History and Practice of the Art of Photography Part 6

Bromine box--similar to the iodine box but a trifle deeper.

Dry Iodine.

Bromine, or a compound of Bromine and Chloride of Iodine, or other sensitive mixture.

Most of our best operators use the compound Bromine and Chloride of Iodine. In the early days of the Daguerreotype, Iodine alone was used in preparing the plate, and although it still plays a very important part, other preparations, called accelerating liquids, quickstuff, &c., are used, and the discovery of which has alone ensured the application of the Daguerreotype successfully to portrait taking--for when first introduced among us it took from five to ten minutes to produce a tolerable good view, while now but the fraction of a minute is required to obtain an accurate likeness.

To iodize the plate perfectly it must be placed over the iodine vapor immediately after buffing. Scatter from a sixteenth to the eighth of an ounce of dry iodine over the bottom of your coating box, and slightly cover it with cotton wool. The plate is then dropped into the frame b, fig. 12, with its silvered surface downward, and thrust under the lid h. The bright surface of the plate is soon coated with a film of iodine of a fine yellow color; it is then removed and placed over the accelerating solution. It is not absolutely necessary to perform this operation in the dark, although a bright light should be avoided.

Not so the next part of the process, viz; giving the plate its extreme sensitiveness, or coating with the accelerating liquids. In this great caution should be used to prevent the slightest ray of light impringing directly on the plate, and in examining the color reflected light should always be used. A convenient method of examining the plate, is to make a small hole in the part.i.tion of the closet in which you coat, and cover it with a piece of tissue paper; by quickly turning the plate so that the paper is reflected upon it the color is very distinctly shown. Most of our operators are not so particular in this respect as they should be.

ACCELERATING LIQUID.--Of these there are several kinds, which differ both in composition and action--some acting very quickly, others giving a finer tone to the picture although they are not so expeditious in there operations; or in other words, not so sensitive to the action of light. These are adopted by Daguerreotypists according to their tastes and prejudices. They are all applied in the same way as the coating of iodine. The following are the best.

Bromine water--This solution is much used in France, and, I shall therefore give its preparation, and the method of using it, in the words of M. Figeau. "Put into a bottle of pure water, a large excess of bromine; shake the mixture well, and before using it, let all the bromine be taken up. An ascertained quant.i.ty of this saturated water is then diluted in a given quant.i.ty of distilled water, which gives a solution of bromine that is always identical." M. Figeau recommends one part of the saturated solution to thirty parts its bulk of water; but M. Lesebour finds it more manageable if diluted with forty times. In case pure distilled, or rain water cannot be procured, a few drops of nitric acid--say six to the quart--should be added to the common water.

Put into the bromine box a given quant.i.ty of this solution, sufficient to well cover the bottom; the plate, having been iodized to a deep yellow, is placed over it; the time the plate should be exposed must be ascertained by making a few trials; it averages from twelve to forty seconds. When once ascertained, it is the same for any number of plates, as the solution, which of course would become weaker and weaker, is changed after every operation, the same quant.i.ty being always put into the pot.

Chloride of Iodine.--This is prepared by introducing chlorine ga.s.s into a gla.s.s vessel containing iodine; the iodine is liquified, and the above named compound is the result. Operators need not, however, be at the trouble and expense of preparing it, as it can be obtained perfectly pure of Mr. Anthony, 205 Broadway, N. Y., as also all of the chemicals herein enumerated. The compound is diluted with distilled water, and the plate submitted to its action till it is of a rose color. Chloride of iodine alone, is seldom if ever used now by American operators, as it does not sufficiently come up to their locomotive principle of progression. The next is also eschewed by the majority, although many of our best artists use no other, on account of the very fine tone it gives to pictures.

Bromide of Iodine.--This is a compound of bromine and chloride of iodine. In mixing it, much depends upon the strength of the ingredients; an equal portion of each being generally used. Perhaps the best method of preparing it, is to make a solution in alcohol of half an ounce of chloride of iodine, and add the bromine drop by drop, until the mixture becomes of a dark red color; then dilute with distilled water, till it a.s.sumes a bright yellow. Put about half an ounce of this compound into the pot, and coat over it to a violet color, change the solution when it becomes too weak to produce the desired effect.

Another.--Mix half an ounce of bromine with one ounce of chloride of iodine, add two quarts pure distilled water, shake it well and let it stand for twelve hours then add twenty-five drops of muriatic acid, and let it stand another twelve hours, occasionally shaking it up well.

Dilute six parts of this solution in sixteen of water. Coat over dry iodine to a deep yellow, then over the sensitive to a deep rose color--approaching purple--then back, over dry iodine from four to eight seconds.

Roach's Tripple Compound.--This is one of the very best sensitive solutions, and is very popular among Daguerreotypists. To use this, take one part in weight, say one drachm, of the compound and dilute it with twelve of water; coat over dry iodine to yellow, then over the compound to a rosy red. The effect in the camera is quick, and produces a picture of a fine white tone.

Gurney's Sensitive.--This is another preparation of bromine, and gives a fine tone. To two parts of water add one of the sensitive, and put just sufficient in the box to cover the bottom, or enable you to coat in from eight to ten seconds. Coat over dry iodine to a dark yellow, and over the quick till you see a good change, then back over the dry iodine from two to three seconds.

Bromide of Lime, or Dry Sensitive.--This is a compound but recently introduced, and is becoming somewhat of it favorite, owing princ.i.p.ally to the slight trouble it gives in its preparation, and the tone it imparts to the picture. To prepare it, fill your jar about half or quarter full of dry slacked lime, then drop into it bromine, till it becomes a bright orange red. The plate is generally coated over this compound, after the iodine coating to yellow, to a violet, or plum color; but it will work well under any circ.u.mstances, the color being of little consequence, if coated from thirty to ninety seconds, according to its strength.

Mead's Accelerator.--I merely mention this as being in the market, not knowing any thing in regard to its merits. The directions given for its use are as follows: Mix one-third of a bottle with a wine gla.s.s full of water, coat the plate over dry iodine to a dark gold color, then over the accelerator to a violet, then back over dry iodine, or chloride of iodine, from three to five seconds.

Chloride of Bromine.--M. Bissou, a French experimentalist, has found that bromine a.s.sociated with chlorine, prepared in a similar manner to chloride of iodine, already described, a solution of bromine being subst.i.tuted for the iodine, is a very sensitive solution; by means of it daguerreotype proofs are obtained in half a second, and, thus very fugitive subjects are represented, making it the very best compound for taking children. So quick is its operation, that even persons or animals may be taken in the act of walking.

Hungarian Liquid.--This, I believe, has never been used here, or imported into this country, and the composition of it is not generally known, even in Europe, where it has taken precedence of all others. It acts quickly and with considerable certainty. It is used by diluting it with from ten to fifteen times its bulk of water, putting a sufficient quant.i.ty into the jar to cover the bottom. The plate being previously iodized to a light yellow, is submitted to this mixture till it a.s.sumes a light rose tint.

Bromine and Fluoric Acid, in combination, are used by some Daguerrean artists as a sensitive, but any of the above compounds are better; besides this, the fluoric acid is a dangerous poison, and the quick made from it will not repay the risk to the health in using it.

As I have before said, great caution should be observed in examining the color of the plate, even by the feeble light allowed, which, when attained, must be immediately placed in the holder belonging to the camera and covered with the dark slide. You then pa.s.s to the

THIRD OPERATION.--Submitting the Plate to the action of Light in the Camera.--Experience alone must guide the operator as to the time the plate should be exposed to the influence of the light; this being dependent on a variety of circ.u.mstances, as clearness of the atmosphere--and here, a reference to the hygrometer will be of advantage--time of day, object to be taken, and the degree of sensitiveness imparted to the plate by the quickstuff. As I have before said, the artist should be careful to see that the interior of the camera is clean and free from dust, as the small particles flying about, or set in motion by the sliding of the holder into the box, attach themselves to the plate, and cause the little black spots, by which an otherwise good picture is frequently spoiled. Care should also be taken in withdrawing the dark slide, in front of the plate, from the holder, as the same effect may be produced by a too hasty movement. The lens is the last thing to be uncovered, by withdrawing the cap c. fig. 5., which should not be done until you have placed the sitter in the most desirable position. When, according to the judgment and experience of the operator, the plate has remained long enough to receive a good impression, the cap is replaced over the lens, and the dark slide over the plate, which is then removed from the camera.

Daguerreotypists generally mark time by their watches, arriving at the nearest possible period for producing a good picture by making several trials. As a ready method of marking short intervals of time is, however, a very important consideration, and as any instrument which will enable an artist to arrive at the exact period, must be an improvement, and worthy of universal adoption, I will here describe one invented by Mr. Constable of England, which he calls a

Sand Clock, or Time Keeper.--"It consists of a gla.s.s tube, about twelve inches long, by one in diameter, half filled with fine sand, similar to that used for the ordinary minute gla.s.ses, and, like them, it has a diaphram, with a small hole in the centre through which the sand runs.

The tube is attached to a board which revolves on a centre pin; on the side is a graduated scale, divided into half seconds; the tube is also provided with a moveable index. This instrument is attached, in a conspicuous place, to the wall. The gla.s.s tube being revolved on its centre, the index is set to the number of half seconds required, and the sand running down, the required time is marked without the possibility of error. In practice it will be found to be a far more convenient instrument for the purpose than either a clock or a seconds watch, and is applicable both for the camera and mercury box."

If the artist finds it desirable or necessary to take the object to be copied in its right position, that is reverse the image on the spectrum, he can do so by attaching a mirror (which may be had of Mr.

Anthony, or Mr. Roach) to the camera tube, at an angle of forty-five degrees.

If, after taking the plate from the camera, it be examined, no picture will yet be visible, but this is brought about by the

FOURTH PROCESS.--Bringing out the Picture, or rendering it Visible.--We now come to the use of the mercury bath, Fig. 11. To the bath a thermometer is attached, to indicate the proper degree of beat required, which should never be raised above 170 deg. Fahrenheit. The plate maybe put into one of the frames (see Fig. 11,) over the mercury, face downwards, and examined from time to time, by simply raising it with the fingers, or a pair of plyers. This operation, as well as the others, should take place in the dark closet.

[Ill.u.s.tration: Fig. 26 (hipho_26.gif)]

[Updater's note: hipho_26.gif and hipho27.gif are both captioned Figure 27.]

Sometimes, to prevent the necessity of raising the plate, an additional cover or top is made use of. It consists of a box fitted closely to the inner rim of the bath, and having an inclined top (a, Fig. 27.) The top is cut through and fitted with frames for each size of plate, like those already described, and in the back is a piece of gla.s.s (b,) through which to view the progress of mercurialization, and an additional piece (c,) on one side, colored yellow, to admit the light.

The outline only of the top is here given, in order to show every portion of it at one view.

The picture, being fully developed, is now taken out and examined; it must not, however, be exposed to too strong a light. If any glaring defects be perceived, it is better not to proceed with it, but place it on one side to be re-polished; if, on the contrary, it appears perfect, you may advance to the

FIFTH OPERATION.--Fixing the Image so that the light can no longer act upon it.--The following articles are required for this purpose:

Two or three porcelain or gla.s.s dishes, in form, something like fig. 24.

A plate support, fig. 25. Few, I believe, now make use of this, although it is a very convenient article.

Hyposulphite of Soda,

A pair of Plyers.

In Europe, they also use a drying apparatus, Fig. 27, but this, like the plate support, is a matter of little consequence, and may be dispensed with. I will, however, describe it, for the benefit of those who may wish to use it.

[Ill.u.s.tration: Fig. 27 (hipho_27.gif)]

[Updater's note: hipho_26.gif and hipho27.gif are both captioned Figure 27.]

A vessel made of copper or bra.s.s, tinned inside, and large enough to take in the largest plate, but not more than half an inch wide, is the most convenient. It must be kept perfectly clean. Hot distilled water is poured into it, and the temperature kept up by a spirit lamp.

Hyposulphite of Soda.--Having made a solution of hyposulphite of soda, and well filtered it--the strength is immaterial; about half an ounce of the salt to a pint of distilled water is sufficient--pour it into one of the porcelain dishes, put into another plain, and into a third distilled water. Immerse the plate with its face downwards into the hyposulphite, and the whole of the sensitive is removed, and the light has no farther action upon it; it is then to be removed from the hyposulphite and plunged into the plain water, or placed upon the support, fig. 25, and the water poured over it. It is then washed in a similar manner with the distilled water and well examined, to see that not the slightest particle of dust rests on the surface. The next step is to dry it.

This may be readily accomplished by holding the plate with your plyers, and pouring distilled water over it--if it is hot, so much the better.

Apply the spirit lamp to the back, at the corner held by the plyers, at the same time facilitating the operation with the breath; pa.s.s the lamp gradually downwards, finis.h.i.+ng at the extreme corner. The last drop may now be removed by a little bibulous paper. A single drop, even, of distilled water allowed to dry on any part of the surface, is certain to leave a stain which no after process can remove.

To ill.u.s.trate the necessity for having perfectly clean water, and free from all foreign matter--only to be avoided by using that which is distilled--in these processes, I will relate a little anecdote.

An operator in this city (New York) frequently made complaint to me, that his plates were occasionally very bad; coming out all over in little black and white spots and spoiling many very good pictures, regretting at the same time that perfect plates were not made, for he had lost many customers in consequence of these defects. These complaints being somewhat periodical, I suggested that the fault might be in the hyposulphite, or chloride of gold solutions, or particles of dust floating about in the room, and not in the plate.

A few days after he stated, that his plates having served him again in the same way, he procured a fresh supply of hyposulphite of soda and chloride of gold, but after applying them the result was no better. He then, by my advice, thoroughly cleaned his wash dishes, bottles and water pail, made fresh solutions and had no further trouble, becoming satisfied that the plates suffered an undue share of censure.

SIXTH PROCESS.--Gilding the Picture.--This is an improvement the honor of which is due to M. Figeau, and may take place either before the drying process, or at any subsequent period; but it improves the picture so materially that it should never be neglected. The articles necessary for gilding are--

A Pair of Plyers; or a Gilding Stand (see fig. 19) and Chloride of Gold; or Hyposulphite of Gold.

The latter is imported by Mr. E. Anthony, 205 Broadway, New York, and is decidedly the best article for the purpose. One bottle simply dissolved in a quart of water will make a very strong solution, and gives a richness to the picture impossible to be obtained from the chloride of gold. The process is precisely similar to that described below for chloride of gold, taking care to cease the moment the bubbles are well defined over the surface of the plate. Many Daguerreotypists, after a superficial trial, discard the hyposulphite of gold as inferior; but I have no hesitation in a.s.serting that the fault lies with themselves; for in every case within my knowledge, where its use has been persisted in until the correct method has been ascertained and the nature of the gilding has become familiar, it is always preferred.

In ill.u.s.tration of this fact I will relate an anecdote: