicity of nature's operations.
It harmonizes beautifully with other generalizations of the
properties of matter of recent discovery. We constantly find
out that phenomena at first appearance, of widely different
character, are yet closely allied.

Mr. Davidson, — Had recently been examining gun cotton
microscopically. He found that gun cotton polasized light in
the opposite direction from ordinary cotton. Promised to pur-
sue the investigation, and report to the society.

Dr. Deck, — Had the impression that Faraday had already
discovered the same property of gun cotton.

Lewis M. Rutherford, (Vice President) — Exhibited many
beautiful photographs of the moon, some of large size, and
others arranged for the stereoscope. Mr. Rutherford addressed
the meeting at considerable length on the application of photo-
graphy to astronomy, describing his apparatus and process. He

JOURNAL OF PHOTOGRAPHY.

U7

had little difficulty in getting impressions of stars *of the 5th
magnitude. He got impressions of Jupiter in fire seconds,
while his satellites required five minutes of exposure, although
the light from the satellites appeared much more intense. In
the course of his experiments, he had discovered the very curi-
ous fact that if the exposure of the sensitive plate be interrupt-
ed and again continued, the intensity of the image would be
much greater than if the exposure had been continuous ; ex-
pose a plate five seconds, shield it five seconds, and expose again
five seconds, and the iutensity will be greater than if the ex-
posure had been continuous for ten seconds. Mr. Rutherford's
remarks were listened to with the greatest interest, and elicit-
ed hearty applause.

The President, — In 1841, I exhibited daguerreotypes of the
moon, and read a paper on the subject before .the Lyceum of
Natural History. Mine was an early attempt at what Mr.
Rutherford has perfected.

In answer to a question, the President said that polarised
light had no different chemical effect from ordinary light. The
polarizing apparatus absorbed some of the light, but there was
no change of chemical properties.

Dr. Vanderweyde, — The observation of the President ac-
cords with the theory of polarized light. Polarized light is
only common light with a change in the direction of its move-
ments.

JohnW. Batehelder exhibited specimens of photo-lithography,
which were considered superior to the specimens exhibited at
a former meeting. During a brief discussion of the art of pho-
to-engraving, Mr. S.Wallen remarked as follows : An adapta-
tion of the photographic art, which, if perfectly successful, will
be of great benefit, is photographing on wood for the purpose
of engraving. To make an engraving on wood, the subject is
first drawn on the block, and the engraver then cuts away all
those parts, and those spaces between the lines, which are to
appear white in the proof — the design thus being made in re-
lief. To print from the block, ink is rolled over the surface,
whioh adheres only to the raised parts, from which, by pres-
sure, it is transfered to the paper. Now, that the engraver
may work with ease and certainty, the design should be drawn
with great accuracy, and the truth of the photograph makes it
very desirable for this purpose ; but great objections to its use
have heretofore existed. The wood should not be discolored,
the sensitive surface must neither crack nor peel off, nor be
too thick ; it should also be of such a nature that it may be
drawu upon with the black lead pencil with perfect facility ;

343 THE AMERICAN

for the best photograph would not be fit for the engraver's
purpose without the addition of pencilling. All these condi-
tions appear to be met by the invention of Mr. Boyle. My
attention has been directed to his process only within a short
time, but I do not doubt that for a large class of subjects, es-
pecially inanimate objects, geological and botanical specimens,
articles of furniture, machinery, buildings, &c, it will be of
great utility, That I might be better able to judge of its
merits, I have myself engraved a small portrait photographed
on the wood for me by Mr. Boyle for the purpose. I should
think that by a good engraver it could be employed also to
much advantage. For whatever class of subjects it may be
employed however, it cannot be employed to advantage with-
out the aid of the draughtsman, neither will it enable a bad
draughtsman to take the place of a good one. The good
draughtsman will aid and heighten the beauty and accuracy
of the photograph, while the bad one will destroy both. It is
not desirable nor possible, that any process should supercede
the hand and mind of the artist, but everything that aids and
rightly directs them should be hailed with joy and gratitude ;
and in the hope that it may be nobly employed in the elevation
of this branch of art, I welcome with pleasure this invention
of Mr. Boyle.

During the order of miscellaneous business, the Secretary
was instructed to print the Constitution and Laws of the So-
ciety. About twenty-five new members, including one life
member, were duly elected. The attendance was large, and
the whole proceedings were of the most spirited character.

Adjourned to meet on the second Monday of May next

From the Photographic Journal.

PHOTOGRAPHIC PATENTS.

There is a matter of serious importance to the interests of
photographers generally, and bu* to professionals especially,
that calls for speedy attention ; we mean the daily increasing
propensity amongst a certain class to impose restrictive limita-
tions to the free use of various processes and materials in con-
nection with photographic pursuits. This is an evil of much
greater magnitude than appears at the first blush, and one like-
ly to interfere materially with the progress of our art. The
council of the photographic society would do well to take into
consideration whether any legitimate means might be adopted

JOURNAL OF PHOTOGRAPHY. 349

to obviate the continuance of a practice likely to prove serious-
ly obstructive.

If any person, by patience, perseverance and industry, suc-
ceeds in introducing an improvement, either in a process or
piece of apparatus, although it may be brought about in con-
sequence of suggestions ^unreservedly communicated to the
public by others, he may, if he be so minded, secure to himself
the exclusive privilege of its enjoyment by means of a patent ;
and although we may not in such a case approve of his illber-
ality, we cannot question his right to act as he may please
with what is undoubtedly his own ; but what we do complain
of, and what photographers will do well strenuously to resist,
is the now too frequent attempt to secure by patent that to
which the pseudo patentee has no right whatever. That
this evil is a daily increasing one we have abundant evidence,
before us ; and we will, by way of illustration, call attention
to a few cases in point.

In our last impression we published a letter from a corres-
pondent in the United States, desiring information relative to
the period when bromides were first used in collodion in this
country, as a patent had been obtained in America in July,
1854, to secure amongst other matters the exclusive use of this
class of material, which supposed right has recently been en-
forced by legal proceedings. Now we cannot say exactly how
long prior to the date mentioned, bromides had been used in
collodion in this country ; but the fact of their having been
used both by Sir John Herschell and Mr. William Crookes,
was made public not less than thirteen months prior to the
date of the patent, and within a month or two of that anounce-
ment, bromized collodion was extensively employed in London,
Liverpool, and elsewhere.

We have noticed that the same parties lately obtained a
patent in this country for a photo-lithographic process, and this
brings us to another observation : how is it possible, consider-
ing the number of patents granted in which the use of bichro-
mate of potash with organic matter forms the essential princi-
ple of action, that more than one of them can be good ; and if
this be the case, why are applicants for letters patent involv-
ing the principle mentioned, allowed to obtain them ? Again
if tho use of bichromate of potash with organic matter be not
the exclusive right of any one, then it follows that the most
trifling variations in the modus operandi is sufficient to
evade the infringement of a patent.

A third instance we may cite, in a patent recently obtained
via., in June, 1857, by Messrs Glover and Bold, of Liverpool,

350 THE AMERICAN

for What they are pleased to term " the extended use of pho-
tography as applied to dials, tablets and pictures," these said
extended uses," consisting in the employment of opal glass,
instead of the ordinary colorless kind, and the rendering the
turface slightly dulled by the use of fluoric acid. Now if such
obvious trivial variations can be the subject of a patent, it is
by no means difficult to show how any infringement is avoided
while the same end is attained ; but what renders the matter
still more ridiculous is the fact that a patent was granted for
precisely the same thing to Mr. John Ure, of Glasgow
in 1854.

It may be contended, that if a person obtain a patent im-
properly, he is liable to have it rendered void, and thus suffer
damage ; but granting this to be the case, what reparation is
made to the public ? If a photographer, knowing that the
subject of a patent is, and has been for some time public prop-
erty, determines to act upon that knowledge, and use the pri-
vilege, he renders himself liable to an action, to which he
would not have been subject but for the improper concession
of letters patent It is not to the purpose whether he gains
his cause or not eventually, he ought not to be placed in such
a position by the wrong doing of another.

We cannot but entertain the opinion, that it would be well
worth the while of photographers generally to attempt to de-
vise some kiud of supervision relative to the granting of pat-
ents upon all matters photographic.

POSITIVE PRINTING.

Mb. Maxwell Lyte's Gold Toning Formula.

This formula answers equally well for plain or for albumen-
iied paper ; but it is more especially suited for the latter,
which is sometimes difficult to tone by ordinary methods. The
proofs, printed darker than they are required to appear when
finished, are first laid to soak in a dish of clean water, then re-
moved to a dish of salt and water, in which they must lie at
least five minutes, with a view of converting any free nitrate
remaining in them into chloride. The degree of strength and
time of immersion in this bath are unimportant. An ounce
or two of common salt to a pint of water will answer. This
bath is essential to preserving the gold bath from decomposi-
tion. The latter is prepared as follows : —

JOURNAL OF PHOTOGRAPHY. 351

Chloride of gold .... 10 grains.
Phosphate of soda . . . .3 drachms.

Distilled water . ... 1 pint.

This mixture should be neutral to blue litm-as paper. The
proof, so soon as it is placed in this bath, changes color, and
passes rapidly from red, through various hues of purple, to a
rich black, or rather grey ; while the green solarized parts
darken and develope their half tones in a surprising manner.
The toning may de stopped at any particular point ; if at the
purple hue, the picture, when dry and finished, will be of a rich
deep sepia ; if at the black, the picture will be more inclining
to black and grey. Upon removal from this bath, the proof is
placed in pure water, and afterwards in a fresh solution of
hyposulphite of soda, twenty per cent., where it should be al-
lowed to remain an hour at least, then washed as usual. It
loses but little of its strength in the hypo, but becomes clearer
and better defined.

The principal advantages of this method appear to consist-
in the coloring bath being perfectly neutral, and consequently
it produces no decomposing effect upon the hyposulphite, there-
by ensuring greater stability for the proofs. The color is pro-
duced solely by the gold without the aid of sulphur or other
deleterious agents ; and moreover, no organic matter being
present in the bath, spontaneous decomposition, causing the
gold to become precipitated f is avoided. The gold bath may
be prepared in any quantity ; the portion used must not be
returned to the stock-bottle.

For proofs which require to be over-printed, a few drops of
syrupy phosphoric acid, if added to the above bath, will bring
out the details of the deeply solarized parts ; but then more
than ordinary care is required in washing the proof before it
is put into the hypo, to which a little carbonate of soda or
chalk is a useful addition. The phosphate of soda in the above
formula may be replaced by one drachm of bi-borate of soda —
common borax.

THE CUTTING PATENTS.

Mr. Editor. — We have talked so much about the Cutting
patents, that I fear the proprietor of them may get to think
there is really something in them after all ; that they are valid
and useful. For myself I believe they are neither one nor the

862 THE AMERICAN

other. But as there may be a few among your distant read-
ers who may imagine some ground for the legal validity, I wish
to show them that they do not need the patents, that they
should refuse them as gifts, even if they were paid to use them.

The balsam sealing is very little used in large places. Many
galleries have specimens to show the bad eiFects of balsam, but
do not attempt to sell the pictures. I have had balsam pic-
tures in my show casesy which I am obliged to change every
two or three months, — while I have pictures simply varnished
in the usual way, which are not in the least impaired after a
lapse of years. Once I sold a balsam picture because the pat-
ent pictures were so much talked about and praised. Th«
picture was right in all respects but the balsam. It was hung
up in the parlor near a stove. Heat expanded the picture,
balsam trickled out on the expensive wall paper, down on the
carpet. The blowing up I received and the threats of law
suits, were not at all enviable. It is scarcely necessary to say
that I made no more balsam pictures.

As to bromides, very few use bromide of potassium, and I
am satisfied that we may fairly dispense with all bromides as
the English do, should we find it necessary. I have made good
pictures from collodion containing no bromide whatever.

Trojan.

ON A DILUTE ALBUMEN PRESERVATIVE PROCESS.

Belsize, Hampstead, Jan. 3. 1859.
To the Editor of the photosraphic journal.

This process may be considered as a modification of Fother-
gill's, the collodionized plate on its removal from the nitrate
bath being simply washed with very dilute albumen, and af-
terwards with water.

Albumen, to each ounce of which 3 minims of liquid ammo-
nia and its own bulk of water are added, is beaten up in the
usual way, allowed to settle, and filtered through sponge ; it
may be preserved in a stoppered bottle with camphor ; for use
1 ounce is diluted with water to make up 20 oz.

The success of this process appears to depend in a great
measure on the proper degree of dilution for the albumen.
The above succeeds very well ; a stronger solution seems to
cause markings on the plate like those on watered silk, in con-
sequence of too rapid coagulation ; for if nitrate of silver be
added to a concentrated solution of albumen, a dense precipit-
ate is rapidly formed ; but if the albumen be much diluted,

a precipitate is produced only after the lapse of some time, and
in a finely-divided state; this is the condition suitable for this
process. The manipulation for stereoscopic plates is as fol-
lows : — On removing the plate from the nitrate bath, let it
drain for half a minute, and wipe the back with blotting paper,
the lower edge resting on a small pad of the same material :
then place it face upwards in a bath, having a well on one end,
into which has previously been poured about two oz. of the di-
lute albumen ; lower the bath rapidly, so that a wave of the
fluid may flow quickly over the surface of the plate ; keep it
flowing backwards and forwards for about two minutes, or un-
til the albumen, which at first was clear, has become quite mil-
ky, and does not appear to get more so ; pour it off, and sup-
ply its place with water and agitate. The plate is now re-
moved by means of a hook, and well washed under a tap,
and finally rinsed with distilled water. It may be set aside to
dry, or may be dried rapidly before a red fire or over a spirit
lamp.

The plates thus prepared are very sensitive. 30 seconds to
1£ minutes being sufficient to print a transparent positive by
means of an argand gas-light, — plates preserved by the gela-
tine processes requiring from 6 to 8 times as long with the
same negative and burner. An exposure of 4 minutes, with
lense of 5-inch focus, and 3-8 stop, at 3 o'clock on one »of the
late very dull afternoons, of a subject containing f dark masses
of trees, and stumps, &c, proved sufficient for the most minute
details in the dark parts. The collodion should be one that
adheres firmly to the glass, although the tendency to separate
is not so great in this as in the gelatine processes.

The developer is \\ grain pyrogallic acid and 3-4 citric
acid to the ounce, no alcohol or acetic acid ; the plates should
be levelled and well washed with two waters, and drained be-
fore pouring on the developer ; 3 drops of a pure 30 grain so-
lution of nitrate of silver should be added to about 2 drachms
of pyrogallic solution and mixed, before using : when the pic-
ture has appeared in all its details (which takes considerably
longer than with wet collodion), more nitrate (5 or 6 drops)
may be added to blacken it, pouring off and well mixing, I*
the first developer becomes much decomposed, a fresh quantity
should be mixed, using 6 to 8 drops or more nitrate until suf-
ficient intensity is obtained.

It will be found (contrary to the usual instructions) that
the picture will develope clearer and darker, and the pyrogall-
ic solution become less discolored, if it be allowed to remain at
perfect rest on the levelling stand after. the first wave back-
Wards and forwards to spread the solution, motion appearing to

354 JOURNAL OF PHOTOGRAPHY.

cause the precipitate to form in the solution instead of on the
surface of the exposed parts.
Fix with eyanidevas it requires less final washing than hypo.

F. Gibslkr Lloyd.

EDITORIAL MISCEIUNY.

Photography is destined to become one of the most popular

arts of recreation and amusement. Some day, perhaps not very distant,
the camera may be reckoned as needful an article of furniture for a
modern fashionable mansion as the piano, the <?hess-boarfi, or the bil-
liard table.

Photography as a means of amusement has the advantage above any
game of skill or chance, that it leaves some tangible result which may
be a joy forever, — the pictures made, may become treasures and heir-
looms. Photography encourages and requires study of other arts and
sciences — the more we become skilful photographers, the more chem-
istry and the more of nature's working do we learn. Practice of study-
ing, begets the habit of studying, and knowledge travels an open road
into the mind. Can we recommend a better amusement to the young
men ? Photography does not make one drunk, or corrupt the heart I

In the report of the second meeting of the Photographical So-
ciety, the name of John Johnson, Esq., Treasurer, was omitted by some
inadvertance, from the list of officers elect. Mr. Johnson was one of
the firm of Wolcott and Johnson, who inaugurated the business of da-
guerreotype portraiture in this city and London, in 1840. Although for
many years he has been in no way interested in photography as a
business, yet we trust his connection with the photographical Society
will revive some of his ancient enthusiasm, and induce him again to
become a zealous worker.

We have had in our possession for publication, the specifica-
tions of an English patent for an improved photographic process, by
Oliver Sarony of Scarborough, but at the time we wanted the document
we found it had been mislaid. The patent is dated April 5th, 1858.
His improvement consists simply in rendering a photograph which? has
been colored, translucent by means of white wax, or the color may be
applied after the wax. The picture when finished is backed up with
white paper. The process has lately been introduced jn some of our
galleries, under the name of "Ivorytype." The pictures, when well
executed, are truly beautiful ; but the coloring requires the skillful hand
of an artist, and for that reason the process cannot come into general
use. The process of " Ivorytype," on page 254, may be practised with-
out the aid of an artist.

THE AMEEIOAN

JSounmit of f^ofDguapljg.

[M1W ©HKQg©0]

Vol. 1.]

MAY 1, 1859.

[No. 23

RECOLLECTION OP A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

St. Neofs

If we met with but little success in Biggleswade, we were
ushered out with politeness, for the railroad officials at that
station seemed an improvement on the usual kind of people to
be generally found in offices of great companies, or their mas-
ters, the public, though it must be confessed there is a vast
difference between the London officials and provincial ones,
the difference is doubtless to be found in the vaht amount of
businesss to be attended to, and the numberless questions they
are subjected to in great c.ties. New York is certainly no im-
provement on London.

The light at St. Neots, offered no very great hope of sue
cess, as the window was narrow, the wall clo-e to the window,
with a great projecting balcony in front. But the situation
was excellent, as were also the rooms, and though not over-
stocked with furniture, they were neatly finished and furnished.
Our landlord was a quiet and intelligent fellow, and d»d occas-
ional duty for the Unitarian preacher, who did not reciprocate
the kiudness, though he accepted the extra pay for the occas-
ional calls. Our entrance was through the store or up an
alley-way, just as the sitter saw fit, and as everybody knew
everybody else, it was not difficult or infra dig to choose
either entrance.

The first thing of course to be done whilst waiting for busi-

zaJ

356

THE AMERICAN

] iess, is to take a view of the town. The market place is a
large square space, possibly one of the best market sites in
England, though with not a particle of covering or shelter,
other than the temporary arrangements of the market people,
and the covers of their wagons. The square is surrounded
with neat, if not handsome stores, one of which, (our printers),
was occupied by the brother of the P — less and H — less Tom-
son. Two or three large hotels are also in the market place,
the whole of which appears quite modern, though the town is
not, at least if we are to judge by the old Episcopal churcb,
which is almost deserted for its handsome and more modern
neighbor ; and well the old church might be deserted, if it al-
ways has the cause for non-attendaace, that was a reason for
one visit only by Mrs. Skylight and myself, for of all the dull
monotonous, prosy preachers, with matter without manner, and
equally manner without matter, that caused me the', greatest
amount of trouble to keep awake that preacher we listened to,
the divine at the old church of St. Neots, was the least able
to carry off the prize should one ever be awarded, for the best
specimen of a man undertaking what he was lesat able to do.
There was one happy relief .however, and that was, that the
singing was quite equal to the preaching.

Just outside St. Neots, is a paper mil^ that now produces
a paper so well known to photographers; at that time its pro-
prietors were already engaged in making experiments with
paper to suit the wants of the profession. Odd as it may
seem, though it is now used by the ton, paper makers in the
United States have not yet summoned up sufficient enterprise
to compete, though fully able to do so. I make no doubt Mr.
Journal you could post them up in its disposal.

Somehow or other, business seemed somewhat like that in
Biggleswade, though the weather was not, for rain succeeded
rain, and shower, shower. My landlord proposed to offer to
take the miniature of his Preacher and family at half price, to
begin trade. I readily embraced the offer, and soon took the
fat parson and family, which was no easy matter, for the parson
was exacting, and wanted expression, and was not a whit behind
any young man in the town in vanity, though displayed in a differ-
ent manner. But when the pictures were sent home, and I
was reckoning on a few pounds for the lot, my pious friend de-
clined to pay, and wanted them at half price again, pretending
that half price meant just half my bill, though that was half
my price. Mr. Druggert was annoyed, but knew his man, I was
savage, and sent a sharp note, and at last sent and demanded
the pictures back, preferring that course though much in want
of the cash, for I did not wish the parson to turn sculptor and

— \

JOURNAL OF PHOTOGRAPHY.

357

chisel me, so back came the pictures ; the parson and I no
doubt formed very favorable opinions of each other.

But if the parson was mean, there is no denying the fact of
his ability, and we both sat under his preaching with much
satisfaction, satisfaction at the eloquence, not the man, for I
could not reconcile consistency with his acts and precepts, but
just as bad preaching or speaking is a bore, so is eloquence
a pleasure, and is there any reason why we should not derive
some from even a mean parson ? that is, when it is conferred
generally, for I hold that no one ought to derive or accept a
personal pleasure or favor from one whom he dislikes, it des-
troys his independence of thought and feeling ; any one re-
ceiving a personal favor must in some degree be biased, or is
cold and unfeeling ; don't our office seekers know that ? is not
the briber worse than the bribed? a bribe may be accepted
unwittingly, and a bias may as unwittingly be conceived, but
the briber and the tempter lay their plans.

Mrs. Druggert was a queer little woman, a very little woman,
who together with her baby could not weigh near one hundred
pounds. The baby was a queer little fellow, always crying,
he did not like to be killed with kindness, not he indeed, nor
be washed to death ; it would have been wiser to have plas-
tered him up a little rather tjian wear him out with friction,
and the friction might have passed over him somewhat harm-
lessly, nature might have recuperated him during the friction
intervals, did not the aforesaid washing, and scrubbing and
swaddling, and rolling, generally take place near the open
door or window, or in drafts and winds ; poor Mrs. Skylight
got quite alarmed at the ^impending fate of the unfortunate
child, and I verily believe it caused some of the illness that
necessitated her mother's sudden trip to St. Neots. But was not
Mrs. Druggert a mother ? didn't she know what was good for her
baby ? what could a newly married very young woman know
about children ? I would bet my best camera that that mother
does not now wash that baby. Mrs. Druggert was a queer wo-
man in other respects. She was a very superior housekeeper,
especially in those little considerations regarding her lodgers ;
tea, coffee, sugar &c, so fearful that some things might be
lost, was she, that she would sometimes save them the risk by
avoiding the dangers of a journey from the kitchen to the par-
lor; but then she had such a queer taste in beer, taking it at
such odd times, and for such strange reasons. In England it
is customary to have beer for dinner, the absence of it from
the dinner table would be as great an omission as the salt, or
cruet stand. But Mrs. Druggert was an exception, she didn't
take beer, it did not agree with her. Nevertheless with great

358

THE AMERICAN

forethought she advised us to lay in our Sunday supply on
Saturday night, and though she seemed to apply a curious
guage to our appetites, and lay in what I thought an extrava-
gant supply, yet there was not enough to outlast the day, even
with an ordinary demand. I was puzzled in my arithmetic.
I knew so many glasses made a pint, and !»o many pints a quart
&c. still the result did not tally. 0 e Sunday morning Mrs.
Kindly, Mrs. Skylight's mother, knowing a little more than
herself in housekeeping, resolved to superintend our breakfast
so went into thi kitchen f>r the purpose, aud there was Mrs.
Druggert the first thing in the morning, on an empty stomach,
drinking beer. " Do you drink beer so early in the morning ?"
asked she. " Oh dear no, but as I felt unwell, I thought I
would go out and get a little." A droll notion, especially
as the shops were not open.

A LETTER FROM ROCKFORP.

KOCKFORI), April 26, 1859

So you have a photographic society, or photographical, as
you call it. Well I congratulate you, ye men of Gotham, and
you also, conductors of the American Journal of Photography
for you have exerted for the purpose. It is not strange that
you have a society, but that it was not an institution long ago.
It seemed odd that while cities aud towns in England, large
and small, should possess one or more, the great photographic-
al nation, throughout its length and breadth, could not pro-
duce a single one. Well, it is a success as well as an inaugur-
ation, judging by some of the names attached, and the work
already done ; may it be the forerunner of many more, not only
in other cities and towns, but in New York itself, for its great
extent ought to produce enough amateurs to have a society at
each end. It is to be hoped that amateur photography will
become a fashion, it is not only a harmless and cheap amuse-
ment, but keeps people engaged, and free from expensive hab-
its and enables them to contribute something to art and sci-
ence.

You have doubtless seen an -article going the rounds of the
papers, culled from your very ingenious London contemporary
" The Photographic News," suggesting a microscopic photo-
graph of the moon, and then magnifying it, until you could see
living objects in motion ? and says this great^discoverer. " An
Italian savan has done it ; smart, ain't it ? a regular moon hoax,

JOURNAL OF PHOTOGRAPHY.

359

not as good as Locke's though, yet in spite of its palpable ab-
surdity, some people believe it. I do not object to a publication
getting up a good joke to reap notoriety, but when it gives
forth an absurdity, as a serious scientific fact, I think it worth
while to expose it.

There is no known substance however dense, but is porous,
and has an uneven surface, no matter however impalpable to the
naked eye ; therefore the best possible surface to be imagined,
when magnified to the size, so as to make even an elephant a
visible speck, enlarged from a photograph of so large an ob-
ject as the moon, must present a curious appearance of hill and
dale, where the Elephant would be lost in a hollow; why, the
pores of the highest polished glass, would appear like tea cups,
and its impalpable polishing lines, like so many rivulets cross-
ing and re-crossing each other ; how then, after such a mater-
ial as collodion or any other photographical substance, (which
must be porous or be incapable of receiving the excitants ne-
cessary for a chemical change), is poured over the surface ?
I should hate to fall into a chasm such as each pore would ap-
pear, or attempt to jump over such a ravine as each ridge
would represent ; no matter how carefully the plate was man-
ipulated. Why, I feel quite slighted, through my little hoax
being entirely unheeded, that of taking pictures by electricity, a
sitter at one end of the wire and a camera at the other : it cer-
tainly cannot be demonstrated as an impossibility, so is the bet-
ter joke of the two.

How about the same philosophical and scientific journals,
bottled light ? I consult you in confidence, not being posted. I
have heard of bottled thunder, which of course is a prime ar-
ticle, possibly the light is the lightning that preceded, and
caused the thunder. We westernites unluckily have no new
discovery to impart, no startling event to record, but if you
are willing to pay in tip top style, we could out-bottle light
and take and do for the moon, and have enough metal to turn
out wonders to order. By the way, the M. B. B. Journal is
likely enough becoming respectable, at least if we can argue
anything from a change of conductors, it can't be such a bore
as it was, the present must be better, or not as bad. His pre-
decessor was the non-conductor of respectabilitj7.

Gossip.

360 THE AMERICAN

METHOD OF RAPID PHOTOGRAPHY UPON PAPER :—

DRY MANNER— WET MODE—

Dwel&pment of the Image by means of Sulphate of Iron.

Translated from La Lumiere.

Since the discovery of collodion, photographic processes
npon paper are almost discontinued, and with very good reason.
Collodion works with more correctness and rapidity. Never-
theless, if two impressions of the same subject be compared,
one taken upon collodion, the other upon negative paper, it is
to be remarked that the impression taken upon paper is richer,
softer, more cerial, more profound, — in a word, more artistic
than the other. This difference in results has led me to new
trials upon paper, in order to obtain the precision and dispatch
procured by the -&se of collodion.

The method which I submit to the judgment of your read-
ers will, I trust, accomplish this object, and will re-establish
negative paper in the place it occupied originally in photo-
graphic processes, As the base of my new experiments, I
have chosen the gelatine employed by one of our most able art-
ists, M. Baldus ; this substance effects no change upon the
silver bath, and preserves all its limpidity. In following his
method, I obtain more delicacy by passing a sizing over the
paper before iodizing it, 'and more rapidity by immersing
it in an etherial alcoholic bath of iodine before placing it in
the silver bath ; besides, these two operations are in addition
to the methods of M. Baldus. I develope the image with sul-
phate of iron, which is, we know, the most rapid means of
development. I give now the method just as I practise it. I
choose paper of the most even quality ; I mark one of the sides
with a lead pencil ; I then spread over it the following appli-
cation, composed of rain water, 22 ozs., gelatine, 150 grains. I
let the paper float for a few minutes in the bath, after which
take it out, and let it dry by suspension. I prepare in this
manner a number of sheets, and when they are dry, I collect
them in a portfolio, which is then put under a press until the
next day.

To Iodize the Paper : —

Of the above solution of gelatine, - - ,16 ozs.
Iodide of potassium, - £ oz.

Bromide of potassium, • - • - - 46 grs.

JOURNAL OF PHOTOGRAPHY.

361

I dissolve the whole by heat, and pass it through a cloth, into
a vessel kept warm on a bath. I then prepare ray papers as
upon the previous evening, having carefully avoided bubbles of
air, and placed each sheet of paper upon the side already pre-
pared. After desiccation, I enclose them in a box kept iu a
dry place. This double preparation gives greater delicacy to
the impressions, renders the paper unalterable, preserves its
whiteness, and never produces spots,, which is easily under-
stood, because the iodine does not come in contact with the
substance of the paper, which often includes substances of var-
ious natures, which neutralize a certain ray, and produce, when
the image makes its appearance, a number ef minute spots
which injure the impression in a manner not to be repaired.
This preliminary process of sizing over is therefore of undoubt-
ed necessity.

To Sensitize and produce the Luminous impression. —
At this period of the process, in order to make use of the pa-
per, I hold it by an angle or corner, by means of a small iron
hook, varnished with gum-lac dissolved in alcohol ; I then
immerse it in the following bath : —

To Sensitize.
Ether
Alcohol
Iodide of potassium

\\ ozs.

4$ ozs.

\ ozs.

The paper imbibes this preparation instantaneously. If I
mean to operate in a dry manner, I raise the sheet of paper,
and dry it by suspension ; in the contrary case, by the damp
manner (or method), I spread it out, the face upwards, on the
silver bath serviDg for the negatives with collodion. After
two or three minutes of contact, according to the temperature,
I raise the sheet of paper, and place it immediately upon the
glass of the dark slide to receive the impression. The time
occupied in exposure is nearly the same as for collodion ; never-
theless I make the observation that a bath of silver, with the
addition of acetic acid, gives more sensibility to the paper. For
any other photographic process that I am aware of, the acid
retards the luminous impression, while for this one the effect
is the contrary. The acid opens the pores of the gellatine,
swells it, and consequently renders it more permeable to the
chemical action of the light.

Development of the Image. — When the paper has re-
ceived the impression, I plunge it in water with alcohol added,
then I spread it over the solution filtered with sulphate of
iron, having already served for collodion.

THE AMERICAN 362

The image afterwards appears in all its details ; if it should
want vigor for want of balance, I let the paper soak, I spread
it upon a glass plate, upon which I pour, commencing at one
corner, a weak solution of nitrate of silver, I then pass it
a second time through sulphate of iron. This simple meth-
od of reinforcement is sufficient for all the intensity desirable.
As will be seen, if one has a good stock of iodized papers, the
manipulations are very simple, require but little time, and do
not require a complication of new baths. But the principal
advantage afforded by this method is the facility with which
one obtains rapidly, by the dry manner, the most excellent
proofs. I return to what I said above relative to the paper
which I dry by suspension in taking it out of the bath. This
drying of papers by the dry manner is not imperative. I only
iudicate it as giving more facility to the work. I generally
prepare from eight to ten sheets of the paper ; when I arrive
at the last, the first one, well-soaked, is ready to be placed on
the silver bath. After the two washings, which ought to fol-
low the rendering sensibility to the papers, the other operations
are the same as by the wet method. I have still some commu-
nications to make to you. One day when I had impressed two
papers with the same subject, I treated one with sulphate of
iron, the other with gallic acid. The proof submitted to sul-
phate of iron, developed most rapidly, and gave me as usual,
a good impression ; the one placed in gallic acid revealed no
trace of any image. Nevertheless I felt certain that the pa-
per must have received an impression, for the time occupied
was precisely the same as by the proof developed by sulphate
of iron. In order to increase the rapidity of the image, I add-
ed to the bath of gallic acid some drops of nitrate of silver,
then waited for an hour without any result. At last, feeling
impatient that the image did not appear, I took a phial con-
taining an old bath of nitrate of silver, which formerly had
served for several experiments ; this bath contained ether, al-
cohol, iodine, acids, and a little sulphate of iron. I decantered
the clear part of the liquid, and then poured a sufficient quan-
tity of it into the solution of gallic acid. Being afterwards
engaged in other operations, I left the impression alone, as an
attempt which had failed. An Lour afterwards, on re-entering
my laboratory, I was surprised to find the image perfectly de-
veloped; but what astouisbed me still more was to find that
the bath reducing it had not experienced any alteration.

What can be the substance of the old bath which has main-
tained the gallic acid in such good condition ? I address this
question to my confederates and to all our photographic chem-
ists. I think myself able to give replies to the following other
questions : — Why is collodion the most rapid of all the meth-

JOURNAL OF PHOTOGRAPHY. 363

ods employed in photography ? Does this rapidity proceed
from the pyroxylin which enters into the composition of the col-
lodion, or is it due simply to the two substances in which it
is dissolved ?

Without pronouncing openly my opinion on these questions,
I think we must attribute to the ether and the alcohol united,
this property of acceleration. In effect, I have been able to
assure myself of this, by the preceding method, that ether and
alcohol, imbibing the paper almost in an instant, render
easy the combination of photogenic products, and consequently
open a free access to the chemical action of light. These sub-
stances, ether and alcohol, are consequently most powerful
agents in photography.

Vernier, Jun. of Belfort,

Upjper Rhine-

CHEMISTRY FOR PHOTOGRAPHERS.

No. 4.

BY THE EDITOR.

The chemical nomenclature as I have given it, although
quite simple and reasonable, has only by degrees reached its
present state of perfection ; and even now it is not universally
employed. It is therefore necessary for me to say that until
quite recently, the termination uret, has been commonly em-
ployed instead of ide, in some of the names of the compounds
of two elements. For example, sulphide of potassium, as we
now name the compound of sulphur and potassium, was called
sulphuret of potassium ; iodides were called iodurets. Also,
chlorhydric acid and bromhydric acid are still called in com-
merce, hydrochloric acid and hydrobromic acid. Druggists
and physicians especially, who ought to be the first to adopt
the reform, still continue to use such unscientific names as
muriatic acid, hydriodate of potash &c, making it almost ne-
cessary for the modern chemist to consult a dictionary to un-
derstand them. I desire to teach the best system and what is
approved by the highest authorities. I shall use it myself,
and recommend others to do the same. It will be something
to boast of, if photographers should be more accurate than other
men.

364

THE AMERICAN

Unfortunately the nomenclature I have given, does not ap-
ply to organic substances. For these, ingenious systems of
names have been proposed, but as yet no one so perfect as to
be generally adopted. The organic substances, however, with
which the photographer has to deal, are so few and so well-
known that little inconvenience will come from the want of
system. I will describe them in their proper place.

The nomenclature is the chemists' language, therefore in
the beginning of the study of chemistry, it is absolutely essen-
tial that it be understood. So I think it worth while that I
recapitulate all that I have said.

Observe that the name of a compound indicates its composi-
tion, and that the compositition when known suggests the
name; observe also that in the name the most active element is
named first.

If two elements combine directly, the name of the compound
is constructed by uniting the names of the elements by the
word of and changing the termination into ide.

Example, chloride of silver (AgCl.) But if the compound
of two elements be an acid, the names of the elements are
united directly without the connecting of, and the termination
of the last is changed to ic ; and if the acid has oxygen as an
element, the name oxygen is not expressed, but understood —
also, if the same element unites with oxygen to form two or
more acids, the names of the acids with the lesser proportions
of oxygen terminate in ous instead of ic.

Example, sulphydric acid, (HS), sulphuric acid (SO3 ), sul-
phurous acid (SO2 ).

The acids containing oxygen (oxyacids), combine with ox-
ides. To name such compounds, change the termination of
the acid from ic, to ate, and from ous to ide and connect to
the name of the base of the oxide, by the word of.

Example, sulphate of iron (FeO,S03 ), sulphite of lead
(PbO,S02 ).

To indicate the proportion (or number of equivelants,) of the
first named element, the following prefixes are sometimes used
Proto(l), Bi (2), Ter or Tri (3). Quadro (4), also the prefix
Sesqui (3 to 2). These prefixes are chiefiy used for the names
of compounds terminating in ide. In a similar way the pre-
fixes Sub (least proportion), and Per (greatest proportion)
are used.

I have finished now the dryest part of the whole undertak-
ing,— most difficult for the learner, and most tiresome for my-
self. In future we shall get on more pleasantly, constautly
observing things curious aud useful. We have fairly crossed
the threshold ; the nomenclature was the open sesame.

JOURNAL OF PHOTOGRAPHY.

365

A RARE CHANCE.

To the Editor ok the Americas Journal of Photography.

Mr. Seely - — Allow me to suggest that there is a fine op-
portunity for any enterprising young man to make a fortune-
All that is necessary, is that he should apply himself patiently
to the business. The amount of capital required is not large,
although if you would obtain the result in the shortest possible
time, a larger amount will be necessary.

Your readers, no doubt, have often noticed the large num-
ber of cheap lithographs, plain and colored, which are to be met
with all over the Union. They certainly cannot be considered
works of art in any proper sense of tne term, yet notwithstand-
ing, they have their admirers and patrons. They are sold,
not by hundreds or thousands, but by tens of thousands, year
after year. I have in my mind one firm in New York that
have made a fortune by the sale of these pieces of colored pa-
per, for they hardly deserve any other name.

Now, why might not some young photographer who has a
business sufficient to keep him, but yet has considerable leis-
ure, go to work and make a lot of negatives of various subjects
landscapes, public buildings, historical and other subjects, in
the same manner that the stereoscopes are made by the Lon-
don stereoscopic company, by fitting up a room for the pur-
pose.

Having collected a number of these negatives, they might
be enlarged by the megascopic camera, to such a size as his
taste or judgment may nictate, say 12-J-14, 14-f-20, or such
other size as is most commonly sold, or that cheap frames
might be easily got. These pictures might be colored cheaply
and would be infinitely superior to those that are sold at pres-
ent. There can be no doubt that the better article would
soon replace the present class of pictures. They might be
quite as cheap as those at present sold, but would be cheap
enough to command a large sale, and would make an excellent
decoration for our hotels, bar-rooms, ferry boats, railway sta-
tions, &c. &c.

The subjects, sizes, and the details it is unnecessary for me
to enter into ; any one who thinks the matter over, will readily
see that if they are produced in the way I suggest, the cost
will be trifling. The subjects should be selected in series or
groups, so that the sale of one would ensure the sale of another,
while of course each would tell its own story.

For pictures not larger than the 4-4 size, of course they
might be printed. Once the negatives are obtained, we have

366

THE AMERICAN

the matrix for making pictures of any size we require. Even
the £ size might be printed and colored ; and I see no reason
why they should not sell as well as the small pictures printed
in colors. It is needless for me to occupy more of your space ;
but I hope some one will soon avail himself of my sugges-
tion. Haifa score of views of scenery in this state would alone
repay any one the investment immediately.

W. B.

New Orleans, La., April 8th, 1859.

P. S : How long before we may expect that Treatise on
Photography in your journal ?

LE GRAY'S TOMNG PROCESS.

At the last meeting of the French Photographic Society, M.
Le Gray made the following communication respecting his new
method of toning positive prints : —

I find that since the publication of my process of toning
positive prints with chloride of lime and neutral chloride of
gold, many persons have tried it without getting such good re-
sults as I get myself.

That happens, I think, partly through want of practice, but
principally through the strength of the bath which I indicated,
and which acts so energetically that it is difficult to know ex-
actly when to stop its action,

By employing the following formula, the process of toning
is much slower, and therefore easier to regulate : —

Distilled water - - 1000 grammes, (or parts)

Chloride of lime 1

Chloride of gold 1

Chloride of sodium - - 1

The print may remain half an hour in this bath, without
injury ; and as the toning takes place slowly it becomes easy
to stop it when the desired tint is obtained.

I would observe that a bath of 2 litres, only containing a
small quantity of chloride of gold, will not tone more than 20
prints of the size of a quarter of a sheet ; more chloride of
gold, and a pinch of chloride of lime, should then be added in
order to restore its energy. But the tyro had better make a
fresh bath at this stage. The permanence of prints toned in this
way is very great, and the whites are pure, for while the gold
is being precipitated upon the silver which forms the blacks,
the colored organic matter of the paper is being bleached by
the well-known action of the chloride of lime.

JOURNAL OF PHOTOGRAPHY. 367

One of the chief causes of permanance is also the complete
absence of free nitrate of silver from the fibres of the paper.
In fact when a sheet of paper containing free nitrate of silver
is put into a bath of hypo-sulphite of soda the nitrate decom-
poses the bath and produces sulphide and sulphate of silver in
the interior and at the surface of the paper, which no washing
will remove, and which salts are consequently a source of
fading.

By previously putting the print into chloride of lime, the
free nitrate is converted into chloride of silver, which being
perfectly soluble in hypo-sulphite of soda, is therefore removed
in fixing.

But since the quantity of free nitrate of silver in a print
is considerable, two or three prints are sufficient to decompose
the small quantity of chloride of lime in the toning bath, and
therefore chloride of sodium (which is inert as regards toning
propdrties,) is added in order to assist in the production of
chloride of silver.

A great advantage of this process is that you can tell, when
the print is dry, whether the chloride of silver has been all dis-
solved out — for if not, black patches are produced where any
remains.

DEVELOPMENT AFTER FIXING,

BY M. DAVANNE.

Translated from the Bulletin.

Mr. Young, an English photographer, has shown that we
may develope1 a picture on albumen or collodio-albumen, in
daylight by the ordinary agents, if we have previously fixed it
in the dark by means of the hypo-sulphite solution which re-
moves the whole of the iodide of silver.

This experiment which at first seemed strange, was worthy
verification ; accordingly M. Bayard and myself repeated it,
and under circumstances somewhat different. M. Bayard af-
ter having fixed his glass, left it to dry in daylight till the
evening, before he developed it ; I developed mine in daylight
soon after fixing.

The results obtained were sensibly the same ; they confirm
the experience of Mr. Young. The tones we obtain are some-
what different from those furnished by ordinary processes; they
are much more red, the development is slower, but we still
reach a great intensity.

368 THE AMERICAN

On reflecting on the different reactions which may take place
in this case, I have concluded that instead of opposing re-
ceived photographic theories, this new process seems rather
to confirm them, and permits us even to demonstrate the ac-
tion of light on the concentrated film.

In a communicaction previously made to the Society, I sug-
gested that the development proceeded, not from a subsequent
reduction of the iodide of silver, but from a deposit which was
made by virtue of molecular attraction. I cannot present a
more convincing proof than that which Mr. Young gives, since
he commences by removing the iodide of silver and then de-
velopes the image, producing a deposit on the glass.

It remains to demonstrate the cause of this molecular attrac-
tion,, attributed by some to a modification of the iodide of sil-
ver purely physical, by others to a commencement of separa-
tion between the elements iodine and silver, by the greater
number to an invisible but real reduction of the iodide of sil-
ver, perhaps into a sub-iodide and then into metallic silver.

Mr. Young's experiment enables us to verify these hypotheses.

If the iodide of silver had only undergone a modification
purely physical, its solution by the hyposulphite would destroy
every trace of an image.

But if there is a reduction into metallic silver, the develop-
ment in broad daylight is easily explained. The hyposulphite
of soda would take away the excess of iodine, respecting the
metallic silver, which provokes the development. If this is the
case, every reagent which attacks metallic silver should des-
troy the image ; now it is sufficient to treat a fragment of a
proof with dilute nitric acid and slightly warmed, to effect the
solution of the molecules of silver and prevent the develop-
ment. The reaction will be the same with cyanide of potasium,
a solution of iodine in iodide of potassium, because these bodies
have an energetic action on metallic silver and soon attack it.

This experiment it is true, may be equally good if there
were a sub-iodide of silver formed, and changed by the hypo-
sulphite of soda into metallic silver and iodide of silver. But
why complicate the reaction by the presence of a sub- iodide,
which up to the present time has not been isolated, of which
treatises on chemistry do not speak, and whose existence is at
least problematical. And moreover the action of nitric acid
is exactly the same before as after the hyposulphite of soda,
and if we admit the presence of a sub-iodide it is at least
probable, that the nitric acid would act only after the change
by the hyposulphite.

It seems that now the photographic throng of negatives
impressions may be enunciated in a very simple manner.

1st. — The reduction by light of a very small part of the sil-
ver salts to the state of metallic silver.

JOURNAL OF PHOTOGRAPHY. 369

2d. — The development of the proof in consequence of the
deposit of new molecules of silver, furnished by the developing
bath, and attached by virtue of the moleuler attraction.

(Mr. Young's experiment may be verified with ordinary
collodion.

If metallic silver were left after the hyposulphite, it could
be seen. The microscope does not reveal a trace of the image.

Is the iodide chemically changed at all ?

Does the impressed iodide impart its virtue to the envelop-
ing film ?) — Ed. Am, Journal.

EDITORIAL JMSCEUANY*

The fourth meeting of the Photographical Society will be held

at the Cooper Institute, on Monday, May 9th, at 7i P.M.

We have frequently expressed our high estimation of Hard-

wich's'Photographic chemistry, in comparison with other treatises on
the subject. The fifth edition which has recently appeared, fully sus-
tains all our expectations of changes and improvements. The book now
comprises upwards of 500 pages, of which perhaps one third had not
appeared in former editions. We quote from the preface : "In the first
division of the work, it has been deemed advisable to include a sketch
of the various printing processes by Sir John Herschel and others, to
which attention has recently been drawn ; and also, of the Photo-gal-
vanographic, Photo-lithographic, Photo-glyphic and carbon printing
processes. Those who are conversant with the proceedings of the
French Society, will expect to find a resume of M. Niepce's researches
"on a new action of light;" but the author after a careful comparison
of the results with those previously obtained by Moser, and other ex-
perimenters, has decided to leave the subject for further investigation."

Dry collodion, and collodio-albumen, including the Fothergill pro-
cess, receive a fair share of attention. The subject of the stereoscope
is well handled.

The author has improved the practical character of his book, by the
revision of many of his formulae; and it will gratify many of our read-
ers to learn that Mr. Hardwich as well as other high authorities in
Europe, are beginning to discover the merits of our American methods.
The use of bromides in England is quite common, and Mr. Hardwich
now insists on creamy and opaque films ; and yet he adheres to the 30
grain bath ! Also, it is recently discovered that sulphate of iron is an
excellent developer !

Although Hardwich's chemistry has been a popular book in this coun-
try, it has not been praised as a guide in practice ; its merits rest on

370

JOURNAL OF PHOTOGRAPHY.

the fact that it teaches the science of photography. It is by far the most
comprehensive treatise extant, yet not quite what the times demand.
Photography is now of sufficient consequence to exact the talent of our
best chemists and cleverest writers. Let us have a substitute for
Hardwich's chemistry, more perfect in scientific theory, without the
tiresome rigidity of style and perplexing involutions of method.

Mr. Hardwich as might be supposed ignores, or quietly appropriates
to his purpose all American contributions to the art. This might seem
a little unfair, even unkind, when he almost invariably connects some
English name with every trifling suggestion. But it is of little conse-
quence ; perhaps he can't help it. We reserve our — sentiment (!) for
the editor of the Liverpool Journal.

Will our subscribers please bear in mind that our next vol-
ume will commence on the first of June ? We desire then to make va-
rious improvements in the form, size, and matter ; and although we
are well persuaded that the Journal during the past year has been well
received, and has constantly grown in favor, we desire to do some
things for our subscribers, which we shall not feel warranted to under-
take without assurances of their co-operation and active assistance.
We think we have a right to say this, and to assume that this journal
is so identified with the art of photography that the profession ought to
feel with us the ambition to make it of the very highest usefulness.

Will you please have the goodness to say to your neighbor that he
ought to send for this journal? Tell him what value it has been to
yourself, and what is hoped for the future. If your neighbor has conceit
lay bare his ignorance, — drive it out of him, let him know how the
world has moved without him.

Let us begin well on the 1st of June.

The year 1859 will be memorable for the changes in New

York. The commercial centre has been on the move for some time, but
lately it seems to have taken a leap ; the people, the houses, with all
their bustle and noise, are on the march ; — some day travelers will go
down to Wall street, and write books about the ruins of temples. New
York has lost its latitude, — the geographies are in error. Guidebooks
of the city, printed only last year are obsolete.

Photographers have gone with the crowd. The places that knew
them, know them no more. Take a map or a directory and calculate
their ancient position ; from that point on a line almost due north, and
at a distance of about one mile, you will find them now, rejuvenated
and blooming with hope.

Two years ago, many people thought us eccentric, fearing we were
deserting our friends and our interests. But who has not followed us ?
What point now is nearer the centre of New York than our office ? Al-
most every line of stages and cars in the city, pass by our door ; the
principal express offices are in sight.

Strangers in the city should make Canal street and Broadway, the
starting point of excursions for business or pleasure.

THE AMEEICAN

trncaat of ^lofogtiaply

[MEW ©@BQg©0]

Vol. L] MAY 15, 1859. [No. 24,

RECOLLECTIONS OF A DAGUERREOTYPE TRIP TO

EUROPE.

BY SOL SKYLIGHT, ESQ.

St. Neotfs — Journey to Lincoln.

My quarrel with the fat preacher, however dignified it may
have been, was by no means politic, still, one does not like to
be humbugged; those who humbug others, are just as adverse
as those who act in good faith, and so all repudiate. I did
not get any of the customers Mr. Druggert had calculated on,
though quite certain he put in a good word when the oppor-
tunity offered, for independently of being a very decent fel-
low himself, it was his policy to try and make the business of
his tenant pay, so that the tenant might pay also, but just
as a man may be influential for good, so may he be also for
evil, when his sole judgment is potent. The same breath that
could say, " Skylight is a very gentlemanly person, and takes
excellent pictures," could also, if willing, " hint a fault and
hesitate dislike ;" certain it is, I just cleared expenses, no
object then in staying, for an itinerant must do more than
that to pay travelling expenses, and take risks.

The want of conveniences had so far, induced me almost to
abandon collodion proofs, the utmost I did was to take views
of the opposite houses, and rub them out again. I unfortu-
nately, was not ready to believe that collodion was to be of such
necessity in photography : there was at that time no particular
distinction between a positive and negativejno re-developing, and
though Dr. Diamond and others were vigorously at work making
experiments, photographs from collodion negatives, were by no
means comparable with fine daguerrotypes. Adjournment hav-

372 THE AMERICAN

ing become necessary, the question of where to go was in or-
der. After much cogitating, I resolved to put off to the city
of Lincoln.

Cogitating is not always a proof of wisdom, or I should not
have chosen so large a place for the next location, though a
stay of some time was essential, but then I had not the ex-
perience that tells me that small places only, give a chance for
temporary business, for there, people knowing the business
must be temporary, satisfy their wants without delay, but in
large places they suit their entire convenience. 'Tis no use
telling them you only intend making a short stay, they know
the population is large enough for a permanency, and each
putting off the intended visit, assists in driving you away before
business has barely commenced, then if anybody else is ready he
had better pop in. However, I had so chosen, and began to pre*
pare for the event,

The journey was fraught with no particular incident, the
country being of the average kind of English landscape, slight
hill and dale, highly cultivated. As we had to stay sometime
in the ancient town of Peterborough, we took the opportunity of
having an outside view of its handsome cathedral, and attend-
ing to an inside necessity in the shape of lunobeon. The view
continued of the same uninteresting interest, because though
pleasing, it was all of a character, though doubtless some of
those old country seats, aud venerable villages had characters
of their own, had there been a chorus present to describe them
they might have been worthy recording. Not very far from
Petersborough, though I don't remember how far, the maguifi-
cant parish church of Boston appeared in view. From the
rail-road it seems to stand alone, with no inferior structures in
its immediate vicinity, to detract from its grandeur, nor render
it grander by their own insignificance. In reality, this splend-
id church, full of legendary interest, is situated on one side of
a large open space used as a market place, one side of the
church being open to the country and railroad. As the jour-
ney to Lincoln would be too much for Mrs. Skylight in one
day, we resolved to stay for the night in Boston, and immedi-
ately after getting some refreshment, I sallied forth to see all
to be seen during the limited stay we were about making.
Boston being a very old town and with very little modern
growth, has those narrow streets our ancestors seemed so oddly
fond of, taking into consideration the cheapness of " town
lots " in those days compared with the present ; true, it is not
very many centuries since public carriages, crowds of wagons,
indicative of industry and enterprise, were in common use, yet
light and health were just as important then as now, but they

JOURNAL OF PHOTOGRAPHY, 373

did not know as much as their worthy descendants ; with land
worth twenty times as much, both in actual and relative value,
men afford to build wide streets, not because we are more lib-
eral, but wiser. The market place is worthy any town, and
the stores evidences of the present age. Over the Witham,
and across the market space, was a handsome bridge. The
Witham not being far from the sea is a tolerable stream, though
a brig was the largest sailing vessel I saw, and the largest
steamer was about the size of our smallest tow-boats. I was
told there was a daguerreotypist in town, so of course went to
sfce him. His " gallery " was a movable house, which took to
pieces, and was capable of being easily carried away on a
wagon, he was doing1 quite a large business, aud well deserved
it, for his pictures were equal to anything I had seen in Lon^
don or New York, most, of them were colored in that superior
style that was common in first class galleries in London, but
which we have not succeeded in introducing in New York. Mr,
Sroney, was a dapper little fellow, somewhat of a fop and some-
what of a blower, as we forcibly and delicately express it now-
adays. He said he had other travelling wagons, and showed
a daguerreotype of one which must have been a handsome affair ;
he made me quite regret that I had not the wherewithal to buy
such an establishment, so I concluded I'd u wait for the
wagon." On the railroads in the neighborhood of large agri-
cultural fairs, aud markets, the companies have very wisely
arranged to offer inducements to visit the markets, by putting
the fare very low on market days, a piece of information I re-
ceived from the landlord of the railroad hotel, so getting up
early in the morning, and p-iying oar very moderate bill, we
availed ourselves of the market train, for it was market day
in Lincoln. The face of the country was now completely
changed ; for miles the land was of a walnut color, and as flat
as a slate, where it appeared amidst the vegetation. Villages
appeared iu distant clusters, behind each other without ob-
structing the view, and village churches pierced the horrizon
with their steeples ; soon we came into the midst of the cele*
brated fens of Lincolnshire; now, no longer through flat
aud black, but rich and productive soil, the richest grain grow-
ing country in England. Aged men can well remember when
it was dangerous to cross that dangerous place without a guide,
when its miasmic air dealt death around, and people shuddered
as they passed through it; in the civil wars it bid defianoe to
the troops that chased the partisan bands through its winding
ways, for one false step into its muddy waters, or deceiving
grasses, and the unfortunate would gradually sink out of sight,
and be lost to the gaze of men forever. Yet the knowl-
edge of men has recovered this land, which gives forth the staff

374

THE AMEKICAN

of life, from whence were the jaws of death ; the land had but
to be drained, and human sustenance drawn from its miasmic
marshes. On the outskirts of this fen, amidst the dark heath-
er, stood the ruins of a tower and castle of historic recollections,
which one of the farmers kindly gave me an account of, though
I do not now even remember the name.

The farmers of Lincolnshire are a sturdy looking race • those
we saw in the cars having generally the smiling face of appar-
ent prosperity, yet they did not appear as athletic, nor had
they the blue eyes and light Saxon locks, of the farmers of
Bedford ; there were traces of another race, though its origin
may have been in the far back ages of the Norsemen, or Danish
invaders.

Now appeared the busy appearance of the outskirts of a city
on market day, and presently some one said Lincoln. I looked
and in the distance saw an enormous building on top of a hill,
which was not lost sight of until just entering the city, when
the cars stopped, and looking up I saw the magnificent cathe-
dral perched on top of the hill, seemingly a few rods distant,
and ready to topple over in the first storm.

ON A EW METHOD OF MUKEMftG COLLODION

NEGATIVES.

BY HENBY DRAPER, M D NEW YORK.

The protochloride of palladium offers a very advantageous
means of darkening collodion negatives.

This substance is easily made by dissolving thin portions of
palladium in nitro-muriatic acid. The action goes on very
promptly, a dark, reddish brown solution formiug. This is to
be evaporated to dryness, taking care that the heat does not
rise too high, so as to decompose the resulting chloride, but
that it is long enough continued to remove the acid. The
brownish residue protochloride of palladium is soluble in
water, and in that state is fit for photographic use.

If we take a collodion picture in the moistened state which
it presents when fixed with cyanide of potassium or hyposul-
phite of soda, and pour upon it a portion of this brown solution
a change very quickly takes place, the picture gradually dark-
ening, and assuming degrees of blackness corresponding to its

JOURNAL OF PHOTOGRAPHY. 375

own shadows and lights, which therefore remain relatively un-
changed. In those points where the effect has gone on to a maxi-
mum, a velvety blackness is assumed altogether impervious to
the light.

It is immaterial whether the picture has been a positive or
a negative, the effect is the same, though less in the former than
in the latter case. It is also immaterial whether it now be viewed
by transmitted or reflected light, in both cases its various shades
present a black appearance.

In the application of the protochloride to such a picture, it
may be observed that if the solution is strong the full effect is
reached almost in a moment. Prolonged exposure is needless,
and indeed gives rise to no further effect. The excess of the
solution may be poured off from one corner of the plate and
so used over and over again till exhausted. As, it becomes
weak, the aotion goes on more slowly, and the operator should
observe the precaution of examining the glass from the other
side, to be certain from its blackening that the changes have
pervaded the film through and through.

As I have said, the most advantageous time for employing
the palladium is perhaps just after the picture has been fixed.
It may, however, be used at almost any other stage. Indeed
pictures that have been made for a long time may in like man-
ner be blackened after previously moistening them in water,
though this operation is perhaps less satisfactory.

The operator will find no difficulty whatever in this applica-
tion of the protochloride of palladium. There is no risk that
it will leave unpleasant stains or marks on the plate. In its
action it is not only certain but clean, indeed he may perhaps
be disposed to believe that in the transparent parts it exerts a
good effect in cleaning off any trace of fogging that may hang
about them. This however, is probably only in appearance,
through the other portions becoming so intensely black, The
quantity of solution consumed is quite insignificant as many
drops only being wanted as are necessary to flow over the sur-
face of the plate when it is inclined from side to side.

The following simple experiment will illustrate the advan-
tages arising from the use of this substance. Having prepared
a collodion film in the usual way, I exposed it to the light of
an Argand lamp at a distance of four inches in the camera
slide, uncovering it by half an inch at a time, at successive
periods of 4 minutes, 2', 1', 10 seconds, 5" 5". The stains in
the collodion being developed in the usual way, I darkenened

376 THE AMERICAN

one half of each of them by chloride of palladium, leaving the
other half untouched. On printing from this plate, it was
found that the stain blackened by the chloride and which had
been exposed for 5 seconds to the lamp, was as^effectual as the
unblackened one which had been exposed to the lamp for 80
seconds. It may therefore be inferred that the opacity of pic-
tures is increased 16 times by the use of protochloride of
palladium.

It moreover exerts a good effect by increasing the adhesion
to the glass, so that a picture which has been treated in this
manner, will bear much rougher usage than one which has not
and which remains unvarnished.

ON WASHING QM COTTON.

BY H. GARBANATI.

Gun cotton is one of the most uncertain of all photographic
chemicals, for though several samples may be made out of the
same materials, and apparently under similar circumstances,
no two exactly are alike. One of the conditions of good col-
lodion is, that it shall be free from any other matter than that
of which it is designedly composed.

I think that enough foreign substance is sometimes obtained
in gun cotton to alter somewhat its character. After heavy
rains, or even long continued dry weather, when the surface
water is charged with animalcuhe, &o., it is impossible to know
what may cling to the fibres of the cotton. For instance, let
us take the same quantity of water required to thoroughly
wash gun cotton, and filter it through a piece of canton flannel
and we will observe quite a quantity of intercepted matter,
most of which would have otherwise clung to the cotton, and
of course become part of the collodion.

Now this matter, little as it may be, might have an influence
on the collodion which we could not take into consideration.
It is therefore worth while to filter the washing water, since it
may be done with no appreciable trouble, when one of the ap-
parently equal circumstances, may be kept tolerably equal.

JOURNAL OF PHOTOGRAPHY. 377

AMERICAN PHOTOGRAPHIC AL SOCIETY,

FOURTH MEETING.

March 9th, the President, Dr. Draper presiding ; —

The Secretary was instructed to make up the record of the
Society from its beginning, and present the report in full,
at the next meeting.

Papers were read as follows : —

" On a Dry Collodion Process." By P. C. Duchochois,
(See page 381.)

"On Preserving Albumenized Paper." By Joseph Dixon,
(See page 382.)

" On Washing Gun Cotton." By H. G-arbanati, (See page
376.)

" On a New Method of Darkening Negatives." By
Henry Draper, M. D., (See page 374.)

" On some New Applications of Collodion Varnish," an
oral statement made for E. K. Hough of Hillsboro, N. C

The communications of Dr. Draper and Mr. Hough were
accompanied with illustrative specimens which were examined
by the members.

Mr. Seely made aD oral communication of which the follow-
ing is a. synopsis : It has recently been shown that an unde-
veloped negative is capable of development after fixing. It
therefore appears that the presence of iodide of silver is not
necessary during development, and that the retaining film is
somehow changed. I take it for granted that no iodide of sil-
ver or metallic silver, can be present to serve as a nucleus
for development, when none can be detected by the micro-
scope in practiced hands. It seems probable that the effect of
light on the iodide of silver is only molecular, and that the
effect is communicated to the film, which of itself is insensi-
tive to light. The iodide of silver, and the sympathetic film,
are chemically unchanged from the beginning to the end. Their
action in development is catalytic.

Under the order of discussion of papers read —

Mr. Rutherford : — A good, dry process is the great desid-
eratum. We cannot carry our dark room, and a convenient
supply of water on an excursion ; the thought or sight of cum-

378 THE AMEEICAN

bersome apparatus and tents, is unpleasant to those who dis-
like trouble and to work hard for amusement. A dry process
need not be so quick — but it is essential that it shall be sim-
ple and certain. Albumen results are good enough, but the
process is too troublesome. It is proper for this society to
make the subject of a dry process a conspicuous problem, and
to encourage attempts at its solution. Mr. Rutherford con-
cluded his remarks by moving that a prize of one hundred
dollars be offered in the name of the society for the best dry
process, offered for competition during the next months.

After some discussion, the subject was referred to the Board
of Directors.

Mr. Boyle made some remarks on the colors of clouds aud
mists, especially with reference to the art of painting.

Mr. Seely in commending the paper read by Dr. H. Draper
observed that the intensity of blackness, as shown by the speci-
mens exhibited, was greater than that produced by the chlo-
ride of gold, or mercury, or the sulphides. If so, the chloride
of palladium would soon come into use as a toning agent for
transparent positives on glass. The photographic uses of the
rarer metals should be studied. No doubt valuable qualities
are to be found in substances not yet thought of. The metal
uranium has recently come into quite extensive use in Europe.
Mr. Burnet is entitled to most of the credit given to Niepce
de St. Victor for the disovery of the properties of nitrate of
uranium. The salts of uranium has excited little attention
in America, for the reason that it was shown at an early day,
that iron salts were possessed of the same properties, and could
be substituted in all the uranium processes.

Dr. Deck :— There is difficulty in procuring palladium, es-
pecially of the desirable purity. It is not a commercial arti-
cle, and but little is produced. It has been used by dentists
and for the beams of balances. It costs about $7 per oz.

The President :— I have found the chloride of palladium
very useful in producing photographs of microscopic objects.

In answer to a question, Dr. H. Draper, said that he had
not observed that the chloride of palladium produced varieties
of tint as obtained with chloride of gold, and sulphides. It
acted very promptly, and gave only shades of blackness.

Dr. Vanderweyde described some of the ordinary methods
of strengthening. He preferred a process in which iodine was
used, as the thin iodide of silver negative was quite intense
towards the chemical rays.

JOURNAL OF PHOTOGRAPHY. 379

Mr. Seely : — I understand that at a recent meeting of the
Farmer's Club, the opinion was emphatically expressed, that
the moon has no influence on vegetation, and that the notions
which some farmers have, that the moon should be consulted
for the time of planting, was treated as unworthy of attention.
I am not prepared to say what specific or observable action
the moon might be expected to have on the growth or health
of animals or plants ; yet I do not think it improper to pro-
pose the question in this society. The physical action of the
moon by virtue of gravitation, iu producing tides in the seas
and the air, is everywhere felt. May there not be a percepti-
ble chemical action on the earth from the moon's rays ? Mr.
Rutherford gets a photographic impression of the moon in a
few seconds. Are there undiscovered chemical peculiarities
in moonlight ? May there not be plants of such a delicate
nature that they protect themselves from sunlight, come out
by night, and thrive by the light of the moon ? ' There are
many animals, like the owl, that are wakeful only at night.
The moon to such is what the sun is to us. I wish only to
have it understood that some of those questions about the moon's
influence, treated with so much contempt by scientific men,
may yet be fairly asked again.

The President: — Ten years since, Mr. Hunt made experi-
ments on the effect of light on the growth of plants, and came
to the conclusion that the indigo ray favored the germination
of seeds, while the yellow rays retarded it. After the plant
has appeared above the surface of the ground, the illuminating
or yellow rays, are essential to its healthy growth, enabling it
to decompose carbonic acid, and to appropriate the carbon.
In ripening, or producing seeds, the red rays are essential.
Dr. Gardner has exhibited some very curious experiments to
show that it is the indigo ray which determines the growth or
turning of the plant towards light. Turnip seeds were planted
in a box, which was kept in the dark. At the end of 48
hours, the plants had come up wiry and thin, of a sickly yellow
hue, and standing erect and straight. The box being now
placed in the solar spectrum, all the shoots soon turned towards
the indigo ray. The plants might even be made to grow
downward.-

Moonlight in its degree, acts like sunlight. Sunlight is
200,000 times more intense. (In answer to a question). The
maximum of chemical power is found in the indigo, and not in
the violet, as stated by some.

The common crocus is a plant which is remarkably sensitive
to light. Cover it with your hat and the leaves fold up, let

380 THE AMEEICAN

the light fall on it again, and they open so rapidly that you
may see them move.

Dr. Deck ; — It is well known that tadpoles kept in the dark
do not change to frogs, but continue to grow as tadpoles, till
they become monsters in size. On the contrary, if, while
young, they are exposed to an excess of light, I supnose they
will become frogs prematurely. The stories of showers of
frogs, are often ranked with stories of sea serpents and mer-
maids. But I have witnessed a veritable frog shower, when
hundreds of bushels came down. The frogs were none of them
alive, and were remarkably small. I suppose the frog spawn
was carried up by a water spout, and under the influence of
the light and air, the tadpoles were prematurely changed to
frogs.

Mr. Tillman * — At an exhibition of fireworks in commemor-
ation of the completion of the Bidgwood water works, a very
curious and novel effect of colored light was produced. As
the director of the display is a member of the society, we may
expect some account, of it at our next meeting. The art of
pyrotechny is fairly within the scope of our discussions. What
is the best procession of colors to produce the highest effect?
How best to combine poetry of colors and dramatic action ?
Who can foretell the effects which will hereafter be produced
by overtures of variegated lights ?

At this point, a very entertaining discussion ensued on the
turning of the sunflower toward the light. Although many of
the members engaged in it, the subject elicited more wit and
poetry than scientific truth. It was a refreshing episode.

Mr. Snelling reminded the society that Mr. Archer and
others in England, had removed collodion films for the same
purpose as proposed by Mr. Hough,

Mr, Seely :— Mr. Hough is aware of the fact. He offers
an impoved process, He is the first to propose the removal
of the excited film.

A gentleman in the audience, and not a member of the so-
ciety, occupied a considerable time in endeavoring to convince
the society, that he had perfected a valuable and wonderful
process of transfering ambrotypes to paper.

Mr. Tillman : — Will the gentleman communicate some de-
tails of his invention to the society, or exhibit specimens?

The gentleman : — The process has cost me a great deal of
money, time, and study; I do not propose to give it away.

Mr. Seely :— Whether an inventor shall gives his ideas to
the public, or sell them, is a question for himself to settle.

JOUENAL OF PHOTOGRAPHY. 381

We cannot blame him for the decision he makes. In the so-
ciety we publish discoveries ; we must not make it a market
place. Let this be the occasion for determining our course
for the future, so that there shall be no misunderstanding.

The subject elicited considerable feeling all in the same di-
rection, and after remarks by various members, the sentiment
of the society was expressed by the unanimous adoption of the
following resolution presented by Mr. Stetson; —

Resolved, — That this society desires and expects, that in
every instance where either members or guests claim to be in
possession of improvements, either the new results or the de-
tails of the invention, or both, be given to the meeting.

Adjourned to the second Monday in June.

In the report of the April meeting, owing to its too hasty
preparation from very brief notes, there are a few sentences
which failed to convey the sentiments of the speakers. Our
readers will please to see how difficult without much study and
practice, it is to condense the spirit and effect of a discourse
into a few words.

The photograph exhibited by the President at that meeting
was not on ehlorophyl but on guiacum. It is blue in the
shades, and pale yellow in the high lights ; these having been
its original tints, and they are still unchanged. It was intro-
duced to illustrate the fact, that in the action of light on some
vegetable colors, a complete bleaching does not ensue, but a
residual color is left. In ehlorophyl, though the bright green
may be destroyed by light, a tawny yellow remains.

The President's remarks concerning the relation of comple-
mentary colors, were to the import, that in the action of light
on vegetable colors, each ray bleaches or destroys its comple-
mentary tint. On this principle it perhaps might be possible
to obtain photograpus in colors according to nature, there being
this relationship between the acting color and the color des-
troved.

Y-

A NEW DRY COLLODION PROCESS,

X

BY P. C. DUCHOCHOIS.

All the preservatives for the dry sensitive collodion film,
have some defects too well known to be described again. The
principal of them is certainly to destroy to some extent the sen-
sitiveness of the plate. I believe the process I have the honor
to communicate this evening, retains better all the sensitive-

THE AMERICAN

ness of dry preparations, and gives more easily a good intens-
ity to the negative than any other I know.

The process is.

1st. — Immerse after washing the sensitive film, in a solution
made by boiling three or four hours, one pound of liquorice
roots in half a gallon of water, evaporating to 30 ounces, ad-
ding 3 ounces of alcohol, and filtering — the liquid is used cold.

2d. — After exposure, immerse the plate in

Water 1 ounce.

Nitrata of Silver ----- 20 grains,

Acetic acid, No. 8 • - - 5 drops.

This renders the glycyrhyzine insoluble, and prepares the film

for a more even development, w «— ~™~.

3d. — Develope with a |saturated solution of gallic acid in
water, to which is added, little by little, during the develop- k.
ment, a quantity of the above solution of nitrate of silver, vy

y which is judgednecessary to bring out the impression. °Hjik

The collodion I use for the dry process is prepared accord-
ing to the formula I gave some months ago in the American
Journal of Photography. I have however made some modi-
fication in it, for the addition of ammonia destroys the
properties of pyroxyline, to such an extent that a very
thick centratile plain collodion in less than a month becomes
very fluid, settles in giving a rotten, horny, and opaque film,
which splits in little networks.

These defects are easily prevented by preparing the collodion
as follows : —

First make the collodion with three parts of ether, two parts
of alcohol, \ minim of ammonia, and 2£ grains of pyroxyline
to the ounce. After 4 or 5 hours neutralize the free ammonia
with two drops of bromhydric acid, then add 3 grains to the
ounce of pyroxyline.

ON SENSITIZING ALBUMENIZED PAPER.

BY JOSEPH DIXON.

Those who have used albumenized paper have invariably
experienced difficulties not encountered in the use of the paper
commonly employed in photography. Albumenized paper sen-
sitized with the nitrate of silver, will, in the course of two or
three days gradually become brown. This result is injurious
to the white portions of the picture, ^nd although it may in a
great measure be removed in the toning bath, it is always ac-
complished at the expense of the finer tints. Albumenized

JOURNAL OF PHOTOGRAPHY. 383

paper, more particularly, should be used immediately after it
is sensitized, but there are many cases occurring in which this
condition cannot be complied with. Suppose for instance, a
large number of sheets are prepared at once, but before they
can be used, several dark cloudy days intervene, when the pa-
per will be found to have assumed a brown shade and be al-
most worthless. The cause of this singular behavior, is sulphur
existing in the albumen. The chloride of silver is readily de-
composed when combined with organic matter, and in the
present instance, the gradual formation of the sulphide of sil-
ver is shown by the darkening of its characteristic brown color
until it verges upon a black.

After a great number of experiments made for the purpose
of avoiding this vexatious difficulty, I have arrived at the de-
sired result by the use of the following simple preparation,
viz ; One ounce of the nitrate of silver, dissolved in eight
ounces of water? to which is added one drachm of nitric acid ;
on this the paper is floated for two or three minutes. It is
then hung up and dried in the usual manner, and afterwards
placed in a portfolio, where it may remain without deterioration
for six or eight weeks. My usual practice is after printing,
to pass the paper through a bath of chloride of sodium, which
converts *he free nitrate into a chloride and thereby prevents
injury to the toning bath,

COLLODION VARNISH.

Hillsborough, N. C„ May l, 1859.

Mr. C. A. Seely ; Dear Sir ;— I had thought before this I
would send you a specimen of a new kind of picture, something
in the nature of a transfer made with collodion, but not having
suitable cotton prevented me.

While in Petersburg, I made some plain alcoholic collodion
with some cotton I found there, and covered a half size picture
with eight or ten coatings of this varnish, when placing it in
water, it came off the glass in a strong transparent film which
did not curl, but looked and felt like silk paper,

Before I had time to make a series of experiments, I moved
and my varnish gave out.

But I have been thinking possible it might be made useful
in some such way as follows.

And as you have all the appliances and chemicals, I would
like you to try the experiment I suggest, (if you think them
worthy your attentiou), and inform me of the result,

384 THE AMEEICAN

As you know better than myself there has been considerable
trouble in getting negatives of distant scenery, from the diffi-
culty of carrying, glass plates and the calotype, and waxed
paper processes have been substituted in many cases.

Now, could not negatives be preserved in this way, where
views are taken with wet collodion on the spot By coating the
picture after taken and dried, with collodion varnish until it
could be removed in a strong film, and preserved in a portfolio
and when necessary to print could be made to adhere to glass
again by plain collodion, or even water, then varnished as
usual.

Or a glass could be ooated at home 'with several coats of
plain collodion, then with iodized alcoholic collodion or iodized
albumen, sensitized as usual, dried and removed, then pre-
served in a portfolio until exposed, when it could be made to
adhere to a glass sufficiently by water, then removed and a^ain
preserved until returned. *

I am aware of difficulties in the last process, that the film
might be loosened and come ofi while sensitizing and washing,
but if the process should prOve of any real advantage, I think
these might be overcome.

If these ideas should prove of any value, give me the credit,
and if none don't laugh at me for making such a hobby "of my
" one idea."

Yours very respectfully,

E. K. Hough.

COLLODION FROM CELLULOSE,

BY M. "D. VAN MONCKHOVEN.

The discovery of M. Schweitzer, recently detailed in this
Journal, of a new solvent for cellulose, has excited much in-
terest among photographers, in the hope that a new collodion
would be obtained, in which cellulose would replace gun-cotton.
The experiments of an eminent scientific photographer. M.
Van Monckhoven, leads us to hope that this desirable result is
arrived at. He dissolved recently precipitated oxide of silver
in the cupro-ammoniacal solution of cellulose, and spreading
the liquid on a glass plate, put it when dry into dilute hydrio-
dic or hydrobromic acid. A white layer of iodide or bromide
of silver is formed, but it was impossible to obtain a clear and
transparent image upon it. A continuous layer of reduced
silver is formed beneath the layer of cellulose, and the super-
ficial image is lost. The same results attended the employ-

JOURNAL OF PHOTOGEAPHY.

merit of the ammoniacal deuto-bromide of oopper (2 Cu. Br, 5
N H3 ) and the ammoniacal iodide 2 (N H2 ), Cu I, 3 H O, a
brown veil of metallic silver always formed beneath the image.
These results are named to warn others against undertaking
useless experiments.

The methods that succeeded are as follows ; — -

The ammoniacal solution of deutoxide of copper is prepared
either by saturating concentrated ammonia by oxide of oopper
recently prepared, or in employing the method of M. Peligot,
which is much the simplest.* When the solid impurities are
quite settled, dissolve cotton in the liquid in the proportion of
eighty-five grains to the pint. A thick liquid results, which
is gradually diluted with water, until alljthe cotton is dissolved.
Then a concentrated solution of iodide of potassium is added,
so that thirty-five ounces of the solution of oxide of cupro-am-
monium will contain from seventy-five to one-hundred-and-fifty
grains of iodide. It is this mixture with whioh the glass plates
are coated.

All the beauty of the proof will depend upon the prepara*
tion of the cupro-ammoniacal liquor, which must be thick, so
that it flows slowly over the glass plate, and it must be quite
transparent when dry. If the fluid is too thin the image will
be superficial, without intensity, and will be washed away under
a stream of water.

The ammoniacal solution, when poured on the glass, should
spread itself evenly ; it evaporates slowly; when the excess of
the liquid is drained off, the plate is set against the wall. Two
modes of operating next present themselves.

1st. After the plate has been allowed to evaporate a few
minutes only, the coating becomes opalar, and an excess of
liquid falls to the lower edge of the glass, which must be re^
moved by a piece of tissue paper; the plate is then immersed
in the nitrate of silver bath, to which recently precipitated
acetate of silver and acetic acid are added. The coating be-
comes white, as in the usual method, by the iodide of silver
formed ; it is then exposed in the camera, and afterwards de-
veloped as in the ordinary process.

2nd. If, on the other hand, the plate is allowed to become
quite dry, the ammonia being quite eliminated by evaporation,
the ordinary reaction of the alkaline iodides upon the salts of
the deutoxide of copper takes place ; that is, protiodide of cop.
per (Cu. I) is formed in the layer of cellulose, and iodine on
the surface. Such a plate becomes red when dry- Plunged
in the nitrate of silver bath, it yields a superficial picture,
which the slightest washing removes, and metallic silver is
formed under the image, through the presence of proto-iodide
of copper. But as this method will be preferred by photo-

o/>

386 JOURNAL OF PHOTOGRAPHY,

graphers on account of its simplicity, a remedy for its incon-
veniences may be found by passing the plate into a bath of an-
hydrous alcohol, into which a current of dry ammoniaoal gas
has been driven. The free iodine is transformed into iodide of
ammonium, and aldehyde is formed :— -
21 + 2 NH3 + C4 RQ 02 ^ 2 NH4 I 4. O H* 0»
The plate becomes white after an immersion of a few seconds,
On removing it from the bath, it mnst be agitated in the air,
so as to remove the excess of ammonia by evaporation ; then
plunged, humid as it is, into the nitrate of silver bath ; after-
wards proceed as in the ordinary method. In this may be ob-
tained proofs of very fine quality, transparent,, and fiee from

It is certain that cellulose may supersede gun-cotton in col-
lodion, to the great gain to photograph}' in simplicity, economy
and excellent results.— Exchange.

EWTOMAt JVUSGEIUNY*

■■ - > ■ .With the present issue we complete our year's labor. The
uncertainties of the critical period of our existence are resolved; the
hopes and fears are all gone, and in their place we find substantial
facts.

We close this volume complacently ; we look upon it with a good
degree of satisfaction. Here is the record of photography in America,
of the thoughts and acts of our most capable men This journal has
been looked to at home and abroad, for counsel and knowledge. Our
subscribers and contributors are found in all quarters of the globe ;
there is no spot where photography is cultivated as a scienoe, which
this Journal has not reached. A journal of photography is not like a
newspaper, which loses its value in a day ; it is the record of a science
unfolding, a record to be preserved forever.

For the great utility and the high character of the Journal, we eon-
cede our sincere obligations to our contributors and correspondents ;
without their assistance we had no power.

To our contributors and our friendly subscribers we offer our humble
but sincere thanks.

We shall open our new volume hopefully. Our Contibutors and our
subscribers will still be with us,— And others.

There are yet thousands who will esteem it a favor to be reckoned
among us as subscribers. Will our friends kindly assist us to find them
out? , ■ ,

The editorship of this journal is by no means a sinecure, and there is
no disposition to make it such; every success shall be for the general
good. Au rcvoir. . .■

,-.- -.. -Editor bhadbolt of the Liverpool, etc. Photographic Journal,
indulges in a little pleasantry at Ihe expense of his New York corres-
pondent, and intimates that ne would have believed certain statements
•'• Hibernian," did he not know they were written by an American. We
are hflppy to inform the editor that no countryman of ours could be
found to do the work of American detraction so effectually as his pres-
ent doleful correspondent who hails from ( the Land 0' cakes." To be
consistent, he should leave this benighted region and once more * stand
upon his native heath."

INDEX.

Albumen, J 32, 304

Ambrotypes in colors, • .57

" permanent, 38

American Institute, Photography at the 10

An incident, i 8

A rt and A rtists, 117

Atlantic Cable, 111,198

Aulet. EM 96

Backgrounds, 1 63

Bath, Nitrate, 6,20,44,

Bullock, Seneca, 330

Cadv, James 190

Camera, The .'. . . 62, 173

" Experiments with 110

" Megascopic, The 107

" Shields, 75

" Stand, 28, 43, 60

Campbell, W 8,38,57, 136, 175,286

Canvas Process, 1 39

Carbon Printing, 120, 268, 273

Caseinp, 1 7, 246

Chemistry for Photographers, 331 , 344, 363

Collodion, 52, 69, 190

Alcoholic. 19, 278

" Aramoniacal, 72

Dry, 7,33, 282,352

" Filter, '. 1

" Picture, the first.. 99

" Varnish,. 19, 342

Color, new law of 80, 343

Curiosities of Vision 1 36

Daguerreotype, The 167, 355

" Trip to Europe,

187, 195, 216, 229, 243; 259, 275: 291: 307. 323, 339,

Daguerreotype, My first, 233

Dixon, Joseph, 1, 24, 83, 382

Draper, H 374

Draper, J. W 2

Duchochois, P. C 17,33,52,72, 132, 144, 304,381

Editor, The

6, 20, 23, 80, 106: 116,120,131,137,141, 173,254, 256,273,312,331,334.363

Electricity and Photography, 149

Enlarging" Photographs 49, 67, 89, 102

Expressing Character in Pictures, 171, 183, 211

Focal adjustment, 123

Fothergill, T., 7

Garbanati, H.,

13, 22, 35. 43, 67, 75, 93, 100, 119, 123. 134, 163, 221, 265, 280, 311, 376

Gossip's Letters, 41,77,87, 103,124, 143,231,295,353, 326

Gurney's Gallery 209

Hardwich, T. F., 305

Head Rest 93

Hit at the Editor, J75

iv INDEX.

Hough, E. K., 19, 126, 157, 171,183,211,342,383

Howell, E 191

Influence of the Operator on the Sitter, 134

Instai taneous Process 95

Ivorytype, 354

Kralt. L , 246

Letter from Havana, 96

" " London, 40,115

Mascher, J. F., 58

Megascopic Camera, 107

Miller, D. P., 108

Negatives of Valuable Documents, 100

Nitrate Uath, Rectifying the 6, 106, 137, 144

Nitrate of Silver, 83, 180,305

Ode to Photography 251

Patent. Cutting'*. - - 160, 237, 252, 256, 265, 280, 286, 289, 298, 301, 348, 351

Howell's 191

Photographical Society, 301, 334, 345, 377

Photography a la Fresco, 221

in New York,. 223

" on Paper, 365

Photokaleidoscope, 126

Photolithography, , 24, 35. 219

Picture, A New 154

Plate Vise, 76

Poisonous Chemicals, 108

Portable Tent, 37

Portrait? Who made the First 2

Price's Photography, 147, 165

Printing. New Mode of 57

Processes vs. Journals, -. . . 22

Redeveloper, 297, 325, 374

Reynolds, G. L - 60

Ross, A. C 179

Sancier, M 139

Sanders, J. M., 99, 116, 154

Solar Camera, 85

Sol Skylight, 187, 195, 216, 229, 243, 259, 291, 307, 313, 339, 355, 371

Spirits on Photography, 262

Stereoscope, The 58 141

Strengthening Negatives, 297, 325, 374

Sutton, T 180, 198, 268,2/8, 307,313, 339, 355

Tent, Portable 1 79

Toning Bath, 328, 336, 350. 366

Transfering the film, 131 , 330

Union Cases, 93

Urbs in Rure, SO

Uses and Abuses of Photography, 317

Vanderweyde, P. H., 49,67,89,102,149,167

Van Monckhoven, 384

Washing Gun Cotton, 376

Photographs, 208

Wendell, H 297, c25

Wonders of Photography 13

Wood, Photography on - 289, 312

Bound JUN 21 J920

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