Sutton-1855-The calotype process - a hand book to photography on paper.pdf


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SUTTONÕS 



CALOTYPE PROCESS. 





' CT.tf Bfclt ? 



SUTTONÕS 



CALOTYPE 



PROCE SS. 



Unwashed Iodized Paper. 



Washed Iodized Paper. 



Photographic Institution, 168 New Bond Street. 



CALOTYPE PROCESS 



Jl Jjanfo ¤ojjIv 



TO 

PHOTOGRAPHY ON PAPER. 



BY 

THOMAS SUTTON, B.A. 

CAIUS COLL. CAMBRIDGE. 



LONDON: 

PUBLISHED BY JOSEPH CUNDALL, 

At the Photographic Institution, 168 New Bond Street ; 
AND BY SAMPSON LOW AND SON, 47 LUDGATE HILL. 



CONTENTS. 



PAGE 

Preface v 

Introduction 1 

The Positive Ñ 

Printing . . . 2 

The Negative Ñ 

The Negative Process . 7 

Chemicals 8 

Apparatus, &c 9 

First Operation ; to Iodize the Paper . . . .11 

1. By Floatation 12 

2. By Brushing 15 

To wash the Iodized Papers 16 

Second Operation ; to Sensitize the Paper . . .19 

Aceto-Nitrate of Silver 21 

Saturated Solution of Gallic Acid .... 22 

The Sensitive Solution Ñ 

To apply it 23 

Third Operation ; to Expose in the Camera ... 25 

The Time of Exposure 29 

Fourth Operation ; to Develope the Image ... 34 

The Developing Solution 35 

To apply it, &c 36 



IV 



CONTENTS. 



PAGE 

Fifth Operation ; to Fix the Picture . . . .08 

Sixth Operation ; to Wax, &c 40 

The Waxing-apparatus .41 

To Wax large Pictures .42 

Causes of Failure ....... .44 

The Printing Process 49 

Chemicals 

Printing-Room 

Apparatus 

First Operation ; to Salt the Papers . . . .52 

Salted Papers 

Albumenized and Salted 53 

Second Operation ; to Sensitize the Papers ... 55 

Sensitive Solution 

Third Operation ; to Expose in the Pressure-Frame . 57 

The Pressure-Frame 58 

The Exposure Ñ 

Fourth Operation ; to Fix and Tone the Print . . 62 

Fixing and Toning-Baths Ñ 

Fifth Operation ; to Trim and Mount .... 66 

The French Violet Tints 67 

To Mount Positives behind a Glass . . . .72 

77 



Notes . 



PREFACE. 



The following pages have been written under 
the strong conviction, that in the present state of 
photographic literature, it is utterly useless to mul- 
tiply works of this class, unless the author resolves, 
in the first place, to describe his own particular pro- 
cess, and that only ; and, secondly, to deal with that 
so faithfully and minutely, as that he may be followed 
by his reader with nearly the same degree of cer- 
tainty as though he had been seen at work at it 
himself. For the difference between success and 
failure seems now to consist in attention to minutiae 
and to the niceties of manipulation, rather than in 
any diversity of the materials employed, or any 
striking novelty in the mode of using them. 

I am at pi'esent but little known to the photo- 
graphic world, but the name of my publisher, who 
has himself witnessed the process in all its stages, 
will, I trust, be a sufficient guarantee for the truth 
of the following assertions in its favour. 

In the first place, I maintain, that if the mani- 
pulator will carefully attend to the directions here- 



VI 



PREFACE. 



after given, he will find the process, if not absolutely 
unfailing, at all events very nearly a certain one. 
And this certainty arises from the fact, that the time 
of exposure in the camera is not in this, that critical 
feature of the operation that it is in the collodion 
and the waxed-paper processes ; for here, provided the 
picture be but exposed long enough for the complete 
rendering of the w r ork in the shadows, it may then 
be exposed to a considerable extent beyond this point, 
without necessarily reddening the blacks, or em- 
browning the whites; since the mode of develop- 
ment which follows can be adapted to the aspect of 
the picture when taken from the slide, and in this 
way, good blacks and clean whites may always be 
obtained. 

Secondly, that it is a process peculiarly adapted 
to the tourist, since it requires but little apparatus, 
and involves the least possible amount of disorder or 
untidiness at inns ; for I assume the bed-room of a 
hotel or lodging-house to be the scene of the greater 
part of the processes, and I adapt my description of 
them to meet the inconveniences of this sort of 
manipulating room. 

And, finally, that by this process, and, as I 
think, by this exclusively, an enlarged field of 
action becomes open to the successful amateur, in 
the ready means which it affords for the production of 
grand and imposing pictures, such as may repre- 



PREFACE. 



vii 

sent faithfully, and artistically, the finest objects and 
scenery in the world, and of such a size and quality 
as may render them worthy to become fellow- 
occupants, on the walls of our rooms and galleries, 
with the best engravings and paintings. For the 
manipulation of these large works is exactly similar 
to that of the small ones, and involves no increased 
risk of failure whatever. 

Such are the merits of this process. It is a dry 
one upon paper not previously waxed, and it resem- 
bles in all its main points the original Ò CalotypeÓ 
process, modified by certain slight, and perhaps 
apparently trivial, differences of manipulation ; but, 
as I have said before, it is exactly through attention 
to these little matters that success and certainty are 
to be obtained, and I therefore desire to lay great 
stress upon them. 

I have throughout assumed no previous photo- 
graphic knowledge whatever on the part of the 
reader, and when the theory of any operation under 
discussion can be satisfactorily made out, I have 
given it to the best of my ability. 

Not to interrupt too frequently the thread of the 
description, I have adopted the plan of giving re- 
ferences to Notes at the end. 

Should this process, as I have described it, 
appear to the reader, at first sight , to be somewhat 
tedious and difficult, I must beg of him to bear in 



PREFACE. 



viii 

mind, that the attempt to convey an accurate idea, 
by words, of even the simplest manual operation, 
will be found by no means a brief or an easy one ; 
what then is likely to be the case with such a subject 
as the present ? I can assure him, honestly, that 
the process is, in fact, when once it shall have be- 
come familiar, an exceedingly easy and simple one. 

In describing the Printing process, I have given, 
in addition to the usual formula for albumenised 
paper, the method of obtaining the rich dark 
violet tones of the French photographers, without 
the aid of old hyposulphite ; and also, a new and 
very effective mode of mounting positives, which 
secures to them all the transparency which they may 
possess when in water. 

In conclusion, I may add, that I have taken the 
utmost pains to avoid the omission of anything which 
might conduce, in other hands, to the enjoyment of 
the same certainty that, I am happy to say, I have 
of late experienced myself. In return, it will be 
but fair in others to withhold their condemnation 
till they have made an honest trial of the process, as 
it stands recorded here, in every particular. 

Thomas Sutton. 



St. Brelade's Bay, Jersey , 
March 1855. 



1 



INTRODUCTION. 



The finished photograph on paper, which is The Positive, 
usually mounted on cardboard, and thus offered for 
inspection and criticism, is called, in common par- 
lance amongst photographers, a Ò Positive print,Ó or 
simply a Ò Print.Ó It should represent objects faith- 
fully, and without distortion, in the same manner as 
an engraving or a drawing, Ñ that is to say, the 
lights and shadows should be true to nature, the 
objects in their proper places (and not reversed), 
and the conditions imposed by the laws of plane 
perspective rigorously fulfilled. 

Our aim, therefore, in all our operations, is 
to obtain finally this Positive photograph, or Print. 

The Positive, however, is not, in the paper pro- 
cess, obtained at once (as in the daguerreotype) from 
the objects as they stand, but through the medium 

( Ç 

¥ Sr- 



's 



2 



INTRODUCTION. 



Printing. 



The negative 



viewed by 
transpa- 
rency. 



ox another photograph of the same objects pre- 
viously obtained, and called the ÒNegative;Ó and 
by a process termed Ò Printing,Ó which may either 
be executed at home by the amateur himself, or in 
printing establishments devoted to that particular 
branch of the art. 

The negative, therefore, must first be taken, and 
that by means of apparatus conveyed to the spot. 
In it the lights and shadows are all reversed , Ñ the 
sky and high lights of the objects being rendered by 
blacks, the deepest shadows by lights, and the inter- 
mediate shades by the corresponding intermediate 
gradations of tint. The position, also, of the objects, 
as regards right and left, is reversed ; and to judge 
of the merits of a negative it becomes necessary to 
view it by transparency, and with its back to the 
eye. 

There are, therefore, in photography on paper, two 
distinct operations, Ñ 

1. The production of the Negative. 

2. The printing of the Positive. 

Both operations are equally important ; for aP 
though with a feeble and imperfect negative it is 
impossible to produce a rich and good positive, yet 
even with a good negative it is perfectly possible to 
produce a very inferior and bad positive. Both 
must be equally well done to ensure the reward for 
which the photographer has to encounter no incon- 
siderable amount of trouble and difficulty. 



INTRODUCTION. 



3 



An unlimited number of prints may be taken 
from one single negative, and in this power of re- 
producing positives ad infinitum, a great advantage is 
gained over the daguerreotype process. Hence it 
becomes evident that no amount of pains or trouble No pains 
should be spared in the production of a good negative, spared in the 
Ñ a work not to be undertaken hastily, or carelessly, of the nega- 
or by the dozen, but, on the contrary, one requiring 
considerable thought and study, as regards the artistic 
composition of the picture, the proper effect of light 
and shade, &c. &c. So that, to attempt to avoid any 
part of the necessary mechanical trouble, and thereby 
to introduce the risk of failure, or the certainty of 
some inferiority in the result, would be unworthy 
and puerile in the extreme. Under this conviction, 
and at the risk of being thought sometimes un- 
necessarily prolix, I shall not hesitate to describe 
most minutely all matters connected with this impor- 
tant part of the subject, which I consider to be 
worthy of attention as conducing to a satisfactory 
result, and this quite irrespective of any additional 
trouble in the manipulation. 

To proceed, then, in the proper order of work, 
we commence with the Negative Process. 



7 



THE NEGATIVE PROCESS. 



This process involves six distinct operations, 
viz. Ñ 



1. To iodize the paper. 

2. To render it sensitive to light. 

3. To expose it in the camera. 

4. To develope the picture. 

5. To fix the picture. 

6. To wax, trim, &c., the finished picture. 



The first of these processes may he done at home, 
and at leisure. The iodized papers may be pre- 
served for an indefinite time, and a stock of them 
should always be kept on hand. The second, third, 
fourth and fifth processes are performed Ò en route;Ó 
and the sixth at home, at any convenient opportunity. 



8 



THE NEGATIVE PROCESS. 



CHEMICALS. 



The chemicals required in the negative process 
are the following : 

Nitrate of silver, crystallized or fused (Note 1). 
Iodide of potassium. 

Gallic acid. 

Glacial acetic acid (Note 2). 

Hyposulphite of soda. 

Distilled water. 



These chemicals may be obtained of sufficient 
purity, from all respectable photographic chemists. 

The first three should be kept in wzWe-mouthed 
stoppered bottles, the acetic acid in a smÇ//-mouthed 
stoppered bottle, the hyposulphite in a wide-mouthed 
bottle with a cork, or in a large earthen jar with a 
lid, and the distilled water in a half-gallon bottle 
with a glass stopper. 

One ounce of nitrate of silver, one ounce of iodide 
of potassium, one ounce of acetic acid, half-an-ounce 
of gallic acid, and one pound of hyposulphite of soda, 
will suffice for several experiments. 

The chemicals should be kept in a dry and cool 
place. 



9 



APPARATUS, &c. 



The apparatus, and other articles required in the 
negative process, are Ñ 

1. To ACCOMPANY THE TOURIST. 

The lens (Note 3). 

The camera (Note 4). 

The stand (Note 5). 

The focussing screen (Note 6). 

The dark slide (Note 7). 

A small spirit-level. 

Two dark Macintosh cloths, of different sizes. 

A box of scales and weights. 

Glass developing -slab. 

Deal board. 

Portfolio, containing blotting-paper, &c. &c. 

Two zinc dishes ; one with a thin removable gutta- 
percha lining. 

Magnifying glass (Note 19). 

Wooden paper-clips (Note 11). 

Glass tubes (Note 12). 

Cotton wool, chemically clean. 



10 



THE NEGATIVE PROCESS. 



All these articles, and certain chemicals besides, 
will be required Ò en routeÓ It may seem to be, at 
th e first glance, a somewhat lengthy catalogue; but, 
in fact, they will all be found to pack together very 
easily, and to form by no means a cumbrous parcel. 



2. Ñ At Home. 

Several dishes, made either of earthenware, or of 
zinc with gutta-percha linings; in which to wash 
iodized papers. 

A zinc apparatus for waxing negatives. 

An iodizing brush, of camelÕs hair, bound with 
silver wire. 

A graduated bottle for double iodide. 

A funnel and stand for the same. 

A one-ounce glass measuiÕe. 

A porcelain capsule and stand. 

A spirit-lamp. 

A glass mortar and pestle. 



The three last-mentioned articles will only be 
required, when it is thought advisable to fuse the 
nitrate of silver. 



11 



FIRST OPERATION. 



To Iodize the Paper. 



The whole of this process may be performed by 
daylight ; and it consists in the impregnation of the 
paper with the yellow iodide of silver. 

The following is a preliminary sketch of it : Ñ 

The yellow iodide of silver is a powder, insoluble 
in water, and in order to apply it to the paper it is first 
dissolved in a strong solution of iodide of potassium, 
forming what is called Ò double iodide.Ó This solu- 
tion is then applied in the usual way, either by 
brushing, or floatation upon a bath ; and the paper 
hung up to dry. When dry, it is placed in water for 
some hours, and the iodide of potassium dissolved 
out, leaving the yellow iodide of silver upon the sur- 
face, and in the pores of the paper, which is then 
dried again, and preserved in a portfolio until re- 
quired for use. 

Such is a brief sketch of the iodizing process, 
and the rationale of it. The mode of obtaining the 



Sketch of the 
iodizing pro- 
cess. 



12 



THE NEGATIVE PROCESS. 



Floating a 
good plan i 
wholesale 
work. 



Size of 
sheets. 



The bath. 



double iodide is given at considerable length in 
Note 8; and I proceed now to describe more 
minutely the two different modes of applying it to 
the paper. 

1. Ñ By Floatation. 

This is an excellent plan when papers are to be 
iodized for commerce , and in large quantities ; but it 
will be found a somewhat costly one for the ama- 
teur, since a considerable quantity of expensive mate- 
rial is required in the first instance to fill a bath of 
large size. 

Proceed thus, 

First, cut the requisite quantity of Paper (see 
Note 9) to the proper size of each sheet, and 
make a pencil-mark upon the back of each sheet at 
one extreme corner. The sheets should be equal in 
width, and half an inch longer than the glass of 
the dark slide. 

Place a shallow bath of plate-glass (Note 10), 
( which should be set apart for this purpose exclu- 
sively), upon a table, in a perfectly horizontal position 
between yourself and the window ; and about breast- 
high, if possible; and having seen previously, that it 
is not only clean, but dry (for if at all wet, it would 
render the solution turbid), pour the filtered double 



TO IODIZE THE PAPER. 



13 



iodide into it, to a depth of about three-sixteenths of 
an inch, and clear the surface from all air-bubbles. 

Then float the face of the paper upon it in the fol- 
lowing manner: Ñ Fold back a quarter of an inch at To float the 

¡ 1 paper on the 

the narrow end of the paper, in such a manner bath - 
that it shall not be wetted by the solution, then 
take an end corner in each hand, and suspend 
the paper vertically, with its lower edge upon the 
fluid, at a distance of an inch or two from that end 
of the bath which is nearest to you. Then gradually 
depress it upon the fluid, pushing the edge first in 
contact along the surface, until it reaches the far- 
ther end of the bath ; then allow the upper edge of 
the paper to drop g'ently on to the liquid. 

In performing this operation, take great care that 
the hack of the paper he not wetted; also, that no dry 
spots occur, untouched by the solution. 

Allow the papers to remain upon the bath for Time on the 

, , bath. 

two or three minutes, then dram them into it for an 
instant, and hang them up to dry, attaching a nar- 
row strip of blotting-paper to the lower corner, to 
facilitate the draining off of the superfluous fluid. 

They may be suspended, either by means of pins, or t 0 suspend 
needles with sealing-wax heads, or better still, by them ' 
wooden clips (Note II). When pins are used, it is 
absolutely necessanj that the chemicals should not 
touch them, as this would occasion a stain, which 
might extend for some distance down the paper. 



14 



THE NEGATIVE PROCESS. 



To remove 
the paper 
from the 
bath. 



Suspension 
of large 
papers by 
clips. 



To guard against this danger, pass the pins through 
the dry band which was folded back. Small papers 
may be suspended by one corner, but large ones will 
require to be suspended by the whole of the dry 
band, with three or four pins or clips. 

The neatest way of removing a paper from the 
bath is to raise one corner by means of a strip of 
glass held in the left hand, and to seize that corner 
by a clip held in the other. When three or four 
clips are necessary, proceed thus : Ñ Attach them all 
at the proper points before removing the paper, and 
allow them to hang over the edge of the bath ; then 
pass a rod of wood like a yard-measure through all 
the loops, and raise the paper by it, holding it in 
the middle. In this way the assistance of a second 
person will be unnecessary. The rod with the paper 
hanging from it may be supported upon two round 
hooks screwed into the under side of a bar of wood. 
It is obvious that for this manoeuvre the loops and 
clips should be all of the same length. 

The bath must be replenished as occasion may 
require ; and never allowed to get too low. 

When dry, the papers will have a reddish tint. 
They may be put away in a portfolio, until it is 
found convenient to wash them. 



TO IODIZE THE PAPER. 



15 



2 . Ñ By Brushing. 

This is the plan which I recommend to the Brushing the 
amateur. It answers perfectly well when managed amateurs/ 01 
with a little dexterity, which is soon acquired by 
practice. The brush should be a large round one. The Brush 
of camelÕs hair, bound with silver wire, and set 
apart for this purpose exclusively . 

Take a soft pine board, a little larger than the To apply the 

. , solution with 

paper, Ñ upon this lay a sheet of clean white blotting- the brush, 
paper, and upon that the sheet of negative paper to 
be iodized, face upwards, having previously made a 
pencil-mark upon its hack, at one corner. Pin it to 
the board by the two upper corners. Then pour the 
double iodide into a clean and dry wine-glass, and 
let the brush be perfectly dry when first dipped in, 
or it will render the solution turbid. Hold the 
board in the left hand, between yourself and the 
light, and inclining it gently, apply the solution with 
a full brush, copiously and fearlessly, Ñ first, longi- 
tudinally all over, and then transversely all over, 
precisely in the same manner us if laying on a broad 
sky wash in water-colours, and always keeping a flow- 
ing edge. Take care not to let the solution run be- 
yond the edge of the paper, or touch the pins. This 
done, hang up to dry as before, either by pins or 
clips. 



16 



THE NEGATIVE PROCESS. 



The iodizing being now effected either by float- 
ation or brushing, and the papers being dry, the next 
operation will be 



To Wash the Iodized Papers, 

in order to remove the whole of the iodide of potas- 
sium, and to deposit the yellow iodide of silver upon, 
and in the pores of the paper. And it is of the 
The whole of utmost importance that the whole of this iodide of 
potassium potassium should he removed. It has merely served 
moved by as th e vehicle for the conveyance of the iodide of 

washing. J 

silver to the paper; and if allowed to remain, it 
would instantly decompose the sensitive solution to 
be afterwards applied, and would render that part 
of the paper insensible to light, leaving there a white 
blotch, which would be ruinous to the picture. The 
importance, therefore, of the thorough washing, 
which I am about to describe, cannot be too much 
insisted on; as, if imperfectly and carelessly done, 
success in the after stages of the work will be 
impossible. 

The dishes. The iodized papers, when of small size, may be 
washed in earthenware dishes, kept for this purpose, 
and never used for any other; or, when of large 
size, in dishes made of zinc, about two inches deep, 
and furnished with a removable thin gutta-percha 



TO IODIZE THE PAPER. 



17 



lining. The sides of these dishes, of whatever 
material, should be upright (or very slightly inclined 
outwards), and should by no means have lips at the Dishes with- 

i . . T . . , . out lips are 

corners, which, 1 think, a great mistake; as, on to be pre- 
ferred. 

agitating the contents of the dish, the fluid is very 
likely to run over at one or all of these lips, unless 
excessive care be taken to prevent it. The dishes 
should be sufficiently large to allow the paper to be 
entirely and constantly submerged. 

Fill the dish completely with common water, To wash the 
and first, place the paper face downwards upon it. papers. 

Let it remain a minute; then remove it, and place 
it face upwards. Now, with a long feather, or 
with the iodizing brush previously washed, re- 
move most carefully all air-bubbles from the face, Kemove 
and wet it in every part. Then turn it over, and bubbles! 
do the same to the back, leaving it back upwards in 
the water. In a few minutes the back will be seen, 
in all probability, covered with minute air-bubbles; 
brush these off as before ; and change the water in 
about half - an - hour, removing the air - bubbles a 
second time, if necessary, as these would occasion 
small white spots in the negative. Allow the paper p ape rs to 
to remain face downwards in the water for twenty- water for 24 

- . . . hours. 

lour hours; agitate it occasionally, and change the 
water for the last time just before taking the paper 
out. Dry it by suspension, as described before; and 



18 



THE NEGATIVE PROCESS. 



when dry, put it away carefully in a separate port- 
folio, which keep always in a dry place. 

colour es ¡ f The following are the changes of colour which 
the paper undergoes. Before washing, it is of a 
reddish tint ; on immersion, it speedily changes to a 
blue or grey ; and, in the course of an hour or so, to 
a yellow, which is its final colour. 

paperkfono The washing should not be attempted in very 
cUsh ' cold, frosty weather ; nor should more than one paper 
be placed in a dish at a time. The number of papers 
which may be washed in one day, will therefore 
depend upon the number of dishes devoted to this 
purpose. 



Long soaking Better definition is, I find, obtainable upon 

definition. p a p ers which have been in water for twenty-four 
hours than upon those which have only been im- 
mersed for ten or twelve; very possibly in conse- 
quence of the iodide of potassium having been more 
thoroughly and completely removed, in the former 
case, from the minutest pores of the paper. 



Iodized 
papers will 
keep inde- 
finitely. 



As I have before remarked, the yellow iodized 
papers may be preserved indefinitely; and now as- 
suming the first process, viz. that of iodizing, to 
have been thoroughly understood, and accomplished 



TO SENSITIZE THE PAPER. 



19 



at home, and a good stock of papers to have been 
procured, I shall imagine the scene of operations 
transferred to the room of an inn or a house in the 
neighbourhood of the views to be taken, and shall 
proceed to the second operation, viz., to render the 
iodized papers sensitive to light. 



SECOND OPERATION. 



To RENDER THE IODIZED PAPER SENSITIVE 

to Light. 



The process of iodizing has been performed in 
ordinary daylight, the iodized papers not being sen- 
sitive to light ; but in the sensitizing of them, it is 
obvious that we must manipulate in a light which 
is not Ò actinicÓ (or, in other words, which is not 
capable of producing a chemical change on a sensi- 
tive surface). A yellow light has, happily for our a yellow 

present purpose, this advantage (otherwise the unfor- sary for sen- 
sitizing. 

tunate photographer would be condemned to work 
in total darkness, guided only by the sense of touch) ; 
and we may, therefore, avail ourselves of the yellow 



20 



THE NEGATIVE PROCESS. 



Yellow calico 
screen to the 
window. 



Better to 
sensitize on 
the day of 
taking the 
view. 



To darken 
the room. 



Drawing- 

pins. 



The dark 
cloth. 



light of a candle ; or of daylight, admitted in mode- 
ration, through a double or triple thickness of yellow 
calico, placed in the window. This being the case, 
any room may be quickly rendered available for 
photographic purposes. 

Sensitive papers generally retain their colour and 
good qualities for twenty-four hours, and sometimes 
even for several days. The sensitizing for the fol- 
lowing day may, therefore, be effected over night, 
and by the light of a candle ; but it is safer to defer 
it until the morning of the day on which the views 
are to be taken, as we are then more certain of the 
weather ; and in this case, recourse must be had to 
the screen of yellow calico before the window. 

Choose, therefore, if possible, a room with only 
one window. Pin before it ( inside the room) a large 
dark macintosh cloth, in such a way as to leave 
about four square feet uncovered, and in front of the > 
opening, pin a double or triple thickness of yellow 
calico. Drawing-pins, with flat brass heads, are 
better for this purpose than common pins, as they 
are much stronger, and may be carried in a flat 
piece of cork. 

The dark cloth should be composed of two layers 
of stuff, with india-rubber cement between them; 
and it will also be found useful for other purposes 
described hereafter. 



TO SENSITIZE THE PAPER. 



21 



Should the window he small, the yellow calico 
will suffice without the cloth. 

The room being now darkened, the door should 
he secured against any sudden intrusion, and the 
sensitizing of the paper proceeded with. 

All the chemicals which I have detailed as ne- The chemi- 

cals required 

cessary to the negative process must accompany the Òen route.Ó 
tourist, with the exception of the iodide of potas- 
sium. In addition to these, there should be a one- 
ounce stoppered bottle in a wooden case, containing 
a solution called Ò aceto-nitrate of silver;Ó a pint 
stoppered bottle, containing Ò a saturated solution 
of gallic acid in distilled water;Ó and a bottle of 
strong solution of gum arabic, with a small brush 
to apply it with. 

To make Aceto-Nitrate of Silver. 

First scratch two marks upon the bottle which Aceto- 

nitrate of 

is to contain it; one at the level of six -and -a- silver 
half drachms of fluid, the other at the level of 
one ounce. Fill the bottle accurately to the lower 
mark with distilled water, and add 50 grains of 
nitrate of silver; when dissolved, add glacial acetic 
acid until the mixture rises to the level of the upper 
mark; then shake well together. This solution is 
called aceto-nitrate of silver, and should be kept in should be 
darkness. dark Ô 



22 



THE NEGATIVE PROCESS. 



To make a Saturated Solution of Gallic Acid. 

To one pint (or twenty ounces) of distilled water 
add one quarter of an ounce of gallic acid. Let the 
bottle, containing this solution, stand for half-an- 
hot water ¡ f ^our * u a j u o ¡f hot wa ter j nearly the whole of the 
acid will then be dissolved. On the following day 
filter it, and it is ready for use. In the course of 
some few days the solution will become discoloured; 
and in this state it is better not to employ it, as it 
would certainly communicate a brown tinge to the 
paper, which is objectionable, although not abso- 
lutely fatal to the picture. A smaller quantity of 
gallic acid may be mixed, if preferred. 



The Sensitive Solution. 

Into a scrupulously clean wine-glass (Note 14), 
previously rinsed with distilled water, put 

1 ounce . . Distilled water 

Ga.llo-mtrate 20 drops . . Aceto-nitrate of silver 

of silver. x 

20 drops . . Saturated solution of gallic acid 

This is the sensitive solution ; and it is called 
weak Ò gallo-nitrate of silver.Ó (Note 13.) 

In order to count the drops easily, and at the 
same time to filter them, make two little paper fun- 



To count 
the drops. 



TO SENSITIZE THE PAPER. 



23 



nels (one for each solution) with pieces of thin white 
blotting paper, two inches square, and pour half a 
thimble-full of the solution to be measured into each. 

The gallo-nitrate is an exceedingly unstable com- ^ 0 ^) trate 
pound, and very ready to decompose and turn brown. stable ' 

It must, therefore, be used promptly, and the surplus 
immediately thrown away. It should also never be 
exposed to a ray of white light ; and the glass which ^Ò s el s 1 hould 
has once contained it should not be employed again for washed - 
the same purpose, until it has undergone the thorough 
washing described in Note 14. 



To Apply the Sensitive Solution. 

Place a sheet of clean white blotting-paper upon 
a deal board, and upon this the iodized paper face 
upwards. Pm down the two upper corners, and 
apply the solution very copiously with a BuckleÕs 
brush (Note 12), first longitudinally, and then trans- 
versely, precisely in the manner described for the See page 13. 
double iodide. Then raise the paper dexterously by 
one corner, and holding it over a basin, allow the 
superfluous liquid to run off; Ñ this done, replace it 
on the board, and blot off the remaining moisture Biot off the 

surface 

from the surface with two or three sheets of clean moisture, 
blotting-paper ; not rubbing too hard, but passing 



24 



THE NEGATIVE PROCESS. 



the hand rapidly and gently over the surface, as long 
as any wet or shining patches appear. 

The next operation is to attach the sensitive 
paper to the glass of the dark slide, which is a very 
simple matter, occupying only a minute or two, and 
is thus performed : Ñ 

sensitive tllC! With a small cameFs-hair brush apply a thin and 
fils! to 110 narrow edging of strong gum arabic all round the 
glass plate, and then lay the paper with its back upon 
it, pressing down the edges with the thumb, to make 
them adhere firmly. Then trim the overlap of the 
edges with a pair of scissors, and place the glass in 
the slide, with the sensitive paper next to the front 
shutter. Shut it up securely, and let it lie in a 
horizontal position, and face upwards, until ready to 
be packed and conveyed to its destination. 

onwlpfuf The paper will dry in a few minutes, and then 
lie as flat as the glass itself; and when exposed in 
the camera, nothing will intervene between it and 
the lens, either to disturb the focus, or absorb the 
light; but I have discussed the advantages of this 
method so fully in Note 7, that it is unnecessary 
to recapitulate them here. 

All is now ready for the third operation. 



THIRD OPERATION. 



The Exposure in the Camera. 



The point of view having been selected (if possi- 
ble, on some previous day), and the proper hour for 
taking the picture ascertained, the following articles 
must be conveyed to the spot : Ñ 



The folding portion of the camera. 
The front of the camera. 

The ground-glass screen. 

The dark slides. 

The lens. 

The stand. 



The first three may form one parcel ; they should Mode of 

1 , , packing the 

be wrapped up (the glass screen between the other apparatus, 
two) in the large macintosh cloth, and secured by 
leather straps with buckles. 

The dark slides should form another parcel ; and 
should be wrapped up in the small macintosh cloth, 
and secured by straps with buckles. 

The lens should be carried in a leather case. 

The stand should form another independent 
article. 



26 



THE NEGATIVE PROCESS. 



Careful selec- 
tion of tlie 
point of 
view. 



Duplicate 
views for tlie 
stereoscope. 



The picture 
a matter of 
much study 
and taste. 



Galleries 
visited and 
comparisons 
made. 



On arriving at the intended locality, do not 
unadvisedly adopt the first spot that offers itself, but 
carefully reconnoitre the whole vicinity, and choose 
that point of view which seems to give the most 
artistic picture. It is obvious that, in some cases, a 
single yard to the right or left may make or mar the 
whole work. I invariably adopt the plan, now, of 
taking duplicates of the view; Ñ not from the same 
point, but from different points, a few feet apart, and 
on the same level. When both pictures turn out 
well, they are adapted to the stereoscope , which is a 
great advantage. (Note 15.) 

The camera should not be placed nearer to any 
object that it is intended to include than double its 
height, or breadth. 

The selection of the point of view, and of the 
picture to be taken, must necessarily be so much a 
matter of taste, that it is impossible to lay down 
any rules upon this subject. The amateur will at 
first, no doubt, commit many blunders; and will 
find a long Ò pratique Ó necessary, before his eye 
and taste shall have become tutored to the require- 
ments of this particular branch of art. He should lose 
no opportunity of visiting galleries of photographs, 
and of comparing closely his own efforts with those 
of others. In particular, the general effects of oppos- 
ing masses of light and shadow, and of gradations of 
distance, should be carefully studied. Also the weak 



EXPOSURE IN THE CAMERA. 



27 



points of photography, Ñ such as the monotony The weak 

r . and strong 

of the skies, and the absence of life-like figures, and points of 

* # # photography 

of colour, should be carefully borne in mind ; no less Ò e d > 
than its strong ones, Ñ such as its marvellous truth- mmd - 
fulness and minute detail, artistic rendering of fore- 
grounds, rock, foliage, &c. And he will doubtless 
find, after a long and cultivated experience, that not 
merely grand ruins, or mountain-passes, or fantastic 
oddities, truthfully delineated, make good photo- 
graphs ; but that nature has been bountiful to nearly 
every locality, and that many a charming Ò little bitÓ 
of rustic simplicity, which he may have passed by 
in his novitiate as too common-place, may really 
have been well worthy of his attention. 

When the view is decided upon, plant the stand To plant the 

stand. 

firmly upon the ground Ñ for if it should move but 
a single hairÕs breadth, whilst the camera is at work, 
the picture will be spoiled. Never trust to grass, 
or soft earth, or a damp sandy beach; but thrust 
the legs firmly into solid ground, or find three flat 
stones to place underneath them. 

Having firmly planted the stand, put the camera to fix the 

.... . . camera, <&c. 

together and mount it m its place ; then, by means 
of a small pocket spirit-level, make the top truly 
horizontal. Next wipe the lens, if necessary, with a 
cambric handkerchief (not a silk one), and screw it 



28 



THE NEGATIVE PROCESS. 



See note 19. 



Camera 
should 
always be 
level. 



See that no 
light can 
enter. 



on; then put the ground glass into its place, and 
throwing the large macintosh cloth over the camera 
and your own head and shoulders, proceed to adjust 
the instrument and to focus the view as accurately as 
possible, with the help, if necessary, of a small mag- 
nifying glass. Should there be too much foreground, 
raise the slide which carries the lens to a suitable 
height ; or if too much sky, depress it. You should 
never elevate or depress the camera itself, if it be 
possible to avoid doing so; Ñ since, in the former 
case, all the vertical lines of the picture would tend 
to a vanishing point above, and in the latter to one 
beneath it, instead of being exactly perpendicular; 
which gives to buildings a very unsightly ap- 
pearance. Now, remove the ground-glass screen; 
give the thumbscrew, which secures the camera to 
the stand, an extra turn, to ensure perfect steadiness; 
place the cap on the lens; and, having satisfied 
yourself that no light can enter the instrument 
through any crevices, put the dark slide into its 
place; raise the shutter; and throw the large macin- 
tosh cloth over the top of the camera, fastening it 
underneath by means of the straps, if there should 
be much wind. 

All is now ready for the exposure. 

Remove the cap from the lens, and note the 
exact time by your watch. 



EXPOSURE IN THE CAMERA. 



29 



The Time oe Exposure. 

Photography has not yet arrived at perfection; 
and we are unable, at present, to take views instan- 
taneously with certainty; some definite time of 
exposure is necessary, to enable the light sufficiently 
to impress the sensitive surface. In the daguerre- 
otype, the collodion, and the waxed-paper processes, 
this time of exposure is a matter of great nicety ; for Bffects of 
a picture taken by any of these methods, when under- sure in 
exposed, is defective in the details of the shadows; cesses P 
and when over-exposed, is solarized, or enfeebled and 
reddened. But in the process which I am advocating 
here, qreater latitude is allowable , since a considerable Greater lati- 

7 *' _ tude allow- 

amount of over-exposure may occur without necessarily able in 
ruining the picture ; as will be understood when I 
say, that in the processes just before alluded to, the 
mode of development is invariable, be the exposure 
long or short ; while in this it can be so modified 
as to suit the visible state of the picture when removed 
from the slide ; and a strong negative may always be 
obtained. 

When the photographer has ascertained by ex- Rules for 

r ¡ r _ finding the 

periment the time of exposure for a particular lens 
and diaphragm under certain conditions of light, f e Õ^ e r a ent 
he may then calculate at once the necessary time for 



30 



THE NEGATIVE PROCESS. 



The same 
lens with 
different 
stops. 



Example. 



Different 
lenses with 
the same- 
sized stop. 



a different lens and diaphragm, at work under simi- 
lar conditions, by bearing in mind the following 
facts : Ñ 

The time of exposure will depend on the in- 
tensity of the light in the image, and it will be 
inversely proportional to that intensity ; that is to 
say, the greater the intensity the less the time. 

Now, first, this intensity of light in the image 
will be exactly proportional ( cceteris paribus) to the 
size of the diaphragm, Ñ that is, to the square of its 
diameter. (For a circle of one inch diameter is four 
times as large as another of half-an-inch diameter, 
and so on.) 

It follows, therefore, that with the same lens the 
time of exposure will vary inversely as the square of 
the diameter of the diaphragm employed. 

For example, if a certain lens with a diaphragm 
of one inch in diameter will take a picture in one 
minute, then with a diaphragm of half-an-inch it 
would require an exposure of four minutes ; or with 
a three-inch aperture, the view would be taken in 
seven seconds. 

Secondly, the intensity of light in the image 
will depend upon the focal length of the lens ; and 



EXPOSURE IN THE CAMERA. 



31 



the rule is, that this intensity ( cceteris paribus) will 
vary inversely as the square of the focal length. 

For example : two lenses of equal aperture, and Example, 
at work at the same time upon the same subject, 
have focal lengths respectively, of eighteen inches 
and six inches, the time of exposure required for the 
first will be nine times that for the second. 

For different lenses and diaphragms, the rule 
will be that Ñ 

The time of exposure will vary directly as the Parent 

1 J J lenses and 

square of the focal length, and inversely as the square stops - 
of the diameter of the diaphragm, or aperture. 

For example: two lenses Ñ one of three inches Example, 
aperture and six inches focal length, the other of 
half-an-inch aperture and eighteen inches focal length 
Ñ are at work together; then the ratio of their 
times of exposure will be that of 324 to 1. So 
that if a picture could be taken by the first in one 
second, it would require five minutes and twenty- 
four seconds by the other, Ñ a difference which could 
never have been guessed a priori , and which will 
show the importance of rules. importance 

But we may occasionally depart from exact rules, 
and adopt approximations to them without any 



32 



THE NEGATIVE PROCESS. 



Approxi- 
mate rule 
for different 
lenses with, 
same-sized 
stop. 



Example. 



Time for a 
picture, 

9 inches by 7, 
ill the sun. 



The most 
favourable 
light for a 
view. 



practical disadvantage ; and the following will be 
found at times a very useful guide, although not 
strictly correct in all cases. 

The time of exposure with different view lenses, 
having the same-sized aperture, will he proportional 
to the size of the picture taken by them (or very 
nearly so). 

Suppose, for instance, that three lenses of the same 
aperture are at work together ; that the first takes a 
picture twelve inches by ten inches, the second nine 
inches by seven inches, and the third four inches by 
three inches. Then the times of exposure for the 
first, second, and third, will be as 120 to 63 to 12, Ñ 
that is, the first picture will require twice as long an 
exposure as the second, and ten times as long as the 
third. 

A picture, nine inches by seven inches, with a 
half-inch diaphragm, and without difficult masses of 
shadow, would require, in full sunshine, an average 
exposure of about four minutes ; and with an inch 
diaphragm, of about one minute. 

The most favourable circumstances of light under 
which a picture can be taken are, when cloud and 
sunshine alternate; for when sunshine prevails dur- 
ing the whole of the exposure, the contrasts are 
frequently too violent to be pleasing. 



EXPOSURE IN THE CAMERA. 



33 



Figures in motion across the view produce little 
or no effect ; but should one remain still, during figures - 
any considerable part of the exposure, and then 
move off, this will certainly occasion a blemish. 

The picture having been exposed for the time 
deemed necessary for the perfect rendering of the 
objects in shadow, replace the cap on the lens, shut 
the slide, and pack up as before. 



D 



34 



THE NEGATIVE PROCESS. 



FOURTH OPERATION. 



To Develope the Latent Picture. 



This must be done either in a room darkened as 
before described for sensitizing, or in the evening by 
candle-light. In the latter case, the candle should 
a dip-candie be either a rushlight or a small dip, not a composite 
used. or wax-candle ; and it should not be brought within 
a yard of the sensitive paper. The camera tripod 
may be conveniently used as a stand for the candle. 

Cover the table upon which you are about to 
work with one of the dark macintosh cloths, and 
upon the floor, close at hand, place a zinc dish, 
having a thin gutta-percha lining, half filled with 
common water. 

Upon the table place the other zinc dish (which 
To arrange should be larger than the developing slab), and 

the develop- . 

ing slab. across the top of this, two bars of wood, on which to 
lay the glass developing slab (which should be quite 
clean). Then, by means of the spirit-level, level the 



TO DEVELOPE THE PICTURE . 



35 



slab exactly, by putting pieces of paper, or little 
wedges, under the zinc dish. Any of the developing 
fluid which may run over the edge of the slab will 
then be caught in the dish beneath, and perfect cleanliness 

ensured. 

cleanliness be ensured. 

Lay a sheet of clean white blotting-paper upon 
the deal-board, and then remove the glass from the 
dark slide. When the picture is of very large size, 
this should be done thus : Ñ Take out the hack, and To remove 

. the glass 

place the slide upon the floor, leaning against the when large, 
leg of a table or chair, the glass outwards, then, 
with the right hand against the glass, incline the 
slide gradually towards it with the left, until the 
plate falls fairly out by its own weight upon the 
right hand. In doing this, he careful on no account 
to touch the sensitive paper with the fingers. 

Remove the paper from the glass by means of a To remove 

1 1 _ the paper 

sharp penknife passed all round beneath it, then pin from the 
it to the deal-board face upwards, and shelter it from 
the light, whilst making 

The Developing Solution. 



This is gallo-nitrate of silver, much stronger Proportions 

¥ i _ ... , . to be ob- 

than that previously used for sensitizing, and in served de- 

1 J pend on the 

which the proportions to he observed between the aceto- aspect of the 

1 r picture. 

nitrate and the gallic acid will depend upon the aspect 
of the picture when taken from the slide. 



36 



THE NEGATIVE PROCESS. 



No trace 
visible. 



Should no trace whatever of the picture be visi- 
ble, mix aceto-nitrate of silver and saturated solution 
of gallic acid in equal proportions. 



Slight indi- 
cations. 



Should the sky and high lights of the picture be 
slightly browned, add two parts of aceto-nitrate to 
three parts of gallic acid. 



Strong indi- Should the sky and high lights be very strongly 

cations. J 

out, through great over-exposure, add one part of 
aceto-nitrate to three parts of gallic acid. 



To apply the 

developing 

solution. 



The developing mixture should be made quickly 
in a clean wine-glass (Note 14), and as nearly as 
possible by guess, since the exact proportions to a 
great nicety are not material. It will require a 
whole glass full to cover a picture twenty-four inches 
by twenty inches. 

Apply it rapidly with a clean BuckleÕs brush 
(Note 14) in the usual manner, keeping a flowing 
edge, and not passing over the same place twice, 
but bringing the solution gradually down the paper 
like an advancing tide. Begin with the sky. Always 
use a full brush, and be careful to leave no dry 
spots untouched by the solution. 

The whole picture should be covered in less than 
a minute. 

Wait a minute or two, until the development 



TO DEVELOPE THE PICTURE. 



37 



commences, and then repeat the process in precisely 

the same manner with gallic acid alone. Use the Finish with 

gallic acid 

same glass and the same brush, and apply the alone, 
gallic acid copiously, first longitudinally, and then 
transversely. 

Next, 

Pour some gallic acid copiously upon the middle 
of the slab (which should be a little larger than the 
picture), and spread it all over by means of the 
brush just in use. Now remove the picture from 
the board, and with some dexterity, drain it upon 
the slab, and then lay it, face downwards, upon it. Lay it on the 
It will soon become perfectly flat. 

The development, which ought now to be ad- 
vancing rapidly, must be carefully watched. When 
the dark parts of the picture begin to appear through, 
at the back of the paper, it will be time to lift up 
the corners and examine the front. The development whentostop 
should not he arrested until the details in the deepest ment - 
shadows are fully out. It may be hastened by pour- 
ing hot water into the zinc dish beneath, but I do 
not recommend this as a rule. 

Be very careful not to wet the hack of the negative stams on the 
with the developing solution, since the stains upon 
the hack would show in printing quite as much as 
those upon the face. 

The development being completed (the time will 
vary from ten minutes to an hour), drain the paper 



38 



THE NEGATIVE PROCESS. 



for an instant, and lay it, face upwards, upon the 

rteveiophig 16 ^ oav( ^ as before ; remove all the surface moisture by 
solution. blotting-paper (Note 16), and then place it, face 
downwards, upon the water in the zinc dish, Ñ after- 
wards face upwards ; wash it well by agitating the 
dish ; then change the water and wash it again. 

It is now ready for the fifth operation. 



FIFTH OPERATION. 



To Fix the Picture. 



ti vjnf pl the The object of the fixing process is, to remove 
from the paper all that remains of the developing 
solution, and the whole of the iodide of silver. The 
picture wdl then be no longer sensitive to light. 

To effect this, make a solution of hyposulphite 
of soda in common water ; the strength is not mate- 



TO FIX THE PICTURE. 



39 



rial ; about one ounce of hypo to six ounces of water 
will be very rapid in its action. Put enough of this 
to cover the paper completely into a zinc dish lined 
with gutta percha; then submerge the paper in this ^dissolve 
solution, and leave it there until the whole of the 
yellow iodide shall be dissolved out; which can only 
be ascertained with certainty by daylight. 

Finally, wash the picture in abundance of com- 
mon water, to remove all traces of the hyposulphite, The hypo^ 
which if left in would eventually destroy it; change removed, 
the water at least six or eight times; leave it to 
soak in water for several hours, and then hang it up 
to dry. 

When the hyposulphite solution (which may be 
used several times) gets weak and discoloured, it Throw away 
should be thrown away, as of no further use either 
for negatives or positives. 

There is no absolute necessity for fixing the nega- 
tives immediately after their development, and whilst No necessity 
en route, although this is the safer plan. They ª ce - 
may be kept for days, or even weeks, screened from 
the light, in a portfolio, without much risk, and may 
be fixed at a convenient opportunity, several at a 
time. If this plan be adopted, then all the para- 
phernalia of the fixing process may, in general, be left 
at home. In this case the unfixed negatives should 



40 



THE NEGATIVE PROCESS. 



be well washed in water, and dried in the dark, or 
in a feeble light, before being put away. 



The finished The negative is now finished, and tolerable 

negative im- t _ ... 

proved by prints might be obtained from it in its present 

waxing. 1 ¡ A 

state ; but it would be greatly improved if rendered 
more transparent ; and this is readily accomplished 
by saturating the substance of the paper with w'hite 
wax ; as will be described in the next operation. 



SIXTH OPERATION. 



To Wax, etc. the Finished Picture. 



First, trim the edges with a sharp knife, upon a 
thick board either of poplar or sycamore, having two 
adjacent sides accurately straight and at right 
angles. For this, select if possible, some prominent 
vertical line in the picture; and by the help of a 
carpenterÕs square cut the sides parallel to that, and 



TO WAX THE PICTURE. 



41 



afterwards the top and bottom, at right angles to 
them. 

Some judgment and taste will be necessary in The shape 

J 0 requires 

determining the best proportions for the picture ; for jasteand^ 
we must not by any means invariably retain all that 
we have got, but balance the objects properly. 

To wax the pictures (when not of the largest Th^waxmg 
size), procure the following apparatus : Ñ An earthen- 
ware dish, with upright sides, sufficiently large to 
receive them, and which is to stand in a zinc dish, 
supported, at about a quarter of an inch from the 
bottom, by diagonal strips of zinc in the corners. 

The whole is to stand upon two blocks of wood 
about four inches thick. 

Pour boiling water into the zinc dish, up to the To apply the 
proper level, and keep it at a boiling heat by means 
of a spirit-lamp placed underneath. Put the earth- 
enware dish into its place, and rub a cake of clean 
white wax (which speedily melts) all over the 
bottom ; lay the negative, face downwards upon 
this, and then rub the wax all over the back of 
it ; turn it over and do the same to the face. In 
this way many negatives may receive a coating of 
wax in a few minutes, and the heat will cause the 
wax to penetrate thoroughly the pores of the 
paper. 



42 



THE NEGATIVE PROCESS. 



Negatives Dry the negatives well before the fire previously to 
dry. waocing them , or they will not imbibe the wax equally. 

Also, take care that no water finds its way into the 
earthenware dish with the wax. 

w¡axout the Finish, by ironing the negatives between sheets 
of blotting-paper (Note 16), with a moderately hot 
smoothing-iron, until no shining patches of wax 
remain on either side. And in doing this be careful 
not to crease them, as it would be impossible to re- 
move these marks entirely by any subsequent treat- 
ment. 

The blotting-paper should be renewed when it 
becomes saturated with wax. 

They will now be very transparent, and when 
held up to the light may be thoroughly examined. 

To waxv er y Very large pictures must be waxed differently in 
tures - consequence of the difficulty of obtaining an earthen- 
ware dish of sufficient size. The best plan for these 
will be, to melt the wax in a jar, placed in a saucepan 
of boiling water, and to apply it to both sides of the 
negative with a new and clean paint-brush. Then 
hold the negative before a good fire, turning it re- 
peatedly, and allowing the superfluous wax to run 
off by one corner into the jar again. Afterwards 
iron as before. 

Should a negative require to be retouched in any 



TO WAX THE PICTURE. 



43 



part, this should be done after waxing, with Indian Torctouch a 
ink, ground on a plate in the usual way, and to 
which a few drops of albumen, or a little ox-gall, 
have been added. 



The process for negatives is now completed. 
They should be very carefully preserved in a portfolio, 
and when in use handled with much caution ; as if 
tumbled, or stained with chemicals, they will he irre- 
trievably ruined. 



Preserve 
them care- 
fully. 



N.B. Ñ Every requisite for the practice of this 
art, as described by the author, and of guaranteed 
quality, may be obtained at the Photographic Insti- 
tution, 168 New Bond Street. A price-list will be 
found at the end. 



44 



THE NEGATIVE PROCESS. 



Bad iodized 
paper. 



Dirty tubes 
and glasses. 



Too strong a 
light. 



Too short an 
exposure. 



CAUSES OF FAILURE. 



The most frequent causes of failure in the nega- 
tive process are Ñ 

1. Insufficient or careless washing of the iodized 
papers, which will occasion innumerable small white 
spots, or large white blotches in the negative. 

2 . Dirty glasses and tubes, in the washing of 
which the directions given in Note 14 have not been 
rigorously attended to, and which will occasion all 
sorts of dirty stains and streaks. 

3. Too strong a light upon the sensitive papers 
during the processes of sensitizing or development, 
which will produce general discoloration. 

4. Too short an exposure in the camera, in con- 
sequence of which the due development of the 
shadows will not be attained, and the picture be 
defective in the half tones. 



CAUSES OF FAILURE. 



45 



5. The employment of the same vessels for Use of tlie 

x J same vessel 

several different purposes, is an untidiness and 
want of method in the work, which will be sure to 
involve many a severe penalty, in the way of failures 
and misfortunes, particularly when hyposulphite has 
been allowed to come in contact with other chemicals. 

Excessive cleanliness , and strict attention to di- cleanliness 
rections, will in general ensure success ; for the pro- g^ e ¨g Sure 
cess is, I believe, as certain, when fairly carried 
out, as anything of this nature can possibly be ex- 
pected to be, and far more certain, than any other 
with which I am acquainted ; and I am sufficiently 
familiar with them all, to be able, I hope, to form a 
fair estimate of their comparative merits. 

With respect to the use of the BuckleÕs brush, The BuckieÕs 

r < brush. 

which I have recommended for laying on the gallo- 
nitrate, and which may be seriously objected to by 
some, it must he observed, that the mode of apply- 
ing the solution with this useful little article is not 
by any means that of random mopping or daubing, Random 
but that considerable method is to be observed in the daubing not 
use of it ; for when properly handled, and the board 
gently inclined, the solution proceeds steadily down- 
wards in an advancing tide, and the paper becomes 
wetted quite as uniformly and evenly as if a glass rod 
had been employed to spread it, or as if it had been 
gradually depressed upon the surface of a bath. And 



46 



THE NEGATIVE PROCESS. 



Use of blot- 
ting-paper 
not inju- 
rious. 



Proportions 
of aceto- 
nitrate 
should be 
exact. 



this may be easily proved by applying a flat wash of 
some water colour to the paper by the three different 
methods, and comparing the results when dry. 

The use of the blotting-paper for removing the 
surplus sensitive solution is also considered by some 
as highly objectionable; but I am inclined to sus- 
pect that, if the truth could be exactly ascertained, 
in many failures the real cause would turn out to he, 
not the unfortunate blotting-paper (which, when 
clean, must be perfectly harmless,) but a far more 
serious evil, viz. that of placing the sensitive side of 
the paper in contact with the dirty glass of the 
common slide. For my own part I have never ex- 
perienced any failures which I could fairly attribute 
to the use of clean white blotting-paper. 

On the occurrence of failures, amateurs are but 
too ready to call in question the purity of the chemi- 
cals employed ; but when these have been purchased 
of a respectable firm, they may be tolerably certain 
that the fault is rather their own . When every 
care has been taken apparently, in every stage of 
the manipulation, and the work, nevertheless, prove 
a failure, it will be well to make a fresh solution 
of aceto-nitrate ; for should the proportions of the 
sensitizing solution have been exactly correct, the 
paper will either brown all over , through the presence 
of too little acid; or have lost its sensitiveness , through 
an excess of it. 



49 



THE PRINTING PROCESS, 

or that by which the positive photograph is obtained 
from the negative , involves the following five opera- 
tions, viz. : Ñ 

1. To salt the paper; or, to albumenize and 

salt it. 

2. To render it sensitive to light. 

3. To expose it to the pressure-frame. 

4. To fix and tone the picture. 

5. To trim and mount the finished picture. 



These operations are more troublesome than 
those which I have descxubed in the Negative pro- 
cess; the Printing should, therefore, never be at- 
tempted away from the resources of home. 



E 



50 



THE PRINTING PROCESS. 



THE CHEMICALS 
For ordinary required in this process are, Ñ 

printing. 

Acetic Acid. 

Nitrate of Silver. 

Hyposulphite of Soda. 

Chloride of Gold. 

Common Salt, or Hydrochlorate of Ammonia. 
Distilled Water. 

F .¡* the Or, for the rich dark violet tints, so much 

violet tints. J 

admired in many French photographs, Ñ 

Hydrochlorate of Ammonia. 

Ammonia. 

Nitrate of Silver. 

Sel dÕOr (Hyposulphite of Gold). 

Pure Hydrochloric Acid. 

Hyposulphite of Soda. 

Distilled Water. 



THE PRINTING PROCESS. 



51 



THE PRINTING-ROOM 

should be provided with a sink and tap, with Sinkandtap. 
an abundant supply of water. There should also 
be convenient benches to carry the dishes, and the Benches, 
means of hanging up papers to dry. The window 
should be provided with a yellow curtain, which ^ ow cur Ô 
may be drawn at pleasure. A dark cupboard will Cupboard, 
also be found very useful. 

The floor of this room will be infallibly stained, 
in spite of every precaution. Let no one deceive 
himself by imagining the contrary. 



THE APPARATUS 
will consist of Ñ 

Several earthenware dishes, with upright sides, 
and without lips. 

A bath of plate-glass, or gutta-percha, for the 
nitrate solution (Note 10). 

One or more pressure-frames (Note 17). 

Wooden paper-clips (Note 11). 

Bottles, funnels, portfolios, and the usual sun- 
dries. 



52 



THE PRINTING PROCESS. 



Plain papers. 



Albume- 
nized papers. 



Positive 

paper. 



Size of 
sheets. 



See page 12. 



FIRST OPERATION. 



The salting may be performed in ordinary 
daylight. Papers simply salted are called plain 
papers ; when albumenized and salted, they are 
called albumenized papers. These latter have a 
glazed or varnished appearance, and the shadows a 
peculiar depth and transparency. The former more 
nearly resemble engravings. The fashion in Eng- 
land just now, is in favour of albumenized papers. 

The paper commonly used for positives is that 
manufactured in France by Messrs. Canson freres, 
see Note 9. It should be cut into sheets a little 
larger every way than the negative. 

Plain Salted Papers. 

Make the following solution : Ñ 

Distilled water . . .1 pint (20 ounces). 

Common salt . . .5 drams. 

Filter, if necessary ; and then pour it into a clean 
dish a little larger than the papers to be salted. 
Mark the back of each in one corner, and float it in 
the usual way. Allow it to remain five minutes upon 
the bath, and then hang it up to dry. 



THE PRINTING PROCESS. 



53 



When dry, salted papers may he preserved inde- 
finitely in a portfolio, kept for this use, and always 
in a dry place. 

When positives are intended to be coloured by 
the artist, they should be printed upon plain and not 
upon albumenized paper. 

Albumenized Papers. 

Into a very large basin put 

The whites of two dozen fresh eggs. 

Distilled water . . . half a pint (10 ounces). 

Common salt . . . one ounce. 

Beat the whole to a very stiff froth with either a 
silver or a wooden fork (not an iron one). Cover the 
basin, and let it stand undisturbed for twenty-four 
hours. Then, filter into the dish through two layers 
of fine muslin, previously damped; taking care to 
keep the neck of the funnel beneath the surface 
of the liquid, in order to prevent the formation and 
escape of air-bubbles. Then, clear the surface from To avoid air- 

r Õ bubbles. 

these, should there be any, and float the paper in the 
usual manner. Let it remain upon the bath for ten 
seconds only , and then hang it up to dry. When 
thoroughly dry, albumenized papers may be pre- 
served indefinitely, in a portfolio kept for the pur- 
pose, in a dry place. 

Should the albumen have been imperfectly 
beaten up, it will be very liable to form streaks upon 



54 



THE PRINTING PROCESS. 



To avoid 
streaks. 



Less glaze 
given by a 
longer float- 
ation. 



Hydrooklo- 
rate of am- 
monia. 



the paper when hung up to dry. In this case it will 
be necessary to beat it up again , and not to proceed 
with the work until the following day ; as every 
paper would be infallibly spoiled. 

Some photographers recommend to place the 
albumenized papers, one at a time, between two 
sheets of thin glazed paper, and to iron them with a 
moderately hot smoothing-iron, in order to coagu- 
late the albumen; but this is, I think, superfluous, 
as the necessary coagulation is effected in the next 
process by the nitrate bath. 

It is a curious fact, that by increasing the time of 
floatation upon the albumen bath, a less amount of 
glaze is imparted to the paper. 

Hydrochlorate of ammonia has been recom- 
mended instead of salt, as being less deliquescent. 
It is, however, liable to contain iron ; and with re- 
spect to the tone which it imparts to the picture, it 
has, so far as I have observed, no advantage what- 
ever over salt, in this process. 

I may make the same remark with respect to 
several other chlorides which have been recom- 
mended ; such as those of barium, calcium, stron- 
tium, potassium, &c. I have tried several of these, 
but I give the preference to salt. Sea-water answers 
perfectly well. 



55 



SECOND OPERATION. 



To Render the Papers Sensitive. 



This must, of course, be done in a yellow light. 

The Sensitive Solution 
is as follows : Ñ 

Distilled water . . 1 pint (20 ounces).. 

Nitrate of silver . . . 2| ounces. 

Glacial acetic acid . . 4 drams. 

Pour this into a bath of plate-glass, or gutta percha 
(with a very flat bottom), to the depth of about 
three-sixteenths of an inch ; then float the papers 
upon it, face downwards, in the usual manner. 
Whether plain or albumenized, allow them to re- 
main upon the hath at least five minutes ; and then 
hang them up to dry. 

Before floating the papers, some persons recom- 
mend to rub them with a cambric handkerchief on 
the face, in order to remove any crystals of salt 
which might have formed there. 

Albumenized papers should be perfectly dry 
when placed upon the bath, or they are liable to 
become stained by it. Should this danger be appre- 



56 



THE PRINTING PROCESS. 



Value of the 
acetic acid in 
preserving 
the colour 
of sensitive 
papers and 
improving 
the tone of 
the proof. 



Difference 
between 
positive and 
negative 
papers. 



Discolora- 
tion of the 
nitrate-bath. 



hended, they may be dried before the fire until per- 
fectly crisp. 

The sensitive papers should be dried in a yellow 
light, and when dry, kept in a portfolio until re- 
quired for use. They will preserve their colour and 
good qualities for several days or even weeks; a valu- 
able property which is mainly due to the addition of 
the acetic acid to the bath. The acid has also the 
effect of assisting in the coagulation of the albumen, 
and in my opinion it improves the tone of the pic- 
ture, particularly in the lights, imparting to them an 
agreeable grey tone, instead of the unpleasant green- 
yellow, which is too common in positive prints. The 
acetic acid, however, must not be considered as a 
necessary ingredient in this bath ; since the majority 
of photographers do not employ it. # 

There is this difference between papers rendered 
sensitive by the positive and the negative processes. 
Papers sensitized by the latter method turn of a 
pale brown tint the instant they are exposed to the 
light ; and do not become darker by any subsequent 
amount of exposure. Sensitive positive papers, on 
the contrary, darken gradually on exposure to 
light ; and attain eventually very deep and rich 
tints, such as are fitted to form the shadows of a 
picture. 

The nitrate-bath becomes discoloured by use. A 
slight amount of discoloration is of no importance ; 
but in time it becomes necessary to filter it through 



THE PRINTING PROCESS. 



57 



animal charcoal, in order to restore its transparency. Filtered 

. through 

To do this, put a tea-spoonful of the charcoal into a charcoal 
funnel of filtering paper, and filter slowly in the 
usual way. 

The bath also becomes weaker by use ; fresh 
nitrate of silver must, therefore, be added, when 
necessary. 

When not in use, the solution should be kept in 
the dark. 



THIRD OPERATION. 



To Expose in the Pressure-Erame. 



This may he done, either in sunshine or in ordi- The ex- 

J 111*1 P 0sure a 

nary daylight, and equally good results obtained, mer^que^ 

The difference is merely one of time. In the sun, a 

print may be obtained in from four to ten minutes, 

according to the strength of the negative ; while in 

the shade, or in diffused daylight, it might require 

as many hours ; but if sufficient time be allowed, the 

result will be the same in both cases. 



58 



THE PRINTING PROCESS. 



The apparatus in which the positive is printed is 
called 

The Pressure-Frame. 

formof St The most simple form of pressure-frame (for other 

frame 16 forms consult Note 17) consists of two thick plate- 
glasses, of the same size, with a piece of cotton 
velvet between them. 

It is to be used thus Ñ 

Lay the velvet upon one of the glasses ; on it, the 
sensitive positive paper, face upwards, and the nega- 
tive to be printed, face downwards on that ; then 
lay the other plate-glass (which should be clean and 
free from imperfections) upon the hack of the 
negative. 

paper should The positive paper should be perfectly dry, or 
twegative the face of tlie negative in contact with it will become 
ruiiiod. spotted, and the negative ruined. Should any doubt 
exist as to the perfect dryness of the positive paper, 
it should be held at a moderate distance from the 
fire just before using. A sort of half-light is allowable 
in the room in which this is done. The yellow screen 
before the window is unnecessary. 

The Exposure 
to the light is effected thus: Ñ 

Carefully convey the two plate-glasses, with the 
papers between them, into the open air, and place 
them, in a horizontal position, upon a chair or table ; 



THE PRINTING PROCESS. 



59 



the back of the negative, with the glass upon it, 
upwards. 

The light will now pass through the lights (or How the 

¡ J positive is 

more transparent parts) of the negative, and darken produced, 
the sensitive paper beneath; thus producing the 
shadows of the positive; while the darker parts of 
the negative will, in a greater or less degree (ac- 
cording to their intensity), retard its action, and 
preserve the sensitive paper beneath from being acted 
on, Ñ thus producing the lights and half-tones of the 
positive. 

Since the lights and shadows are reversed in the 
negative, and again reversed in the process of printing 
from it, it follows that they will be ultimately true to 
nature in the positive ; and the same will be true of 
the relative position of the objects , as regards right 
and left. 

The operation of printing must not be arrested when to 
until the lightest tints of the positive shall have become prmtmg - 
one or two shades darker than they are desired to be 
ultimately ; for these tints will be reduced in strength, 
by that amount, in the subsequent process of fixing 
and toning the picture. 

Since the positive paper is larger than the nega- Use of the 
tive in contact with it, it will present an outside border, 
border exposed directly to the action of the light. 

From the changes in tint which this border visibly 
undergoes, a tolerably correct idea may be formed of 



60 



THE PRINTING PROCESS. 



Bad effects 
of too violent 
contrasts 
in the nega- 
tive. 



tiie progress of the picture. With a good negative, 
the process should not be arrested until the outside 
border of the positive paper shall have assumed a 
bronzed or metallic appearance. The shadows of the 
positive will then be in the state which precedes this 
bronzing, and of sufficient intensity. To proceed 
with the printing beyond this point would be in- 
jurious. 

The print is the test of the quality of the nega- 
tive. 

Should the negative be of the proper strength, 
the printing may be pushed to the extreme limit for 
the lights without injury to the shadows; that is, 
without bronzing or deepening them to such an 
extent as to bury and obliterate the details which 
they ought to possess ; at the same time that the 
shadows will have acquired depth sufficient for a 
strong and pleasing picture, in which the necessary 
amount of contrast is observed. 

Should the negative be of too great intensity , 
(through rzncfer-exposure, or any other circumstance), 
it will be found impossible sufficiently to bring out 
the details and gradations of tone in the lights, 
without bronzing and ruining the shadows. The 
lights will therefore remain unmeaning chalky patches 
in the positive j the contrasts will be violent ; and 
the result extremely disagreeable. Such negatives 
aie said to be hard and dry ; and deficient in half-tones . 



THE PRINTING PROCESS. 



61 



Should the negative, on the contrary, be too B^effects 
feeble , that is, possessing too great a uniformity of negative, 
tone, and too little force of contrast between the lights 
and the shadows ; then, the positive will be equally 
deficient in contrast, for in printing it, the lights will 
either so rapidly acquire the necessary depth (from 
want of vigour in the blacks of the negative), that 
the shadows will not have had time to darken suf- 
ficiently, and a pale, worthless positive be the result ; 
or, by pushing the printing to the necessary point 
for obtaining depth in the shadows, the lights will 
have darkened also to such an extent, as to render 
the picture a monotonous dark mass, devoid of high 
lights or relief of any kind. Such negatives ought 
to be of very rare occurrence in the process which I Feeble nega- 

* 7 tives should 

have been describing; they are, however, but too ^ r ffi H o ccur 
common in other branches of photography, and in process - 
general proceed from over-exposure. 

The fact that an over-exposed negative can be 
strengthened to the proper intensity, by a change 
in the development, is an advantage so peculiar to 
the process which I have described, and one of such 
inestimable value , that I may be excused for so 
frequently bringing the circumstance before the 
reader. I know of no other process in which this 
is possible to anything like the same extent. 



62 



THE PRINTING PROCESS. 



FOURTH OPERATION. 



To Fix and Tone the Print. 



When sufficiently printed, remove it from the 
pressure-frame, and place it at once in 



The Fixing-Bath, 

which is composed of Ñ 

Hyposulphite of soda 6 ounces, 

Distilled water l quart. 

Allow it to remain in this for about ten minutes, 
then remove it and place it in 

The Toning Bath, 

which is composed of Ñ 

Hyposulphite of soda .... 5 ounces, 

Distilled water 1 quart, 

Chloride of silver 2 drams (Note 18), 

Chloride of gold 15 grains. 



THE PRINTING PROCESS. 



63 



Allow it to remain in this, until it acquires the 
tint which may be thought most agreeable. The 
time will vary from half - an - hour to six hours. 

Then remove it and wash it well in common water ; 
place it once more for five minutes in the fixing- 
bath ; then wash it again in abundance of water, ah the hy- 

Õ ¡ _ posulphite 

changed several times, and finally leave it to soak Ò^edTout 
for twenty-four hours in a tub of clean water, 
in order to remove all traces of hyposulphite; then 
hang it up to dry. 

The best form of vessel for containing these hypo- 
baths (as they are termed) is a deep earthenware 
pan. When the toning-bath becomes low, replenish 
it from the fixing-bath, and add more chloride of 
gold when necessary, the fixing-bath being afterwards 
replenished with fresh solution. The fixing-bath 
will always contain chloride of silver, which it has 
abstracted from the prints fixed in it; there will con- 
sequently be no necessity for renewing the chloride 
of silver in the toning-bath, as that will be sure to 
accumulate. 

The toning-bath, when not in use, should be To avoid the 
kept in a bottle, and the black sediment allowed to 
settle to the bottom. When required, decant care- 
fully the clear part of the solution into the bath. 

This bath improves greatly by age. It is never too 
old. 



64 



THE PRINTING PROCESS. 



Changes o 
tone. 



It should be 

deeply 

printed. 



The red 
colour given 
by the fix- 
ing-bath. 



The deepen- 
ing of the 
shadows and 
yellowing of 
the lights. 



Use of the 
second im- 
mersion in 
the fixing- 
bath. 



The changes of tone which the print undergoes 
in these baths are as follow : Ñ 

On removal from the pressure-frame the print 
should present the appearance of having been much 
over-exposed. It must not look too pretty in this 
stage, or, when finished, it will appear pale and 
faded. The tint should be a very deep brown, bor- 
dering on violet. 

On immersion in the fixing-bath it speedily loses 
its burnt appearance and clears up, assuming a most 
disagreeable and monotonous red colour. The hypo 
is now removing all the free nitrate and the chlo- 
ride of silver, and rendering it no longer sensitive to 
light. 

On immersion in the toning-bath the shadows 
soon begin to assume a deeper and more agreeable 
tint; and this change continues through different 
shades of brown and sepia, until they reach a 
black, the lights at the same time becoming of a 
grey, or greyish yellow. After the black, this 
yellow tone begins to overspread the whole pic- 
ture, and if not stopped in time would eventually 
ruin it. 

The second immersion in the fixing-bath should 
have no perceptible effect on the colour. In recom- 
mending it, I follow the suggestions of M. Le Gray, 
who thinks it a necessary precaution for ensuring 
the permanency of the picture. 



THE PRINTING PROCESS. 



65 



A print which, through neglect, may have been 
much orer-printed, can be recovered or greatly im- 
proved, by placing it, on removal from the pressure- 
frame, in a bath of water containing ammonia, in 
about the proportion of five ounces of water to two 
drams of ammonia. In this bath the tint will redden 
considerably, and the tone be in time reduced, am- 
monia being a solvent of the oxide of silver. It 
should then be well washed in water and placed in 
the fixing-bath as before; or the print may be placed 
at first in a strong and new bath of hyposulphite to 
which ammonia has been added in the above propor- 
tion, instead of into the usual fixing-bath. This will 
redden and reduce the tone of the print, without 
yellowing the lights or darkening the shadows, as 
would be the ultimate effect of a simple hypo-bath 
upon an over-exposed picture. 

The theory of the action of the toning-bath is 
not yet sufficiently clear. Mr. Hardwicke is now 
busy with the subject, and has addressed some 
interesting letters containing the result of his re- 
searches, to the Journal of the Photographic Society, 
and which appeared in the numbers for September 
and December last. 



To recover 
prints which 
have been 
overexposed. 



Theory of 
the toning- 
bath. 



F 



66 



THE PRINTING PROCESS. 



FIFTH OPERATION. 



To Trim and Mount the Picture. 



The edges may be trimmed in the manner de- 
scribed for negatives. 

To mount the picture upon card-board, employ 
thick paste* entirely free from lumps or knots. Lav 
a coat of this very sparingly upon the back of the 
print, and apply it immediately to the card-board ; 
on it place a sheet of clean blotting-paper, and then 
press out all the air-bubbles, and make it lie quite 
flat by rubbing it with an ivory paper-cutter. 

Place it under heavy pressure to dry. 

The picture is now finished. 



For a new method of mounting positives behind 
a glass, see page 72. 



* Many photographers prefer a solution of gum-arabic. 



THE FRENCH VIOLET TINTS. 



The peculiar glaze of albumenized papers is by 
many persons thought disagreeable, and essentially 
tmartistic. I am myself of this opinion, and I have 
spent much time in endeavouring to perfect a better 
printing process ; for the importance of this branch 
of photography cannot possibly be overrated, since it 
is the positive which we finally offer for inspection 
or sale; and the public, being little aware of the 
manifold difficulties which beset the practice of this 
art, are but too exacting in their demands, and diffi- 
cult to satisfy. 

The French violet tints, when sufficiently 
neutral, and not dead, or inky, or sooty, are, I think, 
the most agreeable that have yet been obtained. 
The most favourable specimens that I have seen in 
this style are in the Ò Album Photographique Ó of 
M. Blanquard-Evrard. These prints are, in general, 
very rich in colour, and they possess sufficient depth 
and transparency, without any perceptible glaze, 
beyond that of the paper itself, when submitted to 



68 



THE PRINTING PROCESS. 



strong pressure under rollers. They resemble, there- 
fore, most exquisite engravings, but with this advan- 
tage, that the colour of the lights is perfectly 
charming and peculiar, and totally unlike any of the 
tints which can be obtained by the use of old hypo- 
baths, which seem to act by the precipitation of 
sulphur. The superiority of the French printing 
will become instantly manifest, when we place a fair 
specimen of it by the side of one of our own albu- 
menized proofs. The latter, I admit, may be more 
rich and transparent, but in my opinion these quali- 
ties may be carried to such an excess as to constitute 
vulgarity, and that is the predicament in which I 
think the albumenized print will be found to be 
when contrasted with the other, which will possess 
an indescribable artistic and velvet -like appearance, 
(if I may use such an expression), in opposition to 
the strong varnish and obtrusive pretensions of its 
rival. Should any one doubt the justice of this 
criticism, I would ask him, Would he varnish a 
fine engraving ? If not, then let us endeavour to 
obtain good prints without albumen, or at any rate 
without its being too obviously applied. 

There is another advantage of the French print- 
ing (I mean that of the Ò Imprimerie Photographique 
de LilleÓ), that it is absolutely permanent, at least as 
far as the experience of four or five years has enabled 



THE PRINTING PROCESS. 



69 



me to test it. I have had prints from that esta- 
blishment in my possession for that period, and 
they have as yet lost none of their original beauty, 
although no particular pains have been bestowed 
upon their preservation ; while in the same portfolio, 
works by other artists, in which old hypo, has been 
used as a colouring agent, are now nearly oblite- 
rated ! 

Such are the advantages of this French mode of 
printing ; and the following is, I believe, the process 
by which it is done. I speak of course from my own 
experience alone, and from a close comparison of 
results; for I have never been admitted into the 
arcana of the process by those who practise it, and 
who have certainly never yet made it public. 

If I am wrong in any part of my formula, it will 
be found to be, I fancy, either in the quality of 
paper which I recommend, or in the organic sub- 
stance which I find it advisable to introduce into the 
salting solution. In other respects I am satisfied 
that the process will be found correct. Those who 
experiment in this direction will do well to commu- 
nicate at once any obvious improvements they may 
make, for there should be no secrets in photography. 

I may mention that the formula of M. Le Gray, 
as given in Hennalhs translation, and in which he 



70 



THE PRINTING PROCESS. 



prints very deeply, and then employs chloride of 
gold before the hyposulphite bath, invariably fails in 
my hands, and is, I believe, incorrect ; at the same 
time, this has suggested to me the modification 
which I now offer, and which is tolerably certain in 
its results. 

The process is as follows : Ñ 

The salting solution is composed of Ñ 

Hydrochlorate of ammonia . . 1 oz. 

Sugar-candy 1 oz. 

Distilled water 20 ozs. 

Float on this, for five minutes, and then hang 
up to dry. 

Should the solution redden litmus paper, a few 
drops of ammonia must be added. 

I 

The sensitive solution is composed of Ñ 

Nitrate of silver . . . . 1^ oz. 

Distilled water . . . .10 ozs. 

Float on this for five minutes, and then hang up 
to dry. 

It is possible that the substitution of alcohol, for 
some portion of the water in this solution, may give 
greater depth of tone. I offer it as a suggestion. 

The printing is to be of the usual strength. 



THE PRINTING PROCESS. 



71 



On removal from the pressure-frame, immerse 
the proof in rain-water, to which a few drops of 
ammonia have been added; then wash it well in an 
abundance of water, changed several times. After- 
wards place it in the colouring bath, which is com- 
posed of Ñ 

Sel dÕor (not chloride of gold) . 15 grains. 

Distilled water . . . .30 ozs. 

Pure hydrochloric acid . . .2 drams. 

Allow it to remain in this until it has ac- 
quired a deep purple tint in the shadows, and an 
agreeable tone of grey or cream colour in the lights ; 
this will occupy a few minutes only. The changes 
of tint may be observed in a sort of half-light. 

Then remove it, and wash it well in an abund- 
ance of water, changed five or six times, and after- 
wards place it in Ñ 

The fixing-bath, which is composed of Ñ 

Hyposulphite of soda . . .6 ozs. 

Distilled water .... 1 quart. 

Leave it in this until the deep purple tint shall 
have become slightly neutralized; about one hour 
will be the extreme limit. 

Then wash it as usual to remove all traces of 
hyposulphite, and leave it to soak for twenty-four 
hours in water. 



72 



THE PRINTING PROCESS. 



On removal from the water, press it between 
folds of blotting-paper, to remove the surface mois- 
ture, and then apply immediately, with a brush, 
albumen, diluted with an equal quantity of water. 
Then hang up to dry. 

The albumen applied in this manner preserves 
the depth of tone without imparting a glaze to the 
paper. Without it, the proof, on becoming perfectly 
dry, would have a dead appearance, which this 
entirely prevents. 

It is unnecessary to coagulate the albumen arti- 
ficially. It coagulates spontaneously in a short 
time. 

The proof may now be mounted in the usual 
manner upon cardboard, or it may be mounted 
behind a glass in the following manner : Ñ 



To Mount Positives behind a Glass. 

This I find to be one of the greatest improve- 
ments that can be imagined to a positive print. 

All photographers are aware of the beauty of 



THE PRINTING PROCESS. 



73 



the prints when in water , as compared with their 
appearance when dry. And this is particularly 
observable in the case of non-albumenized prints. 
When mounted behind a glass in the following man- 
ner, they will be found equally beautiful when dry, 
the glass acting as a varnish, without any of the 
disagreeable effects of real varnishes. 

Float the print, face downwards, upon albumen, 
diluted with one-fourth part of its bulk of water. 
(Of course I allude to a print which has not been 
previously albumenized, and which has been well 
washed and dried after fixing.) 

Let it remain upon this for several minutes. 

Whilst in this bath, take the sheet of plate- 
glass upon which it is intended to mount it 
(and which is to form subsequently the glass of 
its frame), and cover it completely with a thick 
coating of albumen. Level it exactly, and then 
apply the albumenized face of the paper to the 
glass. 

When dry, the print will adhere firmly to the 
glass, and will then look as well as it did in the 
water. 

It may then be placed in its frame. 

A white, or tinted, or gilt border, may be easily 



74 



THE PRINTING PROCESS. 



introduced behind the glass, and attached to it in 
the same manner as the print. 

Prints coloured by the process which I have 
just described, and mounted in this way, are, I 
think, when successful, all that can reasonably be 
desired, in tone, transparency, detail, and, above all, 
in permanency. 



NOTES. 



1. Ñ Nitrate of Silver. 

Crystallized nitrate of silver frequently contains nitric Contains ^ 
acid in considerable excess. This may be detected by the excess. 
smell. When this is the case, it becomes advisable to 
fuse it, and expel the free acid by heat. 

To do this, put the crystals, an ounce at a time, into a To fuse it. 
porcelain capsule, mounted upon a stand, and apply (cau- 
tiously at first) the heat of a spirit-lamp beneath. This 
will reduce them to a liquid state in about five minutes. 

Remove the lamp, and let the mass cool and solidify ; then 
add a few drops of distilled water, to enable you to detach 
it easily and bodily from the capsule ; put the lump into a 
glass mortar and break it into fragments ; dry these for a 
minute in the capsule over the spirit-lamp, and then return 
them to the bottle. The nitrate will now be inodorous, and 
fit for use. 

Lunar caustic is fused nitrate of silver, with impurities. Lunar oiu- 
It should never be used in photography. 

2. Ñ Acetic Acid. 

There are two kinds of glacial acetic acid ; the simple 
Ò glacial,Ó and the Ò crystallizable glacial.Ó The latter is 
much stronger and more costly ; the former answers per- 
fectly well. 



78 



NOTES. 



3. Ñ The Lens. 

Use ¡f the The use of the lens is, to produce an image of the 

objects at which it is presented upon a surface sensitive to 
light; and thus to give a photographic representation of 
them. 

The paper process not being well adapted to portraiture 
(in which rapidity of action is necessary), we are not con- 
cerned here with the combinations of lenses manufactured 
expressly for that department, but require simply a view 
The vw-tt lens, that is, an achromatic lens, formed of two lenses in 
close contact, and in the form which is called Òconcavo- 
convex.Ó This lens should be mounted (with the concave 
side to the view) in a brass tube, capable of sliding easily 
in an outer tube, which latter is secured to a moveable 
portion of the front of the camera. By means of this 
sliding adjustment of one tube within the other, the lens 
may be brought exactly to the proper distance from the 
sensitive surface, or, in other words, to perfect Ò focus.Ó 

Rack and The adjustment may be effected either by the hand, or 

necessary. by a rack and pinion ; I prefer the former method, since 
the rack and pinion are liable to frequent derangement, 
besides being unnecessary in view lenses. Within the 
inner tube, and at a proper distance in front of the 
lens, should be placed a system of circular Ò diaphragms Ó 
or Ò stops," the largest of about one inch, and the smallest 
a quarter of an inch in diameter ; and in front of these, 
again, there should be a cap, with which to close the end of 
the tube, and exclude the light altogether when necessary. 
Necessity of In order to understand fully the necessity for achroma- 
fn theÒens sm tism in the lens > tlie reader must follow me through a brief 
explanation of the nature of light. It is then, not light , 
which produces a photographic picture (which is an erro- 
neous term), but another property of the sunbeam termed 
Ò actinism ,Ó working by means of certain rays, to which the 
term Ò actinic Ó has been recently applied, and which differ 
entirely in their effects from the luminous rays, although 
possessing some properties in common with them. On 
decomposing a ray of white light, by refraction through a 



NOTES. 



79 



prism, into the seven prismatic colours, viz., red, orange, Violet rays 
yellow, green, blue, indigo, and violet, and on applying a actinic, 
piece of sensitive paper to the spectrum, we find it most 
darkened in the neighbourhood of the violet colour, slightly 
in that of the red, and scarcely at all affected in that of the 
yellow , while the effect with other colours will vary ac- 
cording to their proximity to these three. Now a single 
lens, not achromatic, gives these seven different coloured 
images or pictures, at seven corresponding distances from 
it ; and upon focussing the objects, at which the lens 
is presented, upon a ground -glass screen, the yellow 
picture will be the visible one (the yellow being the 
luminous rays). So that a sensitive surface placed in 
the Ò visual Ó focus (as it is termed) would be out of 
focus for either the red or violet pictures. Hence arises 
the necessity for an achromatic arrangement of the lens ; 
that is to say, for an arrangement in which the red , the 
yellow , and the violet 'pictures shall be combined into one. coincidence 
By using two lenses of different kinds of glass in close of the red, ^ 
contact, instead of a single lens, we are enabled to effect violet pic- 
this for the red and violet pictures ; while, at the same tures - 
time, the yellow picture will be near enough to this com- 
bination for all practical purposes. It is true that, by 
using seven lenses in contact, formed of seven different kinds 
of glass, we could combine all the seven pictures into one ; 
but such a plan is never attempted, as it would involve 
so many practical disadvantages, as to counteract any 
benefit, that might be derived from it, in the shape of 
perfect achromatism. 

A simple meniscus lens has been sometimes recom- Meniscus 
mended, on the ground that the focus for violet rays, lensafailme 
being about one-thirtieth part of the whole focal length 
nearer to the lens than the yellow or visual focus, we have 
only to find the visual focus, and then to push the lens 
inwards through the space required ; but from my own 
experience, I should say that I have never found this plan 
to answer quite satisfactorily ; and this, possibly, from the ^ r ¡^* 0 nhe 
entire neglect which it involves of the red picture, and which red picture . 1 



80 



NOTES. 



Use of the 
stop. 



A good lens 
necessary. 



Size of the 
picture as 
compared 
with focal 
length of 
lens. 



may possibly be sufficiently actinic to disturb the focus of 
the other. 

The use of the diaphragm, or stop, is to render the 
picture sharper and better defined , particularly near the 
edges ; and it acts, by reducing the size of the pencils of light 
which enter, or cutting them, as it were, to a finer point, by 
diminishing the base of the cone of rays, while the length 
remains the same ; but in doing this, we clearly gain in 
sharpness at the expense of light ; still, as we are supposed 
to be taking inanimate objects, this is of but little conse- 
quence, since loss of light may be compensated by increased 
time of exposure. 

The quality of the lens is a matter of great importance 
m photography. At whatever cost, the amateur should 
start with a good instrument ; and the best will be found 
to be the cheapest in the end. 

The size of the picture depends, not upon the size of the 
lens, but upon its focal length , which may be ascertained 
by finding its burning focus in the sunshine, and then 
measuring the distance of this burning focus (or sunÕs 
image) from the lens. The breadth of the picture may 
be about two-thirds of this focal length. Or, with a very 
small stop indeed, its diagonal may be equal to the focal 
length. A very wide field of view will in this case be 
included, which is sometimes advantageous. 

As some guide to the novice in these matters, I may 
mention that a view lens of 16 inches focus, with a stop of 
three-eighths of an inch in diameter, ought to take a ' 
brilliantly sharp picture, 12 inches by 10 inches, and that 
such a picture would include an angle at the eye of about 
37¡ ; that is, rather more than a tenth part of the entire 
panorama. 

4. Ñ The Camera. 

This is the dark box in which the sensitive paper is 
exposed to the action of light, through the intervention of 
the lens, in order to obtain the negative picture. 



NOTES. 



81 



There are many different forms of camera in use, and 
these should be seen and explained at the repositories 
where they are sold, in order to be fully understood. The 
most portable, and I think the best for views, is the single 
Ò folding Ó camera. When not of preposterous size, this may Single fold- 
be carried by a strap, over the shoulders, like a knapsack, mg cameia " 
without much inconvenience. And even for very large pic- 
tures, I still give the preference to this form. 

Photographic views are, in general, of an oblong form, 
and seldom exactly square. The longer side of the oblong 
will be sometimes horizontal, and at other times vertical, 
according to the nature of the view to be taken. The Camera 
camera must, therefore, be capable of taking both classes of botiflongand 
picture with equal facility ; or it would be but an imperfect upright 
instrument. Also, the lens should be attached to a sliding 
adjustment in the front of the camera, in order that it may 
be raised or depressed to suit the requirements of the view ; 
and that, whether the instrument be on end, or in its or- 
dinary position. To effect this in both cases, the common 
plan is, to mount a slide which works parallel to the side, 
upon another which works parallel to the bottom; but 
this mode is, I think, somewhat cumbrous and inelegant, Double^ 
and the arrangement is very likely to become fixed just at fitment of 
the moment when it is required to work easily. For myself front ' 

I give the preference to a square removable panel in the 
front, on which the slide may work, and which may be 
placed in either of the two positions required, with equal 
facility ; or, perhaps, better still, a circular revolving panel, 
not removable, and by means of which, the lens may be 
brought, in either position of the camera, opposite to any 
part of the picture which may be thought desirable. 

The mode of using the camera, and of focussing, had 
better be learnt where the apparatus is purchased ; to 
attempt it here would involve a long and scarcely intel- 
ligible description. It will be sufficient for me to state, 
that the focus for near objects is longer than that for 
distant ones ; and that in taking views, in which many dif- 
ferent distances occur, a mean should be struck between 

G 



82 



NOTES. 



them, and the inevitable imperfections of focus, in parts, 
remedied by the use of a small stop. In such views it is as 
well to focus upon objects not too remote. 



5. Ñ The Stand. 

The camera stand should be strong, firm, and port- 
able ; and the camera should be susceptible of rotation 
upon it in a horizontal plane, whilst adjusting it to the 
boundaries of the view. 

All these objects are secured by the stand in common 
use, called the Ò double tripod,Ó which is composed of a 
brass triangular top, supported upon three pairs of legs, 
made of ash or hickory. The top has central bars ; and 
in the middle of it is a hole to receive a thumb-screw, 
by which to attach the camera to the stand ; and about 
which, when loose, it turns freely when required. 

This form of stand can be taken to pieces and easily 
packed. For very large cameras, a wooden top is, perhaps, 
preferable. But in either case, it is well to have the top 
slightly hollowed in the middle, so that the camera may 
rest upon the three extreme points of the triangle, which 
ensures great steadiness ; care must be taken, however, 
when this is the case, not to turn the thumb-screw so 
tightly as to split the bottom of the camera. 



6. Ñ The Focussing Screen. 

This is a sheet of ground glass, exactly the size of 
the picture, and fixed in a frame. Its use is, to enable 
the photographer to select and examine the picture which 
he is about to take ; in order that he may properly adjust 
the camera and the focus. For this purpose, it is inserted 
in the camera, in the same groove which is to receive the 



NOTES. 



83 



dark slide subsequently, and with its ground surface next 
to the lens. And it is important to ascertain, when pur- 
chasing an apparatus, that this ground side of the focus- 
sing screen, when in its place in the camera, does really 
occupy the same position with respect to the lens that 
the sensitive surface afterwards does ; for if it should not, 
all the focussing upon it will bp erroneous, and the pho- 
tographs deficient in sharpness. But in well-made instru- 
ments, purchased of a respectable maker, this important 
point will, no doubt, have been attended to. 



7. Ñ The Dark Slide. 

This is to contain the sensitive paper during its ex- 
posure in the camera. 

Dark slides are made, either single or double. In the 
former, the paper is placed behind a sheet of plate glass ; 
and in the latter, two papers are placed back to back, be- 
tween two glasses. In either case, the glass should be 
entirely free from all imperfections. 

There are, however, in my opinion, many objections to Objections to 
both these forms of slide. The glass in front of the paper, common use. 
and consequently between it and the lens, absorbs and 
reflects a considerable amount of light, and thus prolongs 
greatly the necessary time of exposure, while it disturbs 
the true focus. It has also the effect of rumpling the paper, 
as it becomes dry ; and, upon an uneven surface, it is 
obviously impossible to obtain a perfect picture. Another 
serious imperfection in the double slide is, that the light 
frequently passes through one paper, and acts upon the 
other, thereby spoiling both pictures. 

But all these disadvantages of the slides in common How to 
use, may be obviated by attaching the paper to the front bystraimng" 
of the glass, instead of placing it behind it. This is done ^raper m 
when the paper is damp (as I have described when treating glass, 
of the second operation for negatives), and in a few minutes 



84 



NOTES. 



The plate- 
box and 
yellow bag. 



the paper becomes dry, and then lies as flat as the glass. 
The slides for this purpose should be similar to those in 
use for collodion plates, with this difference, that three- 
eighths of an inch of space, or more, should be allowed 
between the glass and the front shutter ; otherwise, the 
paper, when first put in, might touch the wood, and thus 
be stained ; for in this state, it must be remembered, that 
it does not lie so flat as it does afterwards, when dry. 

The back of the slide should be removable , and not 
attached to it by hinges. 

Like the rest of the apparatus, this form of slide should 
be seen to be understood and appreciated. I attach great 
importance to it, as an essential condition of success. 

When more than two or three views are to be taken in 
a day, it may be managed by means of one single slide, 
and a plate-box, containing a dozen or more glasses, with 
the sensitive papers attached. To change the papers, it 
will be necessary to retire to some shady place, and then 
to envelope the head and arms in a large bag of yellow 
calico, of double or triple thickness. Under this shelter 
the papers may be changed, without any fear of the light 
affecting them. 

When only two or three views are required in a day, 
the better plan will be to use a separate slide for each 
paper. 

When carried, the slides should be either enclosed in a 
case, or wrapped up in a dark cloth, and never needlessly 
exposed to the sunshine, as, in spite of every precaution, 
light seems to penetrate them in a manner quite un- 
accountable. As a rule, no one should be allowed to touch 
them but the photographer himself. Let me advise him 
strongly, always to carry the slides and the lens himself, or 
to take extraordinary precautions when these are committed 
to the custody of others. 



NOTES. 



85 



8. Ñ To MAKE THE SOLUTION CALLED Ò DOUBLE IODIDE.Ó 

Take a four-ounce, wide-mouthed, stoppered bottle, 
which keep for this purpose exclusively , and upon the out- 
side of it make a scratch with a file, corresponding to the 
level of three ounces of fluid. W ash the bottle well, and 
finally rinse it with distilled water. Then fill it up to the 
mark with distilled water, and add forty grains of nitrate 

of silver. Dissolve this hy putting in the stopper and How to 

, , ....... weigh the 

shaking the bottle. I may remark here, that m weighing chemicals. 

the chemicals, it is well to lay a piece of clean blotting- 
paper in each pan, balancing them exactly, and then to put 
the weights into one paper, and the chemicals into the 
other ; in this way the necessity for glass pans is avoided, 
for the chemicals should never touch brass or copper. 

The nitrate of silver being dissolved, add to the solution 
thirty-two grains of iodide of potassium, and shake well 
together as before. On the addition of the iodide, the 
solution will become extremely turbid and yellow. When 
the crystals are all dissolved, allow the precipitate to settle, 
which it will do in a few minutes, and then pour off very 
carefully as much of the fluid as is possible. This pre- 
cipitate is yellow iodide of silver, and is quite insoluble in 
water. It must be washed twice in warm distilled water, in 
order to remove all the nitrate of potass and other impu- 
rities. This is done by filling the bottle with distilled water, 
shaking up as before, allowing to settle, and then pouring 
off the fluid, repeating the operation a second time. 

There is now clean iodide of silver in the bottle, moist- 
ened with a little water, and this is to be dissolved in a 
strong solution of iodide of potassium. 

To do this, add, first, one and a half ounces of distilled 
water, and 400 grains of iodide of potassium. Shake 
up well, and the whole of the yellow iodide will disappear, 
being dissolved in the iodide of potassium, and leaving the 
solution nearly colourless. Now add distilled water, a few 
drops at a time. Upon the addition of the water the 
surface of the solution will become instantly turbid, but it 
will clear again upon being shaken. Repeat this addition 



86 



NOTES. 



of the water until the solution will no longer clear itself 
again, and then add a crystal or two of iodide of potassium, 
in order to restore its perfect transparency. In this state 
an exact balance will have been struck between the water 
and the iodide , and it only remains to filter the solution 
which will then be ready for use. 

As a guide to the quantity of water which ought to 
have been added the second time, the whole quantity of 

double iodide obtained should be about three ounces, 

that is to say, it should reach the level of the scratch on 
the bottle, or thereabouts. 



9. Ñ The Paper. 

wnruvfnn^r Tlie P a P er which I recommend for negatives is that 
the best for wnicn I get made expressly for this process, and which 
negatives. may be procured of the publisher, at about the same price 
as Turner s paper, and in sheets as large as forty inches by 
twenty-seven inches. It is truly excellent, giving intense 
blacks, fine definition, and beautiful half-tones. It im- 
proves by age ; and, in fact, it is not in first-rate condition 
until it has been made for a year or two. 

I may remark, that the process, according to my mode 
of treatment, almost invariably fails upon TurnerÕs and 
CansonÕs papers, giving red and feeble pictures ; so much 
difference is there in the sizing and manufacture of paper. 

The paper commonly employed for positives is that 
manufactured in France by Messrs. Canson freres. There 
are two qualities, the thin and the thick ; I prefer the 
latter when really good, but it seems to be more liable to 
thhfoai'd- spots than the former - There is also a thin cardboard by 
board for the same makers, upon which very fine definition may be 

obtained. Papers by other makers maybe equally good, but 

I cannot recommend them from my own experience. I 
have heard lately of a very excellent German paper called 
Saxe 1 Õ' 61 ' Ò Papier Saxe >Ó which is said to be entirely free from defects. 

The papers manufactured by Turner and Whatman are 
far more sensitive than that by Canson freres, but they 



NOTES. 



87 



have not the same fineness of grain, and consequently do English 
not admit of equally fine definition. They imbibe the p a p Ò[ j?¡ m ' 
solutions much more rapidly and thoroughly, and con- French, 
sequently require them to be of diminished strength. 

The Canson paper is harder, and more difficult to impreg- 
nate, particularly when thick. It is also sized differently. 

10. Ñ Glass Baths, etc. 

These are made by cementing, with marine glue, wide Glass-baths, 
strips of thick plate-glass ( flat side downwards), to a plate- 
glass slab, which forms the bottom. 

A slab of slate may be hollowed out into a bath very Slate-baths, 
successfully ; and this answers well enough for some 
purposes. 

Gutta-percha baths are little acted on by the chemicals, Gutta- 
and are very flat at the bottom ; which is a great desideratum 
where expensive solutions are used. 

In baths of very large size, a piece of wood, an inch 
thick, is cemented to the bottom ; one corner being cut off 
in order that a small pipe of gutta percha may be affixed 
to the bath - and which may be inserted into the neck of a 
bottle, when it is necessary to draw off the solution. The 
tube is furnished with a plug, or lengthened stopper, which 
passes through the liquid when in use. 



11.Ñ The Paper Clip. 

For a wood-cut of a very simple clip of my own inven- 
tion, see the ÒPhotographic Journal,Ó for September 1854, 
and some subsequent comments upon it in the two succeed- 
ing numbers. 

It should be seen to be perfectly understood ; and for 
this purpose I have arranged that a specimen shall be 
sent, upon application to the publisher, by letter inclosing 
twelve postage-stamps. 

Separate sets of clips should be set apart for separate | e r p s a e r ^¨ a ^ ts 
purposes, as when used indiscriminately the wood soon purposes, 
becomes stained, and communicates its stains to the 
papers. 



88 



NOTES. 



12.Ñ Glass Tubes. 

These are to form the handles of what are called 
Ò BuckleÕs brushes,ÕÕ used in applying the sensitive and the 
developing solutions. For small papers they should be 
3 inches long and half-an-inch in diameter. For very large 
papers they should be 6 inches long, and one inch in 
diameter. To form a BuckleÕs brush, force one-half of a 
tuft of cotton wool (chemically clean) into the tube, and 
allow the other half to remain out, and form a sort of mop. 

13. Ñ The Sensitive Solution. 

I have given this of the full strength. There may be 
circumstances of temperature, &c., under which it might 
be desirable to reduce it, possibly as much as one-lialf. 
I have occasionally used it of only one-fourth this strength, 
and with perfect success. 



14. Ñ W ashing Glasses and Tubes. 

of^emSaUy ^ have stated that gallo-nitrate is an exceedingly 
clean glasses unstable compound. It is not enough that vessels which 
and tubes, have once contained it should be washed with simple 
water, for a single particle of the old solution remaining 
in the pores of the glass will be sufficient to establish rapid 
decomposition in the whole of a fresh solution, and that by 
a process in chemistry called Òcatalysis.Ó This decom- 
position of the gallo-nitrate solution is particularly fatal 
to 'payer work. 

To prevent it, wash the glasses and tubes which have 
been used for this compound, either with a weak solution 
of Òcyanide of potassium,Ó and then in abundance of 
water ; or, better still (as the cyanide is a dangerous 
poison, and very unsafe to employ when there are any cuts 

or scratches upon the hands) in the following manner : 

First in water, then in the hyposulphite bath for a 
minute or two ; then in water copiously, then in either 
soap and water or salt and water (to remove the hypo) ; 



NOTES. 



89 



and finally in abundance of clean water, changed three or 
four times. 

This washing must positively be attended to; or every 
picture in which the same tubes and glasses may have been 
used a second time, without it, will invariably fail. 

The glass-developing slab is an exception to this rule ; 
it will be sufficient to wash that and the zinc dishes, simply 
in an abundance of plain water. 



15. Ñ The Stereoscope. 

Two photographs of the same view, taken from different 
points, a few feet apart, and on the same level, will be 
adapted to the stereoscope. 

The distance apart of the two points of view does not 
seem to be a matter involving any very great nicety, within 
certain limits. Supposing the nearest object to which you 
wish to give stereoscopic effect to be sixty yards from the 
camera, this distance should not exceed six yards ; that is, 
one-tenth part of the distance. At the same time, I think Distance 
it would be an error to diminish this distance so consider- twcTpoint^of 
ably as some persons recommend. For very near objects, view - 
the proper distance of the two points of view may possibly 
be no greater than that of the two eyes. But for views, 
it seems advisable to increase this distance considerably. 

For we might as well expect to obtain the desired effect, 
from two prints of the same negative, viewed in the stereo- 
scope, as from those differing so imperceptibly, as they 
necessarily would, if taken from points very close together. 

Some exaggeration is evidently requisite ; but the amount 
which is allowable in any particular instance, must depend 
upon the taste of the artist. 



H 



90 



NOTES. 



French form 
of pressure 
frame. 



1 6. Ñ Blotting-Paper. 

That which has been employed for absorbing the sur- 
plus sensitive solution, must not be used a second time for 
that purpose ; but it may be employed for removing the 
surplus developing solution ; and again, afterwards, if per- 
fectly dry, in the ironing of the waxed negatives. 

17. Ñ The Pressure-Frame. 

The simplest form of the apparatus, viz. that of two 
plate-glasses, with the papers between, is liable to this 
serious objection, that the mere weight of the upper glass 
upon the back ofthe negative is not always sufficient to insure 
close contact between it and the positive. I myself employ 
a flat board, upon which I lay a double thickness of flannel, 
and upon that a single plate-glass, rather larger than my 
largest negatives. When two or more small pictures are to 
be printed, I obtain the necessary amount of pressure by 
means of a bar of wood placed across the middle of the 
glass, and screwed to the board at each end. When only 
one large print is required, I employ a similar bar at each 
end of the plate-glass. 

But I recommend to amateurs the French form of 
pressure-frame, which may be seen at all the repositories 
of photographic apparatus. This opens at the hack, in order 
that the progress of the work may be examined from time 
to time. It is rather expensive, but very convenient, and 
many blunders will at first be avoided by the use of it. 

18. Ñ Chloride of Silver. 

To make 120 grains of chloride, dissolve 100 grains of 
nitrate of silver in half a pint of distilled water ; then add 
a few drops at a time of a saturated solution of common 
salt in distilled water, until the white precipitate (which 
is chloride of silver) ceases to form. Allow this to settle, 
then pour off the clear liquid, and wash the precipitate 
twice in distilled water. 



NOTES. 



91 



Before adding the chloride to the toning-bath, it has 
been recommended to darken it, by exposure to sunshine 
in a capsule. In order to do this effectually, it should be 
frequently stirred with a glass rod, that every particle may 
be brought in succession under the influence of the light. 

19. Ñ RossÕs Ò Focussing Magnifier.Ó 

This is a useful little instrument, for enabling us to 
examine the focus accurately on the ground-glass screen. 
It is composed of two lenses fitted into a tube (like the 
eye-piece of a telescope), and it can receive an adjustment 
adapting it to the sight of different operators. When in 
use, one end of the tube is applied to the glass screen, and 
the eye to a small orifice at the opposite end. It magnifies 
immensely, and will be found very useful where great 
nicety of focus is required. 



London Printed by G. Barclay, Castle St. Leicester Sq. 



PHOTOGRAPHIC INSTITUTION, 

168 NEW BOND STREET. 



fnsirarinnt in lire CoIIobimt |}r0Çss. 



TERMS: 


£ 


i. 


d. 


A Course of Six Lessons 


5 


5 


0 


A Single Lesson 


1 


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A DayÕs Attendance . . . (and expenses) 


3 


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0 



ESTIMATE (A) 

For a complete Set of Photographic Apparatus. 

A Mahogany Folding Camera for Pictures, 10 in. by 8 in. 
with two Slides Ñ a Ross's Single Lens, No. 3 Ñ a 
Focussing Cloth Ñ an Ash Tripod-Stand. 

Three Boxes of Glass Plates Ñ a Plate -Holder Ñ Deve- 
loping Stand Ñ Spirit Level Ñ Deep Gutta-Percha Tray 
Ñ a Yellow Curtain Ñ Two Gutta-Percha Baths, with 
Dippers Ñ a Gutta-Percha Bottle Ñ Three Funnels Ñ 

Glass Stirring Rods Ñ a Box of Scales Ñ a Pot of 
Cyanogen Soap Ñ a Pressure Frame, 11 in. by 9 in. Ñ 

Four Gutta-Percha Trays Ñ Three quires of Albumenized 
Paper Ñ Filtering and Bibulous Paper, &c. 

A Leather Chemical Case, containing a supply of Chemicals 
sufficient for Twenty Pictures Ñ a Chemical Chest, con- 
taining a stock supply of Collodion, and all the necessary 
solutions for the Printing Process Ñ Leather Cases for 
Camera, Lens, and Dipper and Packing-Case. 

All of the best manufacture £ 36 0 0 

RossÕs Double Lens (No. 3) for Portraits ... additional ... £16 0 0 
ã (No. 2a) ã ... ã ... 10 0 0 



ESTIMATE (B) 

For Smaller Set of Apparatus. 

A Mahogany Folding Camera for Landscapes, 8-|- in. by 6£, 
and Portraits, 5 in. by 4 in. Ñ a Ross's Single Lens, No. 2 
Ñ a Focussing Cloth Ñ and an Ash Tripod Stand. 

Three Boxes of Glass Plates Ñ a Plate-Holder Ñ Developing 
Stand Ñ Spirit Level Ñ Deep Gutta-Percha Tray Ñ a 



estimate (b) Ñ continued. 

Yellow Curtain Ñ Two Gutta-Percha Baths, with Dippers 

Ñ a Gutta-Percha Bottle Ñ Three Funnels Ñ Glass 
Stirring Rods Ñ a Box of Scales Ñ a Pot of Cyanogen 
Soap Ñ a Pressure-Frame, 9 in. by 7 in. Ñ Four Gutta- 
Percha Trays Ñ Three quires of Albumenized Paper Ñ 

Ñ Filtering and Bibulous Paper, &c. 

A Leather Chemical Case, containing a supply of Chemicals 
sufficient for Twenty Pictures Ñ a Chemical Chest, con- 
taining a stock supply of Collodion, and all the necessary 
solutions for the Printing Process Ñ Leather Cases for 
Camera, Lens, and Dipper, and Packing-Case. 

All of the best manufacture £ 28 0 0 

Moss's Double Lens (No. 2) for Portraits ... additional ... £8 0 0 



ESTIMATE (C) 

A small but complete set of Apparatus and Chemicals for 
Beginners, tested and guaranteed Ñ Mahogany Sliding 
Camera by Ottewill, and Single Lens by Ross (No. 2) 
for Pictures, 8 in. by 6 in. and 5 in. by 4 in £ 15 15 0 

<&rataitous gastnirfum gifrm to |)xirtl)as*rs of Sets of apparatus. 

COUNTRY-HOUSES, CHURCHES, or RURAL SCENERY 
PHOTOGRAPHED. 

A DayÕs Attendance . . . ( and expenses) £3 3 0 

Half-a- DayÕs Attendance ... (and expenses) 2 2 0 



PORTRAITS. 

Mounted in a plain Glass Frame ,£1 l o 

Extra copies, each 0 5 0 

Tinted face and hands 2 2 0 

Coloured Portraits, in the best style 5 5 0 

Groups, or large-sized Pictures, Coloured, from 7 7 o 



piniatnus an* |idnÇs Coph*, an* ||o%rapIj£*. 

Photographic Institution, 168 New Bond Street. 



PRICES of CHEMICALS and MATERIALS 



USED IN THE PROCESS DESCRIBED BY 

Mr. SUTTON. 



CHEMICALS. 



Nitrate of Silver 
Gallic Acid 
Glacial Acetic Acid 
Iodide of Potassium 
Hyposulphite of Soda 
Prepared Wax, for Negatives 



(in 1 -oz. stoppered bottles) 
È È 

n È 

v y> 

. . (in 1-ft) packets ) 



£ s. d. 
0 4 G 
0 2 0 
0 10 
0 3 0 
0 10 
0 3 0 



Double Iodide of Silver . . . (in 2 -oz. bottles) 0 5 6 

Sel dÕOr Colouring Bath . . . (in l-pint bottles) 0 5 0 

Hypo Colouring Bath ... ã 030 

MATERIALS. 

HollingsworthÕs Negative Paper, 19 X 15 in. per quire 0 3 0 
Ditto, ditto, Iodized, 19 X 15 in. . . per dozen 1 0 0 

Ditto, ditto, extra size, 40 x 27 in. . . per quire 10 0 

CansonÕs Positive Paper, 17 X 22\ . . ã 0 4 0 

Ditto, ditto, Albumenized, 17 X 22^ . ã 0 10 0 

Ditto, ditto, ã 17 X H| ¥ v> 0 5 0 

Prepared Cotton Wool . (in half-pound packets) 0 16 

Glass Tubes for BuckleÕs Brush . . per dozen 0 2 6 

Paper Clips Ó 0 10 

Iodizing Brush, bound with silver wire ... 010 

White Blotting Paper .... per quire 020 



Cameras - Lenses - Tripod - Stands - Pressure - Frames Ñ Porcelain and 
Gutta-Percha Baths and Dishes -Flat Glass Dishes - Scales and Weights - 
Developing Stands-Developing Slab, and all other requisites, supplied on 
the usual terms. 

Photographic Institution, 168 New Bond Street. 



PHOTOGRAPHIC 

CHEMICALS, APPARATUS, AND LENSES. 

R. W. THOMAS, 

CHEMIST, dc. XO FALL MAXiX., 

oole Maker of the Xylo-Iodide of Silver, and Manufacturer of 
Pure Photographic Chemicals and Apparatus. 



In the APPARATUS DEPARTMENT of this Estab- 
lishment every kind of first-class Photographic Apparatus 
may be seen, including : Ñ 



CAMERAS, folding and rigid, of superior construction. 

Folding and other STANDS, of the best make. 

GLASS BATHS, arranged for carrying the Silver Solution, thus 
dispensing with the use of a Bottle and Funnel. 

GUTTA PERCHA BATHS, mounted, to carry the Silver Solution for 
Glass Plates, up to 15 by 12 inches. 

Jointed LEVELLING-STANDS and SPIRIT-LEVELS. 

COLLODION PLATE-HOLDERS, for preparing large plates with 
facility. Pneumatic, ditto. 

PLATE-CLEANERS Ñ COLLODION GLASSES. 



A Choice collection of PASSEPARTOUTES, 
this house, from original patterns. 



made expressly for 



Albumenized and other PAPERS, French and English. 

A great variety of Glass, Porcelain, and Gutta-Percha DISHES. 
Also, a large assortment of ROSSÕS Portrait and Landscape LENSES 



PHOTOGRAPHY ON PAPER. 

Every requisite for practising the Calotype process may also be seen in the 
Aj^tua-rom, lucludl Òg BuckleÕs Brushes, Shallow Glass Dishes for developing 
Paper &c Tc^*? 86 ^ C0VerS Õ Deep Poroelaiu Dishes, for Washing the Iodized 
An excellent Negative Paper, well adapted for Iodizing after the metho 



ThomasÕs Chemicals. 



followed and recommended by Mr. Sutton, price 4s. per quire, or 31 . 10s. per ream, 
19 by 15. 

N.B. The stock (50 reams) has now been kept two years. This paper may 
also be had ready iodized. 



XYLO-IODIDE OF SILVER. 

This important photographic preparation is exclusively used at all the photo- 
graphic establishments : its superiority is universally acknowledged. Testimonials 
from the best photographers and principal scientific men of the day, wairant the 
assertion, that hitherto no preparation has been discovered which produces uni- 
formly such perfect pictures, combined with the greatest rapidity of action. 

In all cases where a quantity is required, the two solutions may be had at 
wholesale price in separate bottles, in which state it may be kept for years and 
exported to any climate. Full instructions for use. 

QAUTION. Ñ Each bottle is stamped with a red label, bearing my name and 
address, Richard W. Thomas, Chemist, 10 Pall Mall, Ñ to counterfeit which is 
felony. 

Nitrate-of-Silver Bath for the above preparation may be always obtained of 
R. W. Thomas, ready made, at a cost little more than the price of ingredients used. 



CRYSTAL VARNISH. 

PREPARED FROM THE FINEST AMBER. 

This valuable varnish for protecting negative pictures does not require the 
application of any heat to the plate. The coating will be found free from sticki- 
ness, hard, and transparent. It dries immediately. 



HYPO-COLOURING BATH. 

FOR RENDERING THE POSITIVES ON PAPER DARK AND 
RICH IN COLOUR. 



CYANOGEN SOAP. 

FOR REMOVING ALL KINDS OF PHOTOGRAPHIC STAINS. 

The genuine is made only by the inventor, and is secured with a red label, 
bearing this signature and address, 

RICHARD W. THOMAS, Chemist, 

No. 10 PALL MALL, 

Manufacturer of pure Photographic Chemicals and Apparatus. 

And may be procured of all respectable Chemists, in pots, at Is ; 2s. ; and 3s. 6<7. 
each, through Messrs. Edwards, 67 St. Paul's Churchyard ; and Messrs. Barclay 
and Co. 95 Farringdon Street, Wholesale Agents. 



A CATALOGUE OF 



PHOTOGRAPHIC 

LENSES AND APPARATUS, 

Mad* and Sold by 

ANDREW ROSS, 

2 Featherstone Buildings, Holborn. 

880- 

GREAT EXHIBITION. 

The Council Medal was awarded to Andrew Ross. Ñ 
Juror's Report , p. 274. 

PHOTOGRAPHIC INSTRUMENTS. 

ÒMr. Ross prepares Photographic lenses for Portraiture, having 
the greatest intensity yet produced, by procuring the coincidence of 
the chemical actinic and visual rays. The spherical aberration is also 
very carefully corrected, both in the central and oblique pencils.Ó 

Ò Mr. Ross has exhibited the best Camera in the Exhibition. It 
is furnished with a double achromatic object lens, about 3 in. aperture. 
There is no stop, the field is flat, and the image very perfect up to 
the edge.Ó 

Ñ 38 8- 

PHOTOGRAPHIC PORTRAIT LENSES. 

Tlu whole of these glasses give fine and correct definition, both at the centre and margin 
of the picture, and have their visual and chemical acting foci coincident. 

£ t. d. 

No. 1. Portrait lens, consisting of two achromatic combinations, 
mounted in tubes, with rack-and-pinion movements, the lenses 
1J inch diameter, and 4 inches focal length from the back glass, 
producing pictures on plates or paper 4 by 3 inches and under 5 0 0 
Parallel mirror to the above 210 0 

No. 2. Ditto, ditto, the lenses 2J inches diameter and 6 inches focal 

length, for pictures on plates or paper, 5 by 4 inches and under 8 0 0 
Parallel mirror to the above 310 o 



RossÕs Lenses. 



£ t. d. 

No. 2a. Portrait Lens, the lenses inches diameter and 7£ inches focal 
length, for pictures on plates or paper, 5 by 4 inches and under. 

This lens produces larger portraits than the above 10 10 0 

Parallel mirror to the above 5 0 0 



No. 3. Ditto, ditto, the lenses, 3J inches diameter and 8 inches focal 

length, for pictures on plates or paper, 6£ by 4f inches and under 16 0 0 
Parallel mirror to the above 5 0 0 



No. 4. Ditto, ditto, the lenses 4£ inches diameter, 12 inches focal length, 

for pictures on plates or paper, 8J by 6J inches and under 36 0 0 

Parallel mirror to the above 9 ¨ ¨ 



No. 5. A combination for Portraiture, 3£ inches diameter, 6| inches focal 
length, producing portraits in one-half the usual time on plates or 
paper, 4 by 3 inches. This lens is specially useful in dull weather, 
or in private rooms, or when taking the Portraits of Children or 
Animals - 



30 0 0 



No. 6. A lens producing pictures of a size suitable for Lockets, having 

the same properties as the preceding one 6 0 0 

Parallel mirror to the above 2 10 0 

A focussing Glass for ascertaining that the image produced by the 
Camera lens is formed accurately on the greyed surface of the 
focussing screen, and consequently on the sensitive surface of the 
plates or paper ¨ 



PHOTOGRAPHIC LANDSCAPE LENSES. 



No. 1. A La.ndsca.pe lens consisting of one achromatic combination 
mounted in tubes, with rack-and-pinion movement, the lens 2 
inches diameter and 9 inches focal length, for producing pictures 

6 inches by 5 

No. la. Ditto, ditto, without rack-and-pinion movement 

No 2. Ditto, ditto, 2i inches diameter, 12 inches focal length, for 

pictures 8£ inches by 6J 

No. 2. Ditto, without rack-and-pinion movement 

No. 3. Ditto, ditto, 3 inches diameter, 15 inches focal length, for pictures 

10 inches by 8 

No. 3. Ditto, without rack-and-pinion movement 

No. 3a. Ditto, ditto, inches diameter and IS inches focal length, for 

pictures 12 inches by 10 

No. 3. Ditto, without rack-and-pinion movement 



4 0 0 

3 0 0 

5 10 0 

4 10 0 

6 10 0 

5 10 0 

8 0 0 
7 0 0 



No. 4. Ditto, ditto, 4 inches diameter, 20 inches focal length, for pictures 
15 inches by 12. In consequence of the length of the Camera this 

requires an universal joint handle to rack-and-pinion movements 12 0 0 

No. 4. Ditto, without rack-and-pinion movement 10 0 0 



RossÕs Cameras. 



£ 3 . d. 

No. 5. A Landscape Lens, 5 inches diameter, 25 inches focal length, for 
pictures 18 inches by 16, in setting without rack-and-pinion 



movement 14 0 0 

No. 6. Ditto, ditto, 6 inches diameter, 30 inches focal length, for pictures 

22 inches by 20 22 0 0 

No. 7. Ditto, ditto, 7 inches diameter, 35 inches focal length, for pictures 

24 inches by 22 og g q 

No. 8. Dittc, ditto, 8 inches diameter, 40 inches focal length, for pictures 

26 inches by 24 32 0 0 

Prisms for reverting the landscape 1 10 0 

A Lens for stereoscopic pictures, 4J inches focus, 1 inch diameter 1 8 0 

Ditto, ditto, with rack-and-pinion movement 2 0 0 

A Lens for stereoscopic pictures, 6 inches focus, 1 inch diameter 1 8 0 

Ditto, ditto, with rack-and-pinion movement 2 0 0 

*** Larger and smaller combinations made to order. 



CAMERAS. 

A square mahogany sliding-trunk Camera, for No. 1 portrait lens, with 
greyed glass screen, and one plate-holder, with two inside frames for 

plates 4 in. by 3 in. and 3£ in. by 2J in 1 14 0 

A ditto, ditto, for No. 2 portrait lens, ditto, for plates 5 in. by 4 in. and 

4 in. by 3 in 1 18 0 

A ditto, ditto, for No. 2a portrait lens, ditto, ditto 2 0 0 

A ditto, ditto, for No. 3 portrait lens, ditto for plates 6 in. by 5 in. and 

5 in. by 4 in 2 10 0 

A ditto, ditto, 8J in. by 6.} in. to 5 in. by 4 in. for portraits or landscapes 6 0 0 

A mahogany portable folding camera, with ground focussing screen, 

double slide front, with two double paper-holders, and one holder for 
glass plates, with two internal fitting-frames, 6 in. by 5 in., 5 in. by 
4 in., and 4 in. by 3 in., suitable for No. 1 landscape lens and No 1 

portrait lens, packed in leather case 8 10 0 

A ditto, ditto, for No. 2 landscape and No. 2 portrait lens 9 10 0 

A ditto, ditto, for No. 3 landscape and No. 3 portrait lens 10 10 0 

A ditto, ditto, for No. 4 landscape and No. 4 portrait lens 17 0 0 

A Camera with swinging back to be used with the fast acting lenses, four 

plate-holders, and grey glass screen 8 0 0 

OttewillÕs registered folding Cameras, for sizes as above, prices the same. 

*** Larger Cameras made to order. 



A superior double tripod portable stand, with brass triangle and screws, 
for cameras, suitable for pictures up to 10 by 8 inches 


3 


0 


0 


A ditto, ditto, to 15 by 12 inches 




4 


10 


0 


A ditto, ditto, to IS by 16 inches 




6 


0 


0 


Plainer stands for the above sizes 


from 28s. to 


2 


10 


0 


Sliding Preparing Apparatus 


from 


2 


10 


0 


Mercury boxes 


... from 


1 


4 


0 


Double paper-holders 


from 


1 


5 


0 


Printing Presses 


from 


0 


10 


0 


Photographic arrangement for Microscope 




2 


0 


0 


Glass plates, per dozen 


from 





Chemical Chests, &c. <fec. 
Photographic Paper by the best makers. 



PHOTOGRAPHIC PICTURES 



BY 



M. BLANQUARD-EVRARD, 

Of the Imprimerie Photographigue de Lille. 



SOUVENIRS DE JERSEY, 

From Negatives by the Author. 

These Prints are handsomely mounted on Cardboard, and have Engraved Titles. 
The size varies from 9 to 11 in. in length. They represent in general artistic 
studies of Marine Scenery, Boats, <fec. 

There are 12 different subjects, price Four Francs (3s. id.) each. 



LES BORDS DU RHIN. 

Twenty-eight different subjects, mostly 12 inches in length. 
Price Five Francs (4s. 2 d.) each. 



LÕART CHRETIEN. 

This noble Work includes Photographic reproductions of the most precious 
monuments of Christian art of all periods from the 8th century to the present 
time. It comprises Architecture, Sculpture, and Painting. 

The Prints vary from 12 to 14 inches in length. They are mounted on Card- 
board, with Engraved Titles in French and English. The number of subjects can 
scarcely yet be ascertained, as the work is still in progress. 

Price of each Print Five Francs (4Ç. 2 d.) 



That subjects, and others from the same Establishment, may be seen and 
obtained at 



THE PHOTOGRAPHIC INSTITUTION, 
168 New Bond Street, London. 



THE PHOTOGRAPHIC ART. 



MESSRS. KNIGHT AND SONS 

Respectfully inform Artists, Amateurs, and the Profession, that 
they are the Sole Agents for Y 0 IGHTL ANDER & SONÕS Pho- 
tographic Lenses for Portraits and Views. The different sizes 
can be seen at their Establishment, where they have every con- 
venience for testing their powers. The Photographic Department 
of their Establishment comprises every useful improvement in 
this interesting Art. A Priced List forwarded on receipt of two 
Postage Stamps. 

George Knight and Sons, Foster Lane, London. 



SUPERIOR 

PHOTOGRAPHIC APPARATUS 

At the WorkmanÕs Prices. 

Double and Single-bodied Folding Cameras vith all the latest improvements, 
Stereoscopic Cameras, <fcc. he., manufactured in the most elaborate style by 
Moran and Quin. 

Gentlemen having in view the purchase or construction of an Apparatus of 
peculiar form, or unusual dimensions, will meet with every attention and effect a 
very great saving by applying to M. h Q. 

Amateurs wishing to commence operations with the least expensive materials 
can be supplied with 

A complete Set of Photographic Apparatus for £2 10s. 

Consisting of Camera, either in Mahogany or Walnut Wood Ñ Double Achromatic 
Lens, neatly mounted in Brass, with Rack-work adjustment Ñ Portable and steady 
Stand Ñ Gutta-Percha Bath and Dipper - Scales aid Weights in Box Ñ Glass Gra- 
duated Measure Ñ Minim Glass Ñ Porcelain Pan, ire. (capable of taking pictures 
4J in. by 31 in.) 

t... £> s. d. 

Ditto, ditto, for Pictures 61 x 4f, and under . . . . 4 10 0 

Ditto, ditto, ã 81 x 61 ,, . . . . 9 9 0 

beautiful ^tmoscopix ©ictus hit Ipiger of % Continent 
nnb Cnglanh. 

AT ONE SHILLING IACH. 

THE LARGEST ASSORTMENT OF STEREOSCOPES IN LONDON. 



Clerkenwell Wholesale Photographic Depot 
and Manufactory, 

56 and 29 Myddelton Street Clerkenwell. 



PHOTOGRAPHY. 




T. OTTEWILL AND CO.ÕS 

WHOLESALE, RETAIL, AND EXPORT PHOTOGRAPHIC 
APPARATUS MANUFACTORY. 



OTTE WILLÕS 

REGISTERED DOUBLE FOLDING CAMERA, 

WITH RACK-WORK ADJUSTMENT, 

For Portraits and Views of any focal length, is superior to every other form of 
CAMERA for its simplicity, utility, and portability. Warranted to stand any 
climate. May be had of 

A. ROSS, London ; The PHOTOGRAPHIC INSTITUTION, Bond Street ; 
and at the Manufactory, where every description of 

Cameras, Slides, Tripod-Stands, Pressure-Frames, 
Plate-Boxes, &c. &c. may be had. 

OTTEWIIjIiÕS NEW GUTTA-PERCHA BATHS, 

Mounted, and Warranted perfectly Water-tight. 

OTTEWILLÕS 

IMPROVED STEREOSCOPIC CAMERAS, 

FOR TWO LENSES. 

OTTEWILLÕS 

NEW TRIANGULAR MAHOGANY TRIPOD-STANDS, 

So much admired for the support of large Cameras. 



The new PRICI-LIST to be had on application. 
address : 

24 Charlotte Terrace, Caledonian Road, Islington. 



EDWARD GEORGE WOOD, 

OPTICIAN, 

And Manufacturer of Photographic Lenses, Cameras, and every description 
of Philosophical Apparatus, 

No. 117 Cheapside, London (late of 123 Newgate Street). 

E. G. WOODÕS Catalogue of Photographic Apparatus, Second Edition, now 
ready ; Free by Post on receipt of Four Postage Stamps. 

Elementary Scientific Papers, by E. G. Wood, Nos 1 to 8, now ready. Id. each. 

JUST PUBLISHED. 

THE PHOTOGRAPHIC PRIMER, 

For the Use of Beginners in the Collodion Process. 

With a facsimile of a Photograph as Frontispiece. 

By JOSEPH CUNDALL. 

Price One Shilling ; by post, Eighteen Pence. 

PHOTOGRAPHIC INSTITUTION, 168 NEW BOND STREET. 

JUST PUBLISHED, SECOND EDITION, 

THE PRACTICE OF PHOTOGRAPHY. 

A Manual for Students and Amateurs. 

By PHILIP H. DELAMOTTE, F.S.A. 

With a Photograph of the Colossi of Aboo Simbel at the Crystal Palace. 

Price 4s. 6d. ; by post, 5s. 

PHOTOGRAPHIC INSTITUTION, 168 NEW BOND STREET. 



NEARLY READY. 

A PHOTOGRAPHIC TOUR 

AMONG 

THE ABBEYS OF YORKSHIRE. 

By PHILIP H. DELAMOTTE and JOSEPH CUNDALL. 

With Descriptive Notices by J. R. Walbran, F.S.A. 

With Twenty-four Photographic Pictures, atlas 4to. half-morocco, price 4 l. 4s. 
PHOTOGRAPHIC INSTITUTION, 168 NEW BOND STREET.