American Hand Book of the Daguerreotype by Samuel D. Humphrey
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Gregory Walker, Austin, Texas, >> American Hand Book of the Daguerreotype by Samuel D. Humphrey
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10 AMERICAN HAND BOOK OF THE DAGUERREOTYPE
GIVING THE MOST APPROVED AND CONVENIENT METHODS FOR PREPARING
THE CHEMICALS, AND THE COMBINATIONS USED IN THE ART.
CONTAINING THE DAGUERREOTYPE, ELECTROTYPE, AND VARIOUS OTHER PROCESSES
EMPLOYED IN TAKINGHELIOGRAPHIC IMPRESSIONS.
BY S. D. HUMPHREY
FIFTH EDITION
NEW YORK: PUBLISHED BY S. D. HUMPHREY
37 LISPENARD STREET
1858
Entered, according to Act of Congress, in the year 1858, by
S. D. HUMPHREY, In the Clerk's Office of the District Court
of the Southern District of New York.
To J. GURNEY, WHOSE PROFESSIONAL SKILL, SCIENTIFIC ACCURACY,
AND ENERGETIC PERSEVERANCE, HAVE WON FOR HIM UNIVERSAL ESTEEM,
THIS WORK IS MOST RESPECTFULLY INSCRIBED.
PREFACE.
There is not an Amateur or practical Daguerreotypist, who has
not felt the want of a manual--Hand Book, giving concise
and reliable information for the processes, and preparations
of the Agents employed in his practice.
Since portraits by the Daguerreotype are at this time believed
to be more durable than any other style of "Sun-drawing,"
the author has hit upon the present as being an appropriate
time for the introduction of the Fifth Edition of this work.
The earlier edition having a long since been wholly;
exhausted, the one now before you is presented.
The endeavor has been to point out the readiest and most
approved Methods of Operation, and condense in its pages;
as much practical information as its limits will admit.
An extended Preface is unnecessary, since the aim and scope
of this work are sufficiently indicated by the title.
S. D. HUMPHREY NEW YORK, 1858.
CONTENTS
CHAPTER I.
Polishing the Daguerreotype Plate--Buffing the Plate--Coating the Plate--
Exposure of the Plate in the Camera--Position Developing the Daguerreotype--
Exposure to Mercury--Removing the Coating--Gilding or fixing the Image--
Coloring Daguerreotype, . . . . . 18
CHAPTER II.
Coloring Back Grounds--Transparent ditto--Gilding Dissolvent--
Solution for removing Specks--Solarized Impression--To Purify Water--
Cleaning Mercury--Adhesive Paper--Black Stain for Apparatus--
Sealing Wax for Bottles--Rouge--Rotten Stone--Potassa Solution--
Hyposulphite Solution--Substitute for do.--Gilding Solution--
Solution for increasing the Brilliancy of the Daguerreotype--
Bleaching Solution;--Cold Gilding--Neutralizing Agents--
Buff Dryer--Keeping Buffs in order--Cleaning Buckskins--
Reflector for taking Views, . . . .52
CHAPTER III.
Bromine and its Compounds--Iodine and its Compounds--
Chlorine and its Compounds--Cyanide of Potassium--
Hyposulphite of Soda--Hyphosulphite of Gold--Nitric Acid--
Nitro-Muriatic Acid--Hydrochloric Acid--Hydrofluoric Acid--
Sulphuric Acid--Accelerating Substances--Liquid Sensitives--
Dry Sensitives, etc., etc., . . . . .72
CHAPTER IV.
Light--Optics--Solar Spectrum--Decomposition of Light--Light, Heat,
and Actinism--Blue Paper and Color for the Walls of the Operating Room--
Proportions of Light, Heat and Actinism composing a Sunbeam--
Refraction--Reflection--Lenses--Copying Spherical Aberration--
Chromatic Aberration, . . . 131
CHAPTER V.
To make Plates for the Daguerreotype--Determining the Time of Exposure
in the Camera--Instantaneous Process for Producing Daguerreotype--
Galvanizing the Daguerreotype Plate--Silvering Solution--
Daguerreotype without Mercury--Management of Chemicals--
Hints and Cautions--Electrotyping--Crayon Daguerreotypes--
Illuminated Daguerreotypes--Natural Colors in Heliography--
Multiplying Daguerreotypes on one Plate--Deposit in Gilding--
Practical Hints on the Daguerreotype, . . . 149
CHAPTER VI.
An Account of Wolcott and Johnson's Early experiments in the Daguerreotype,
. . . 188
AMERICAN HAND-BOOK of THE DAGUERREOTYPE.
CHAPTER I.
Polishing the Daguerreotype Plate--Buffing the Plate--Coating the Plate--
Exposure of the Plate in the Camera--Position--Developing the Daguerreotype--
Exposure to Mercury--Removing the Coating--Gilding or fixing the Image--
Coloring Daguerreotype.
Polishing the Daguerreotype Plate.--I shall endeavor to present to the reader
the process I have found productive of good and satisfactory results,
presenting the same in a clear and concise manner, so that any one,
by following the various manipulations given, will be enabled to succeed.
If there is any one part of the process in Daguerreotype in which operators
fail more than all others, it is in not properly preparing the plate.
It has truly been said that it would take a volume to describe all the methods
that have been suggested for polishing the plate.
I shall confine myself to the following description, which has been
successfully practised, also most generally adopted by our operators,
and I believe equal, if not superior to any other method, yet at the same
time it is not of so much importance what particular method is employed,
so that it be thoroughly and skillfully carried out.
There is a general tendency with beginners to slight this operation; hence the
necessity of adopting a system which precludes the possibility of doing so.
During many years' study and practice in the art, I have tried numerous
methods and substances for the better accomplishment of the end in view,
and have finally settled upon the following, as being (so far as experience
allows me to Judge) the modus operandi, best suited to all circumstances;
under no condition would I approve of a method less rigorous or precise.
The operator being provided with a bottle of finely prepared rotten stone,
cover the mouth of the bottle with a piece of thick paper, this perforated
with a pin so that the rotten stone can be dusted on the plate.
Fasten the plate on the holder, take the rotten stone (Becker's can always
be depended upon), and dust on lightly until the surface is freely covered;
now drop on the plate's surface a few drops of an alcoholic solution.*
*This solution is composed of equal parts of alcohol and water,
for the summer, and in winter three parts alcohol to one of water;
a few drops of potassa solution may be added, and is known to have
a decided effect upon the plate.
Take a patch of Canton flannel; in order to prevent the moisture
from the hand it should have a thick, firm texture:
with this rub the plate in circles across, then back covering
onehalf of the former row of circles in each crossing until you
have gone over the plate and back to the point of beginning,
occupying at least half a minute in the operation, for a small plate,
and so in proportion for the other sizes.
Care should be observed to keep the patch wet with the alcoholic
solution forming a paste on the surface of the plate;
the motion of the hand should be brisk and free, not hurried,
and the pressure about equal to that of a pound weight.
When the cotton is disposed to adhere to the plate, and slip
from under the finger, spread the fore and middle fingers
a little apart, then pressing down, bring them together
in such a manner as to form a fold in the cloth between them,
by which means you will hold it perfectly secure.
Avoid wetting the fingers, and should they perspire, wipe them often,
as the moisture penetrating the cotton and coming in contact with
the plate, would cause streaks it would be difficult to remove.
I will here remark that many operators use much more cotton flannel than
there is need of. I have found in my experience that a single patch,
about one and half inch square, will be better for cleaning a number
of plates than a new piece for every plate. This is the case for the wet,
and for the dryrubbing two or three pieces will be found to answer.
Thus with four or five cloths a dozen plates may be prepared.
Some operators use prepared cotton, and think it more convenient
than the flannel. This may be had prepared free from seeds
and in a very perfect state, if wished.
In going over the plate, great care should be observed, in touching
its surface as equally as possible. The greatest care should be
taken neither to touch the plate with the fingers, nor that part
of the cotton flannel which is to come in contact with its surface;
take a clean piece of flannel by one corner, snap it smartly
to free it from dust and loose fibres, lay it face-side upward,
dust on a little fine rotten stone; with this, polish around,
or across, or in circles, lightly and briskly, passing gradually
over the whole surface of the plate, as was done before with the wet.
The plate should now exhibit a bright, clear, uniform surface,
with a strong metallic lustre, perfectly free from any appearance of film;
if not, the last polished should be continued until the effect
is obtained, and when once obtained, the plate is ready for buffing.
Buffing the Plate.--There are a variety of ways and means employed
in this part of the operation. Some choose wheels, and others
prefer the ordinary hand-buff. I have been unable to detect any
peculiar advantage in the use of the wheel except in the facility
of the operation; no doubt, however, but there is a saving
of time, particularly in the preparation of the larger plates.
For general use, we have not seen a wheel better adapted for this
purpose than the one patented by Messrs. Lewis.
It is generally well to use a hand-buff before placing the plate
on the wheel; this is in order to prevent, as far as possible,
the dust or other substance that may be on the surface of
the plate from coming in contact with the cover of the wheel.
I will here follow out the use of the hand-buffs (two are necessary)
as they are mostly used.
In the morning, before using the buffs, brush both as clean as possible,
in order to free them from dust; then with the blade of a pair of shears,
held perpendicular, rub the buffs from end to end; then knock them
both together in order to free them from all dust or other substances,
occasionally exposing them to the sun or to the fire.
With one of the buffs (reserving the finest and softest for the last
operation), powder its face with fine rouge and brush off slightly,
leaving only the finest particles in it. Every operator should have
two plate-holders; one for cleaning and one for buffing the plate;
for when using only one, the rotten stone is liable to get on the buff
and scratch the plate.
Rest the fingers of the left hand on the back of the buff,
near the farther end, with about the same pressure as in cleaning,
while with the right you bear on the handle to correspond,
and give the buff a free, easy, horizontal motion, passing it
very nearly the whole length over the plate each time.
Continue this operation in such a manner that the plate will on
all parts of its surface have received an equal amount of polish.
This buff once well filled with polish, add but little after,
say a small quantity once in two or three plates.
The polish as well as the buffs must be kept perfectly dry.
The second buff should always be in the best order, and if this
is the case, but little polish after the first need be used.
Much depends upon the last finish of the surface of the plate,
and as a fine impression is desired in the same ratio,
the operator must exercise care and skill in this operation.
Some buff the smaller plates on the hands, by resting them on
the fingers in such a manner that the buff cannot touch them;
some by holding the edges with thumb and little finger,
with the remaining fingers under, or on the back; and others buff
on the holder. When this last method is adopted, it requires
the greatest caution to prevent the dust from getting on the buff.
The holder should be wiped clean.
The plate frequently slips off or around, and the buff comes
in contact with the bed of the holder. When, however, the operator
is so unfortunate as to meet with this mishap, the utmost care
must be observed in thoroughly cleaning the buff cover before
further buffing. In this last buffing it may be continued as before,
except without the application of polish powder to the last buff.
Examine the surface occasionally, and buff more lightly towards
the close of the operation, using at last the mere weight of the buff.
This last buffing should occupy as long a time as the first.
The point to be aimed at is, the production of a surface of such exquisite
polish as to be itself invisible, like the surface of a mirror.
The secret of producing pictures discernible in any light, lies in this:
the more dark, deep and mirror-like the surface of the plate, the more
nearly do we approach to perfection.
In all cases, very light and long continued buffing is productive
of the greater success, since by that means a more perfect polish
can be obtained.
The question is often asked, why is it that the plates receive the coating
so unevenly? I will answer by saying that it may arise from two causes:
the first and most general cause is that those parts of the plate's
surface which will receive the heaviest coating have been more
thoroughly polished, and the consequence is that it is more sensitive
to the chemical operation. second. and might perhaps be considered a part
of the first, the heat of the plate may not be equal in all its parts;
this may arise from the heat caused by the friction in buffing.
It is a well known fact, with which every observing practitioner
is familiar, that a silver plate at a temperature of 45 deg.
or less, exposed to the vapors of iodine, is less sensitive and takes
a longer time to coat, than when it is at a temperature of 60 deg.
or more.
Whenever a view is to be taken, or any impression which requires the plate
to be turned on the side, it should be buffed in the other direction,
so that the marks will always be horizontal, when the picture is in position.
With the finest possible polish, the plate is ready for the coating box.
The question is often asked by operators, what is the state of the
plate when polished and allowed to stand for a time before using?
To meet this point we hare only to consider the silver and the power
acting upon it. Pure atmosphere does not act upon silver;
but we do not have this about in our operating rooms, as it
is more or less charged with sulphurated hydrogen, which soon
tarnishes the surface of the plate with a film of brown sulphurate.
It is this that sometimes causes the specks which appear
on finishing the impression, and are a great annoyance.
Hence we see that the plate should be buffed just before receiving
the vapor of iodine. Mr Hunt gives his opinion of the use
of diluted nitric acid as the best solution for freeing,
the surface of the plate; he says:
"Numerous experiments on plated copper, pure silver plates,
and on silvered glass and paper, have convinced me that
the first operation of polishing with nitric acid, etc., is
essential to the production of the most sensitive surface.
All who will take the trouble to examine the subject, will soon
be convinced that the acid softens the silver, bringing it
to a state in which it is extremely susceptible of being either
oxydized or iodized, according as the circumstances may occur
of its exposure to the atmosphere or the iodine."
I cannot see the objection to this solution; not, however, in general use.
Our operators do not find it of sufficient importance to the success
of their pictures to accept it, the alcoholic solution being in its
nature less objectionable.
I will say here, that a plate submitted to only an ordinary polish
is found to contain numberless minute particles of the powder
made use of. Should the same plate be buffed for a long time,
the polish will nearly all disappear, leaving the cavities
in the surface free for the action of agents employed in
subsequent operation. For this reason, I find that great amount
of polishing powder should not be applied to the last buff,
and it is obvious that three buffs can be employed to adventure;
the two last should not receive any polishing materials.
I have examined a plate that was considered to possess
a fine finish, and similar had produced good impressions;
these same plates, when subjected to a long and light buffing,
would present a surface no finer in appearance to the naked eye;
but upon exposure to the solar radiation, would produce
a well-defined image in one fourth less time than the plate
without the extra buffing.
Coating the Plate.--For this purpose our mechanics and artists
have provided a simple apparatus called a coating-box, which
is so arranged as to be perfectly tight, retaining the vapor
of the iodine or accelerators, and at the same time allowing,
by means of a slide, the exposure of the plate to these vapors.
They can readily be obtained by application to any dealer,
all of whom can furnish them.
The principal difficulty in coating the plate, is that of preserving
the exact proportion between the quantity of iodine and bromine, or quick.
It is here necessary to say, that hardly any two persons see alike
the same degree of color, so as to be enabled to judge correctly
the exact tint, i. e. what one might describe as light rose red,
might appear to another as bright or cherry red; consequently, the only rule
for the student in Daguerreotype, is to study what appears to him to be the
particular tint or shade required to aid him to produce the desired result.
Practise has proved that but a slight variation in the chemical coating,
of the Daguerreotype plate will very materially affect the final result.
The operator will proportion the coating of iodine and bromine or accelerators
according to the strength and composition of the latter.
Experience proves that the common impressions, iodized to a rather light
yellow gold tint, and brought by the bromine to a very light, rose color,
have their whites very intense, and their deep shades very black.
It is also known that if you employ a thicker coating of iodine and apply
upon it a proportionate tint of bromine, so as to obtain a deep rose tint,
delineations will be less marked, and the image have a softer tone.
This effect has been obvious to everyone who has practised the art.
Thus I may observe that the light coatings produce strong contrast
of light and shade, and that this contrast grows gradually less,
until in the very heavy coating it almost wholly disappears.
From this it will readily be perceived that the middle shades are
the ones to be desired for representing the harmonious blending
of the lights and shades.
Then, if we examine, with respect to strength, or depth of tone, and sharpness
of impression, we see that the light coating, produces a very sharp but
shallow impression; while the other extreme gives a deep but very dull one.
Here, then, are still better reasons for avoiding either extreme.
The changes through which the plate passes in coating may be considered
a yellow straw color or dark orange yellow, a rose color more or less
dark in tint, or red violet, steel blue or indigo, and lastly green.
After attaining this latter color, the plate resumes a light yellow tint,
and continues to pass successively a second time, with very few exceptions,
through all the shades above mentioned.
I will here present some excellent remarks upon this subject by Mr. Finley.
This gentleman says:
"It is well known to all who have given much attention to the subject,
that an excess of iodine gives the light portions of objects with
peculiar strength and clearness, while the darker parts are retarded,
as it were, and not brought out by that length of exposure which
suffices for the former. Hence, statuary, monuments, and all objects
of like character, were remarkably well delineated by the original
process of Daguerre; the plate being coated with iodine alone.
An excess of bromine, to a certain degree, has the opposite effect;
the white portions of the impression appearing of a dull, leaden hue,
while those which should be black, or dark, appear quite light.
This being the case, I conclude there must be a point between the two
extremes where light and dark objects will be in photogenic equilibrium.
The great object, therefore, is to maintain, as nearly as possible,
a perfect balance between the two elements entering into union
to form the sensitive coating of the plate, in order that the lights
and shades be truly and faithfully represented, and that all objects,
whether light or dark, be made to appear so far conformable to nature,
as is consistent with the difference in the photogenic energy
of the different colored rays of light. It is this nicely-balanced
combination which ensures, in the highest degree, a union of the essential
qualities of a fine Daguerreotype, viz., clearness and strength,
with softness and purity of tone.
"So far as I know, it is the universal practice of operators
to judge of the proportion of iodine and bromine in coating
the plate, by two standards of color the one fixed upon for
the iodine, the other for the additional coating of bromine.
Now I maintain that these alone form a very fallacious standard.
first, because the color appears to the eye either lighter
or darker, according as there is more or less light by which we
inspect the coating; and secondly, because if it occur that we
are deceived in obtaining the exact tint for the first coating,
we are worse misled in obtaining the second, for if the iodine
coating be too light, then an undue proportion of bromine is used
in order to bring it to the second standard, and vice versa."
The iodine box should be kept clean and dry. The plate immediately
after the last buffing, should be placed over the iodine, and the coating
will depend upon the character of the tone of the impression desired.
Coating over dry iodine to an orange color, then over the accelerator,
to a light rose, and back over iodine one sixth as long as first coating,
will produce a fine, soft tone, and is the coating generally used for
most accelerators. The plate iodized to a dark orange yellow, or tinged
slightly with incipient rose color, coated over the accelerator to a deep
rose red, then back over iodine one-tenth as long as at first coating,
gives a clear, strong, bold, deep impression.
I will here state a singular fact, which is not generally known
to the operator. If a plate, coated over the iodine to a rose red,
and then exposed to strong dry quick or weak bromine water,
so that a change of color can be seen, then recoated over the iodine
twice as long as at first coating, it will be found far more
sensitive when exposed to the light than when it has been recoated
over the iodine one-fourth of the time of the first coating.
Probably the best accelerating combination is the American
compound formerly known as "Gurney's American compound,"
or some of the combinations of bromide of lime.
The first is thought to possess perhaps more uniformity in its
action than any other combination I have ever used.
The plate once coated should be kept excluded from the light
by means of the plate holder for the camera box.
I will notice one of the principal causes having a tendency
to prevent the perfect uniformity of chemical action,
between the iodine and silver; hydrogen, or the moisture
in the atmosphere, makes a very perceptible barrier.
This moisture may arise as the result of the cold, from a want
of friction in the buffing of the plate, which, coming in contact
with the warmer air, as a writer on this subject says:
"It is well known that as often as bodies, when cold, are exposed
to a warmer air, the humidity contained in them is condensed.
It is to this effect that we must attribute the difficulty
experienced in operating in most cases." This is corroborated
by the results experienced by our operators. So it is seen that
the plate should be of a temperature above that of the atmosphere.
Mr. Gurney submits his plates to a gentle heat from a spirit
lamp just before exposing them to the vapor of iodine.
Experience has convinced me that a plate heated to about 80 deg.
before being exposed to iodine will present a far better
defined image than aplate at a temperature of 50 deg.
I account for this by noticing that, at a higher temperature,
the plate throws off any larger crystals that might otherwise
be deposited, receiving only the finer, thus producing
a more perfect chemical combination of iodide of silver.
I would call the attention of the operator to this point,
as presenting something of interest, and which may direct
in a way of accelerating the future operations.
That the presence of a film of moisture over the plate is a preventive
of uniform chemical action, may be readily understood from the fact
that iodine is almost insoluble in water, requiring seven thousand parts
of water to dissolve one of iodine, or one grain to a gallon of water.
Yet its affinities for silver and other substances are so powerful as to
prevent its existing in an insulated state, hence we can account for the
frequent occurrence of a plate presenting parts of an image over its surface.
It is quite evident that those parts of plate's surface covered with moisture
are nothing like as sensitive to the iodine as those parts perfectly free.
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