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16. fi)6. 




*N^ 



PHOTOGRAPHIC MANIPULATION; 

CONTAININQ 

SIMPLE AND PRACTICAL DETAILS OF THE MOST 
IMPROVED PROCESSES 



OP 



PHOTOGENIC DRAWING, 



TUK 



DAGUERREOTYPE AND CALOTYPE. 



ILLUSTRATED WITH CUTS OP THE VARIOUS APPARATUS. 



PRICE U. flrf. 






h:H. 




??,'1 i^y 



LONDON : 

EDWARD PALMER, 103, NEWGATE STREET 



1843. 



[bntbred at stationehs' hall.] 



PREFACE. 



The beautiful remits of the Photographic Art 
have been sufficiently before the Public to have their 
peculiarities known and their meints appreciated; 
and the question naturally arises, how are they 
produced? To this question the Writer offers 
the present Pamphlet, in the hope that those who 
merely seek some slight information on this stdh 
ject wiU have their wishes gratified by its perusal ; 
and those who desire to follow out this art by expe- 
rimenty ynay find siifficient detail to enable them to 
pra/;tice Photographic Drawing with success. 

Being well aware that the contents of *^ Photo- 
graphic Manipulation^* cannot fail to afford ahun- 
dant scope for criticism, the Writer, in conclusion, 
begs that it mxiy be a^ lenient a>s possible, in consi- 
deration of its being a first literary attempt, 

WH. T. 

April, 1843. 



DESCRIPTION OF THE CUTS. 



Fig. 1. Represents a very convenient Camera for Photo- 
graphic or Calotype Drawing ; it consists of a mahogany box, 
in the front of which is fixed a brass sliding tube, A. having an 
achromatic glass at one end and the diameter of the tube con- 
tracted in the front, forming what is called a stop, B. C. a small 
shutter for closing the aperture 

Fig. 2. A sliding frame which fits the back of the camera ; 
it has a piece of slate at one side for holding the prepared 
paper, and a sliding lid which protects it from the light, at the 
other. There is also a small wooden frame, which fits the same 
groove as the piece of slate, and is usc'd for holding the pre- 
pared plate in the Daguerreotype operation. 

Fig. 3. A frame holding a piece of ground glass, and slides 
into the same groove at the back of the camera as the sliding 
frame Fig. 2. It is used for ascertaining the focus which 
is adjusted by the rack and sliding tube in the front of the 
camera* 

Fig. 4. Represents a small mirror capable of being fixed on 
the sliding tube A. of the camera, by means of a screw. As all 
objects in the camera obscura appear reversed, that is, all right 
hand objects will appear to the left in the picture, and vice versa, 
it is of great importance in many instances to obtain the 
pictures as they appear in Nature; this is accomplished by 
the small reflecting mirror, which has the efiect of reversing 



VI 



the objecti in the camera, and thui rendering the picture cor- 
rect ; when used, it must be turned towards the object to be 
copied till a perfect representation is observed on the ground 



When the mirror is employed, the time required to produce 
a picture is generally doubled. * 

Fig. 6. The Iodine Box,Ñ It consists of a maliogany box lined 
with glass, with four projecting pieces of glass near the top, for 
the corners of the plate to rest upon while being iodined. The 
box is either furnished with card* at the bottom, to be saturated 
with a solution of iodine when going to be used, and a plate 
of glass to lay over it to prevent useless evaporation, or a 
quantity of iodine is spread over the bottom and covered with 
one or two layers of cotton-wool, over which is placed a piece 
of card-board capable of being reversed when required. When 
a plate is to be prepared, the side of the card which is down- 
wards and consequently saturated with the vapour of the 
iodine, should have its position reversed, so that the evapora- 
tion from its surface may give an even coating to the plate. 
By this arrangement one surface of the card is always in a fit 
state for use, and will only require its position to be altered 
each time a trial is made. 

While iodizing a plate, the box should be covered with 
its lid, as it prevents the possibility of any draft of air, which 
might prevent the plate from being equally coated over its 
surface. 

It is hardly necessary to state that the iodine box, when not 
in use, should be kept covered with its lid, as that will not only 
keep the box in a proper state for use, but prevent waste. 

Fig. 6. Represents a section of the Bromine Apparatus, 
is made of black, yellow, or red glass; A. the bottom division 
of the glass, where the solution of bromine is placed ; B. shows 

* The card-board used bhotild be black or of a daik colour. 



vn 



the position of the plate resting by its corners over the solution ; 
C. a piate of glass which fits air tight over the apparatus. 

Fig. 7. The Mercury Box, Ñ The body is made of maho- 
gany ', at the bottom is an iron cup for holding the mercury. 
At one of its sides and also in the front is a small window 
of yellow glass, and on the ¥under part of the lid is placed 
a slide of plate iron for holding the silver plate, while being ex- 
posed to the fumes of Mercury. 

Fio. 8. A brass spirit-lamp for heating the mercury in the 
mercury box, furnished with a sliding ring of wire, very useful 
for supporting the silver plate over the flame of the lamp while 
fixing, &c. 

Fio. 9. Plate Cleaner,-^lt consists of a small board, the 
size of the plate, mounted on a block of wood, which can be 
fastened to a table by means of a clamp ; at one corner of the 
board is a small piece of brass having a small hole in its upper 
part, just sufficient to hold the comer of the plate to be cleaned ; 
at the opposite side there is another similar piece of brass, 
made to slide, that it may be adapted to the various sizes 
of the plates. 

Fig. 10. Velvet Buff, Ñ A piece of wood about fourteen 
inches long, and from three to four inches wide, evenly covered 
with three or four folds of well-washed white cotton velvet. 

Fig. 11. Represents a form of box very convenient for pre- 
serving Daguerreotype Plates after they are polished, or when 
prepared. 



CHAPTER I. 



ON PHOTOGRAPHY. 



INTRODUCTION AND HISTORY. 

Light, has always been esteemed by every 
one who has an eye to see or a mind to com- 
prehend, as one of the most important agents 
in Nature: for whether we regard it as un- 
folding to our senses all those varied beauties of 
form or colour, with which the face of Nature 
is adorned, or, as acting a most important part 
in the production of those beauties, we cannot 
fail to be struck with its vast importance to 
our own comfort and enjoyment, and the 
wisdom and beneficence of HIM who com- 
manded, and there was Light. 

We cannot define what Light fe, any more 
than our minds can comprehend our origin 
from nothing ; but we are graciously permitted 
not only to know and recognize light by its 



effects, but also by observing those effects to 
trace out the never-changing laws which govern 
them. 

The observation of effects, with the endeavour 
to arrive at those first principal laws, is a most 
intellectual and useful pursuit, and constitutes 
Natural Philosophy: among the various de- 
partments of which none, if we may be allowed 
comparison where all is beautiful, is more in- 
teresting than Light, 

The observation of the nature and properties 
of Light, and the peculiar changes which it un- 
dergoes in its qualities or direction, when pass- 
ing through bodies of different forms Ñ ^when 
reflected from their surfaces Ñ or when moving 
past them at small distances, constitutes the 
Science of Optics, The observation of the 
peculiar effect produced by Light on the con- 
stitution of some bodies, more particularly as 
regards obtaining impressions of objects by those 
effects, has received the name of Photography. 

The word Photography ^ is derived from two 
Greek words, ^ois and Fjoa^oi, and is applied to 
the art of making pictures or impressions by 
the agency of Light. 



Light has been known for a long time to pro- 
duce other effects besides that of illuminating 
objects, and rendering them visible to our 
senses; such, for instance, as destroying the 
colour from some bodies and increasing it in 
others. These effects are caused by and have 
received the name of the " chemical action of 
LIGHT," in the same way that heat and the cause 
of heat are generally called by one and the same 
appellation. 

The chemical action of light is either to cause 
bodies to combine together or to decompose 
them, and the decomposing effect of light being 
generally in proportion to the rate with which 
the same result may be produced by other 
means, it is one of the chief endeavours of the 
Photographist to discover and employ those 
compounds whose constituents are held together 
by the least possible degree of affinity. 

The compounds of silver are those which 
are generally used /or photogenic or photo- 
graphic purposes, and they appear, as far as 
our present knowledge extends, to be the most 
influenced by the action of light, although it 
is extremely probable, from some late expe- 
riments of Sir J. Herschel, that there is not 
a compound, of whatever nature it may 



be, but is affected more or less by light, and 
although that effect may not in many instances 
be visible, still it may exist, and only require 
the article which has been exposed to its action 
to be placed under different circumstances, to 
make the effect apparent to our senses. 

The darkening of recently precipitated chlo- 
ride of silver, when exposed to the light, appears 
to have first suggested the idea of photographic 
drawing, and the earliest recorded experiments 
on this subject are those of Wedgwood and Sir 
H. Davy, which were published in the journal 
of the Royal Institution, in June, 1802; but as 
these philosophers were not able to prevent the 
further action of the light after an impression 
had been obtained, their experiments led to no 
conclusive result, and the subject was in a short 
time abandoned. M. Niepce, about the year 
1814, appears to have been the next who turned 
his attention to the production of pictures by 
light: he continued his experiments alone for 
about ten years, when he became acquainted 
with M. Daguerre, who was also pursuing the 
same object. These two gentlemen continued 
their researches together, without publishing 
any of their results, till the beginning of the year 
1839, when the discovery of Daguerreotype was 



announced; but the process was kept secret till 
the month of July in the same year, when the 
French Government purchased the secret. 

In January, 1839, Mr. Fox Talbot, who had 
been experimenting for a considerable time to 
render paper sensitive to light, communicated 
to the Boyal Society his photographic discoveries, 
and shortly afterwards published the mode of 
preparing his sensitive paper, and the method 
of obtaining photogenic drawings from leaves, 
flowers, feathers, &c. To Mr. Fox Talbot is due 
the honor, not only of having first given to the 
world his beautiful process of photogenic draw- 
ing, but also the more recent discovery of the 
Calotype^ by which objects may be obtained on 
paper, by means of the camera obscura, in a few 
Londs, and rivaling, in point of effect, the 
delicate outline of the Daguerreotype. 

The photographic art is also greatly indebted 
to the interesting and valuable researches of 
Sir J. Herschel, who has invented and suggested 
many improvements in known processes, and 
likewise discovered the Calotype and several 
other peculiar and beautiful modes of photo- 
genie drawing. Among the many whose expe- 
riments have enriched this interesting subject. 



besides those already mentiofied, the names 
of Fjfe, Hunt, Ponton, Donne, Draper, Bee- 
qnerell and Redman, wOl be soflicient to show 
the attention and sdenee that hare been and 
are bong deroted to perfect and simpliAr photo- 
graphj ; bat as we adrance, wider appears the 
field, and more bright the prospect; and so 
fran^t with interest and amosement is erery 
department that has yet been explored, and so 
many yet remain ontooched, that we may anti- 
cipate results &r greater than hare yet trans- 
jnred ; and it may not be chimerical to imagine 
that the time is not &r off when we shall be 
able £uthfblly to copy in a few seconds the 
beaotiful yaried forms and colours of animate 
and inanimate natare, whether in her sober 
guise or decked in her gaudiest dress. 

Even in its present state, the art must be in- 
valuable to the traveller, enabling him, with 
only a slight addition to his usual load, to ob- 
tain correct copies from Nature's self, of all 
those objects of interest he may chance to 
meet. The botanist and naturalist are able to 
retain &c-similes of all those objects, whether 
flowers, leaves, trees, feathers, insects or animals 
of any description, that interest them the most. 
These copies, in general, not only retaining 



a correct outline, but sufficient detail to dis- 
tinguish their distinctive characters. In fact, 
every one who either loves to copy Nature 
in her outward form by art, or to observe and 
trace her in her more obscure walk of science, 
must feel interested and delighted, and endea- 
vour as far as he possibly can, to enrich by his 
own observation or experiment, so valuable and 
interesting a discovery, where, strictly speaking, 
art and science go hand in hand. 



CHAPTER II. 



ON PHOTOGENIC DRAWING. 

This simplest branch of photography appears 
to have been first suggested, as before men- 
tioned, by Sir H. Davy, but was brought to ap- 
parent perfection by Mr. Fox Talbot, in 1839, 
the principle of whose discovery was washing 
paper over with some preparation of silver that 
darkened in proportion to the intensity of light 
&lling on its surface, and when a sufficiently 
distinct image was produced, dissolving out the 



8 

remainder of the silver preparation that Iiad not 
been decomposed by the light, by which means 
a permanent impression was obtained. 

The above is the principle upon which all 
the various photogenic compounds act ; above 
a hundred different modes and compounds are 
described iti some works on this subject, but it 
is not thie intention here to describe any but 
those processes which have generally been found 
the most successful. 

SELECTION OF THE PAPER. 

The kind of paper most recommended is that 
called blue wove-post, and those sheets should 
be selected which appear of an even texture 
throughout and free from spots ; this is best as- 
certained by holding the sheets of paper before 
a lamp ; each sheet should have a pencil-mark 
made on one side, that the surface which has 
to be prepared may be distinguished when 
required. 

preparation of the paper. 

The only apparatus necessary for this purpose 
are, a few frames of wood similar to those used 
for slates, a little smaller than the sheets of 



paper to be prepared, two or three soft camel's- 
hair brushes, some sheets of white blotting 
paper, two or three glasses for holding the pho- 
togenic solutions, and one or two glass stir- 
ring rods. The chemical solutions required are, 
a quarter of an ounce of crystalized nitrate of 
silver dissolved in two ounces of water, and 
forty grains of common salt or muriate of am- 
monia, also dissolved in two ounces of water. 

The paper to be prepared should be slightly 
damped by placing it for a short time between 
several folds of the blotting paper, previously 
wetted ; a sheet should then be carefully pasted 
on one of the wooden frames and allowed to 
dry; it may then be evenly washed over by 
means of a camel's-hair brush with the solution 
of nitrate of silver^ taking care that the brush 
is used in one uniform direction over the sheet, 
removing it as seldom as possible, and avoid- 
ing the extreme edge of the paper pasted to the 
frame, which should not be wetted : the paper 
may then be allowed to dry in a dark place, 
and when dry, washed over with the solution 
of muriate of soda or ammonia, observing the 
same precautions as recommended for applying 
the first solution of silver. When dry, the paper 
thos prepared may be cut out of the frame and 



10 

kept for a considerable time, if preserved from 
the light and as much as possible from the 
atmosphere. 

MODE OF USING THE PHOTOGENIC PAPER. 

This photogenic paper ma^ be used for obtain- 
ing correct copies of all small objects, either of 
nature or art, provided they are or can be made 
sufficiently flat, without injury; the objects best 
adapted for this purpose, are plants, leaves, 
flowers, ferns, mosses, feathers, wings of insects, 
prints, drawings, lace, and other similar arti- 
cles. The only apparatus necessary will be 
two pieces of plate-glass the size of the draw- 
ing to be made, or a little larger, eitber sepa- 
rate or fixed in a hinged frame so contrived^ 
that the two plates may be pressed together 
by means of a screw or weight, and a thin deal 
board, covered with two or three folds of flannel. 
To copy objects that are flat, such as prints, 
drawings, &c. proceed as follows :Ñ Place a sheet 
of the photogenic paper on one of the pieces of 
plate-glass, taking care that the prepared side, 
which is easily distinguished by the mark made 
for that purpose, is upwards. The print or 
drawing should then be placed on the paper, 
printed side downwards ; and the other piece of 
plate-glass placed so as to press them into close 



11 

contact. The whole may then be exposed to 
the light, the drawing to be copied being up- 
wards. 

The time required to produce an impression 
depends in a great measure upon the thickness 
of the paper upon which the print or drawing is 
made ; about ten minutes in a bright sun-shine, 
or half-an-hour in clear daylight, is generally 
sufficient ; but the best method is to gently slide 
the upper glass partially off, (without disturbing 
them) and carefully lifting that part of the print 
or drawing that is uncovered by the glass, seeing 
whether the impression is complete; if not suffi- 
ciently dark, return the glass to its place and 
expose it some time longer to the action of the 
light, till the copy be sufficiently distinct. 

To copy objects that are not flat, such as 
plants, leaves, butterflies,' &c. &c., proceed as 
just described, but interpose between the lower 
glass and the prepared paper, which should be 
slightly damped, the board covered with flannel, 
and apply a moderate pressure to the upper 
glass, by which means the object will be slightly 
embedded in the sensitive paper, and a very 
beautiful and correct impression obtained. 

If the object be very unequal in its thickness 



12 

at certain points, those parts may, in most cases, 
be reduced by means of a penknife, without im- 
pairing in the slightest degree the accuraey or 
effect of the copy. 

There are many ways of modifying the pro- 
cess for obtaining photogenic drawings, from 
yarious substances, and articles which cannot 
fail to occur to the experimenter, and therefore 
need not be particularly described ; such for in- 
stance, as covering a piece of glass with a coat- 
ing of some opaque substance, as lamp-black in 
yamish, and tracing a subject through it with 
a point. If the glass thus prepared be then 
laid on a sheet of photogenic paper and exposed 
to the light, an impression will be obtained 
somewhat similar in appearance to a line en- 
graying, or pen and ink drawing. 

FIXING THE PH0T06BNIC DRAWINGS. 

When an impression has been obtained by 
any of the objects just described, it is necessary 
for its preservation that the undecomposed salt 
of gUver remaining in the paper be remoTed. 

The best article for this purpose is the salt 
called hypo-sulphite of soda, one ounce of which 
is to be dissolved in eight ounces of water. This 



13 

solution, when going to be used, should be 
poured into a flat dish of sufficient size to con- 
tain the photogenic drawing to be fixed. 

Immediately after a drawing has been ob- 
tained, it should be washed in plain water and 
partially dried between some folds of blotting- 
paper ; it ought then to be laid into the solution 
of hypo-sulphite of soda for three or four mi- 
nutes, and afterwards well washed in separate 
portions of water till the water comes off taste- 
less; the picture is now perfectly fixed, and 
may be dried and exposed to the light without 
any risk of injury. 

The rationale of this fixing process is this. 
The chloride of silver, which is the result of the 
preparation of the paper, is rery soluble in 
hypo-sulphite of soda; whereas, the oxide of 
silver reduced by the light is not ; the conse- 
quence is, that when the photogenic impression 
is placed in the hypo-sulphite, all the undeoom- 
posed chloride of silver is converted into hypo- 
sulphite of silver, which, being very soluble in 
water, is removed by the subsequent washing. 

The hypo-sulphite of silver having a very 
sweet taste, which it communicates to a large 



14 

quantity of water, affords the best criterion for 
judging when the paper has been sufficiently 
washed in the fixing process just described. 

OK NBGATIVE AND POSITIVE PHOTOGRAPHS. 

A photographic impression obtained by the 
ordinary photogenic paper will, of course, have 
the lights and shades reversed in regard to the 
original, i.e. the light parts of the original will 
allow the light to pass through and produce 
shades on the paper, whereas those parts which 
are thick or opaque by obstructing the light, 
will remain white, or nearly so. These kind of 
impressions are called negative ones, in distinc- 
tion to those pictures where the lights and 
shades are as in Nature, when they are called 
positive photographs. 

A photogenic copy of a print, for example, 
will, in the first instance, be a negative one; 
and in order to obtain a positive picture, or cor- 
rect copy of the original, it must be reversed. 
This can be done by exactly the same means as 
were used for obtaining it in the first instance, 
only substituting the negative drawing for the 
print. In this way any number of positive copies 
maj be obtained from one negative picture. 



15 



CHAPTEK III. 



DAGUERRBOTYPB. 

The Daguerreotype is a process by which cor- 
rect copies of objects can be made from Nature 
on polished surfaces of silver. It derives its 
appellation from its inventor, M. Daguerre, an 
ingenious French artist, who published the pro- 
cess in August, 1839, for which he, together 
with M. Niepce, who assisted him in his inves- 
tigations, received the grant of an annuity from 
the French government. 

The process has been patented in England by 
Mr. Berry, in 1839, and in his specification is 
called " A New and Improved Method of ob- 
taining the spontaneous reproductions of all the 
images received in the focus of the Camera 
Obscura ;" since which time it has been greatly 
improved, and still is improving in many par- 
ticulars, especially as regards its simplicity, and 
quickness of action. 

DESCRIPTION OP THE PROCESS. 

Daguerreotype Pictures, as they are call- 
ed, are taken on copper-plates, covered with a 



16 

coating of silver, which should be as pure as pos- 
sible, and of sufficient thickness to allow of its 
being very finely polished. A superior descrip- 
tion of Sheffield plate is the kind generally used, 
which, after being cut to the sizes required, is 
flattened or planished by the hammer, and af- 
terwards polished on a lathe to the required 
surface. These plates, properly prepared, and 
cut to any size, can be obtained ready for use. 

The most improved method of proceeding 
consists of five distinct operations, yiz. 

1. Cleaning the silvered plate. 

2. Rendering its surface sensitive to light, 
by exposing it to the vapour of iodine, 
bromine, or their combinations with chlo- 
rine, &c. 

3. Exposing the prepared sensitive plate to 
the focus of either a refracting or reflect- 
ing Camera. 

4. Bringing out the picture by exposing it 
to the vapour of mercury. 

6. Setting the picture, by removing the sen- 
sitive surface of the plate which has not 
been acted upon by the light. 

1. Cleaning the Silf>ered Plate. Ñ The object 



17 

in this operation being to obtain a surface of 
silver, perfectly pore and polished, it is of the 
greatest consequence that the articles used 
should be free from grease, or any other 
substance of an oily nature. It is also advisable 
that the plates be not prepared in any place 
where vapours may exist, arising from acids, 
volatile oils, &c. ; as regards the importance of 
attending to this suggestion it may be noticed, 
that a small quantity of oil of turpentine having 
been used in a room where some Daguerreotype 
plates were afterwards polished, prevented any 
good pictures being obtained till its odour had 
entirely disappeared. Many ways and sub- 
stances have been proposed for giving the 
best surface and polish ; but the following can 
be recommended for its simplicity, and the good 
result obtained. 

The articles necessary for this operation are, 
Cotton wool. 
Calcined tripoli. 
Prepared lamp black. 
Olive oil. 
Nitric acid diluted with about seven parts 

by measure of water. 
Spirit-lamp and stand. 
Pair of pliers. 
Cotton velvet buff. 



18 

The cotton wool should be clean and free from 
any greasy substance, and if any difficulty is ex- 
perienced in obtaining it so, it is best to prepare 
it by soaking for about an hour in a rather weak 
solution of ammonia (hartshorn), and after tho- 
roughly washing in clean water allowing it to dry 
before the fire, or in a moderately heated oven. 

The calcined tripoli, which should be in the 
state of an impalpable powder, is best kept for 
use tied up in a small muslin bag, and pro- 
tected from dust in a wood or paper-box. 

The lampblack should be prepared by making 
it red-hot, in a crucible, till vapours cease 
to arise from it; the crucible should then be 
removed from the fire, closely covered up 
and allowed to get cold. The lampblack thus 
burnt, should be reduced to a fine powder in a 
glass or porcelain mortar, and a portion tied up, 
like the tripoli, in a small bag of very fine 
muslin. 

The mode of proceeding is as follows. Lay 
the plate, silver-side upwards, upon a piece of 
clean white paper, or what is more convenient 
and better, on the plate holder, (see list of appa- 
ratus) and shake a small quantity of the tripoli 



19 

over it ; a few drops of olive oil should then 
be applied, and with a knot of the cotton and 
a light hand proceed to polish the plate by 
a series of circular movements, equally over 
its surface, adding more tripoli as required. 
The time usually expended for producing a 
good surface K)n a new plate, is about five mi- 
nutes. If the plate be one that has been used, 
it should be heated over a spirit-lamp for a 
short time before beginning to polish ; when a 
good surface is obtained, take a fresh pledget of 
wool, and shaking more tripoli over the plate 
gradually wipe off the oil, using a fresh piece of 
cotton as required : when the whole of the oil 
is apparently removed, the plate ought to be 
heated over a spirit-lamp to the temperature of 
about 300 Fahr. for half a minute; it may 
then be allowed to cool; when cold, apply by 
means of a piece of cotton-wool, a few drops of 
the dilute nitric acid over the plate, which will 
immediately indicate if it has been sufficiently 
heated by its flowing easily over its surface, 
without running into distinct globules, which it 
would otherwise do; if the acid wets the sur- 
face easily, dust a little tripoli over it, and with 
a fresh piece of cotton-wool dry the acid off in 
the same manner as you did the oil ; if the acid 
does not adhere to the plate, it will require to 



20 

be rubbed with the tripoli for a little longer time 
before drying it off. 

For giving the plate its final polish, dust a 
little of the prepared lampblack on the velvet 
rubber and briskly polish, holding the plate, if 
a small one, on the ends of the fingers of the left 
hand and using the buff with the right ; if a 
large plate, place it face downwards on the rub- 
ber, moving the plate up and down by means of 
the fingers, with a slight degree of pressure, 
taking care that for portraits the movement 
should not be in the direction of the face, but 
across it ; and for views, in the direction of the 
view, and it is also best for this last polish to be 
given in a rather dark room, or by the light 
of a candle, as the clear daylight affects the 
bright surface of the silver, injuring its sen- 
sibility. 

Applying the Sensitive Coatinff.'--Whetk the 
plate is well polished it will appear perfectly 
black, on looking at it in a certain angle ; and 
just before proceeding to expose it to the fumes 
of iodine, be careful to remove every particle of 
dust or tripoli from its surface, by a. piece of 
the prepared wool, or a very soft camel's-hair 
brush ; if this is not attended to, a number of 



21 

black specks will be seen on the plate when 
iodined. 

The operation of iodizing divides itself into 
two parts. Isrt. Iodizing, properly so called. 
2nd. iBxposure to the vapour of cUoride of 
iodine, bromide of iodine, or bromine. 

Ist Iodizing. Ñ This is accomplished in the 
best manner by an apparatus called the iodine 
box, described in list of Apparatus. A smaH 
quantity of a solution of half mm ounce of pure 
iodine, in about an onnee and a half of ral- 
phuric ether, should be poured over the card 
at the bottom of the box and spread evenly over 
its snr&ce with a soft brush ; in a few seconds 
the ether evaporates, leaving a coating of 
iodine. If not used immediately, the pla^te 
of glass placed over the card will in a great 
measure prevent the useless evaporation of the 
iodine. 

To iodine the plate, remove the lid and plate 
of glass and place it face downwards on the 
ledge for that purpose, on the top of the box; 
in about a minute or two, according to the 
temperature, the plate will become of a fine 
orange yellow colour; it is as well to examine 



22 ' 

it several times during this operation, to see 
that the iodine is spreading evenly over its 
surface, as it will sometimes happen that the 
evaporation will proceed more rapidly from one 
part than another ; in this case the plate should 
have its position altered from time to time, that 
an even coating may be obtained over its 
surface. 

This operation is best done in a dark room, 
by the light of a candle ; but if any difficulty be 
experienced in getting the proper colour on the 
plate, it can be done in a room not having a 
direct, but difiused light; as for instance, a 
room having the window-shutters closed and 
the door opened, just sufficiently to allow you to 
see. The colour of the plate is observed by hold- 
ing a sheet of white paper in such a position, that 
its reflection may be seen on the plate, which 
will enable you to judge of the progress of the 
operation; if not sufficiently coloured, return 
the plate immediately to the iodine box till the 
proper tint be obtained. The plate thus pre- 
pared should be shut up in a dark box till 
wanted for use, when it must be subjected to 
the next operation, viz. Ñ 

2. Ejrpasure to ike Vapours of Chloride of 



23 

Iodine, Bromide of Iodine^ or Bromine. Ñ All of 
these articles, separately, and their compounds, 
have been recommended at different times by 
various persons, for giving to the plate its 
greatest degree of sensibility; but the most 
simple and effective compound, according to the 
latest experiments on the subject, appears to be 
" bromide of iodine," which is prepared for the 
purpose in the following way: Ñ Dissolve one 
drachm of iodine in four ounces of alcohol, and 
add to it about one ounce of an aqueous solution 
of bromine, or till the mixture becomes of a fine 
red colour. The bromide of iodine thus pre- 
pared, can be kept in a stoppered bottle till 
wanted for use. 

When a plate is about to be prepared, two 
drachms of the bromide should be mixed with 
eight ounces of water,* and this solution, when 
used, should be poured into the bromine glass 
till it occupies about two-thirds the depth of 
the lower division, taking care that no por- 
tion of the glass above the level of the liquid 
be wetted by it, as that would give an unequal 
coating to the plate. 

* Sometimes when the bromide is mixed with the water, a 
precipitation of a black powder takes place ; if this should hap- 
pen, a few drops of the solution of bromine will restore its 
transparency- 



24 

The silver plate iodlned of a clear yellow 
colour, as described under iodizing the plate, 
should be placed (face downwards) over the 
bromine glass, just restiag on the ledge for that 
purpose. The plate should remain exposed to 
the bromine vapour from one to five minutes, or 
till its surface becomes of a decided rose tint, 
taking care to notice the exact time requisite to 
produce that effect. The plate may then be re- 
turned to the dark box, and is ready to be ex- 
posed to the luminous rays in the camera. 

Great care should be taken in observing the 
colour of the plate, while being exposed to the 
bromine, as the plate gradually becomes ex- 
ceedingly sensitive to the action of light, till 
it reaches a decided rose-tint bordering on 
purple ; after which, it rapidly deteriorates in 
sensibility. The light, even of a candle, should 
not be allowed to fall direct while observing 
its colour, which should be done as quickly as 
possible, and in the same manner as described 
under Iodizing the Plate* 

It will often happen that the picture, when 
finished, appears as if it had a film over its sur- 
face ; this can generally be avoided in the sub- 
sequent trials, by leaving the plate exposed to 



25 

I 

the bromine for the exact time you noticed was 
requisite to produce the proper colour in the 
first experiment, and the instant the time is ex- 
pired, place it in the dark box, by which means 
you prevent the possibility of any light fitlling 
on its^ surface. 

3. Exposing the Prepared Plate to the focus 
of a Refracting or Reflecting Camera, Ñ ^The 
mode in which this is effected must, of course, 
depend upon the construction of the camera, 
whether it have a lens as originally proposed by 
Daguerre, or a concave mirror or speculum 
which is the apparatus patented in this country 
by Mr. Beard ; both kinds have their advan- 
tages. The refracting camera as recently im- 
proved, (see list of apparatus) appears to possess 
all the capabilities without many of the incon- 
veniences attendant on the manipulation with 
the reflecting camera, and being withal less ex- 
pensive, is now the form generally used. 

The first thing to be attended to before 
introducing the plate, is to place the camera 
on some firm support, and opposite to the ob- 
ject wished to be copied, after which the focus 
should be adjusted with the greatest care till a 
perfectly clear and distinct image of the object 

E 



26 

is seen on the piece of ground-glass, which 
should be placed in exactly the same position as 
the plate is to occupy, taking especial care that 
the ground-side of the glass should correspond 
to the prepared surface of the plate ; when the 
focus is obtained, the light should be shut off by 
a contrivance for that purpose till the plate is in- 
troduced, or the camera may be taken into a 
dark-room and have the plate put into its place, 
when it can be brought into the light, haying, 
of course, made those obvious arrangements 
that the object and the camera be placed in pre- 
cisely the same relative positions they occupied 
when the focus was adjusted. 

The camera may then be opened to allow 
the light to fall on the plate through the lens. 
The time requisite for it to remain open, will 
depend in a great measure upon the season 
of the year, time of the day, and the bright- 
ness or clearness of the atmosphere* The time 
usually required with a good achromatic, and 
well constructed camera^ varies from one to 
sixty seconds. 

When the camera has been opened a suffi- 
cient time, which can only be determined by 
observation and experiment, close the front 



27 

aperture and take it into the dark room, when 
the picture, which is impressed on the sensitive 
sur&ce of the plate, is to be made visible by 
being exposed to the fumes of mercury. 

4. Mercurializing the Plate. Ñ The apparatus 
required for this operation is called a mer- 
cury-box, and is used as follows : Ñ Pour a small 
quantity of pure mercury, (four to six ounces) 
into the metal cup at the bottom of the box ; 
the mercury should then be heated by means of 
a spirit-lamp till you can just bear to touch the 
metal-cup outside. The plate may be taken out 
of the camera and placed in the mercury-box, 
and after a short time by cautiously applying 
a lighted taper to the side, and looking through 
the coloured glass in front, you will be able to 
see how the picture is progressing. 

If the mercury be made very hot, the picture 
soon makes its appearance ; but generally speak- 
ing, when done too rapidly, the minor details are 
lost and the plate is apt to become spotty ; it is 
always advisable where time is not a great ob- 
ject, to do the operation rather slowly than other- 
wise, as a much clearer and sharper outline of 
the picture will be obtained by this means than 
if done rapidly. The usual time required is 
from five to twenty minutes. 



28 

6. Setting the Picture. Ñ ^When the plate has 
remained long enough in the mercury box, or 
till the picture has become sufficiently distinct, 
it should be first placed in a vessel of boiled or 
distilled water, and afterwards in the following 
mixture : Ñ hyposulphite soda one ounce, alco- 
hol two ounces, distilled water ten ounces. 

The hyposulphite should first be dissolved in 
the water, then add the alcohol, shaking the 
bottle to facilitate the mixture. 

It is not absolutely necessary that the plate 
be immersed in this solution, as a small quan- 
tity poured on its surface will have the desired 
effect. 

When the sensitive coating is all removed, 
the plate should be well washed in water per- 
fectly free from dust, and the picture may then 
be dried over a spirit-lamp, and thÇ whole of 
the operation is completed. 

The best method of drying the plate is to hold 
one of its sides with a small pair of pliers, let- 
ting one corner be downwards, the moisture 
will flow to that part, and by touching it with 
a piece of rag or blotting paper, the greater 
portion will be removed. The spirit-lamp 



29 

should then be applied to the upper corner of 
the plate till it begins to dry, and the flame 
gradually brought lower down, till the whole 
surface is finished. Gently blowing downwards 
on the plate will expedite the process, as well 
as prevent in a great measure the formation of 
spots ; if these should appear, the plate must be 
washed and dried over again. 

The Daguerreotype Picture, thus produced 
ought to be kept protected from dust or any thing 
touching the surface, as the least friction would 
destroy the impression. The simplest plan for 
this purpose is the following : Ñ procure a piece of 
card or Bristol board, and a piece of flat glass, 
both the exact size of the plate ; with a sharp 
penknife cut out the centre of the card, the 
size you wish the picture to be, place the rim 
on the surface of the plate, and put the piece 
of glass on it ; a narrow slip of paper may then 
be pasted round the edge so as to unite the 
two, and prevent them from shifting their posi- 
tion. The picture by this means can be pre- 
served for any length of time from dust and 
friction, the piece of interposed card prevent- 
ing the glass from touching the face of the 

plate. 
All Daguerreotype Pictures finished as just 



30 

described are rery liable to accident, inasmuch, 
as the difference of light and shade is entirely 
dependent on the adhesion of minute globules of 
metallic mercury, which attach themselves in a 
greater or less quantity according to the varied 
intensity of the glare of light constituting the 
picture ; to cause these globules to attach them- 
selves more strongly to the plate, or combining 
them with some other metal, would of course 
have the effect of fixing and rendering these 
Daguerreotype impresssions more permanent 
and less liable to injury. 

Various methods have been proposed for this 
purpose. The best appears to be that invented 
by M. Fizeau, which not only perfectly fixes the 
picture, so that it can be gently rubbed without 
any injury, but also greatly increases the general 
effect, preventing in a great measure the un- 
pleasant metallic reflection, and the necessity of 
viewing them in a particular light. The pro- 
cess as described by M. Fizeau is as follows: Ñ 

*^ Dissolve sixteen grains of chloride of gold 
and thirty-seven grains of hyposulphite of soda, 
each in two pints of distilled water, pour the 
solution of gold into that of the soda, a little by 
little, agitating between each addition. The 



i 



ai 

mixture at first slightly yellow, becomes after-- 
wards perfectly limpid. This liquid now con- 
tains a double hyposulphite of soda and gold. 

" To use this salt of gold, the surface of the 
plate should be perfectly free from any foreign 
substance, especially dust; consequently it ought 
to be washed with some precautions, which might 
be neglected if it was to be finished by the ordi- 
nary mode of washing. 

"The following manner generally succeeds 
the best : the plate being yet iodized, and per- 
fectly free from grease on its two surfaces and 
sides, should have some drops of alcohol poured 
on the iodized surface ;* when the alcohol has 
wetted all the surface, plunge the plate into a 
basin of water, and after that into a solution of 
hyposulphite of soda. 

" This solution ought to be changed for each 
experiment, and to consist of about one part of 
the salt to fifteen of water: the rest of the wash- 
ing is done in the ordinary way, only taking 
care that the water should be as free as possible 
from dust. 

^' The use of the alcohol is simply to make the 

* The alcohol used should be the strongest that can be pro- 
cured. The ordinary alcohol being yery liable to produce stainsw 



32 

water adhere perfectly all over the surface of the 
plate, and prevent it from quitting the sides at 
each sepai'ate immersion, which would infal- 
libly produce stains. 

" When a picture has been washed with these 
precautions, the treatment with the salt of gold 
is very simple. It is sufficient to place the plate 
on a support,* and pour upon its surface a suffi- 
cient quantity of the salt of gold, that it may be 
entirely covered, and heat it with a strong spirit- 
lamp ; the picture will be seen to brighten, and 
become in a minute or two of great force. When 
this effect is produced, the liquid should be 
poured off and the plate washed and dried. 

" In this operation, the silver is dissolved, and 
the gold precipitated upon the silver and mer- 
cury, but with very different results ; in effect, 
the silver, which, by its reflection forms the 
shades of the picture, is some way darkened by 
the thin film of gold which covers it, from which 
results a strengthening on all the darks. The 
mercury on the contrary, which in the state of 
an infinite number of small globules forms the 
lights, is augmented in its solidity and bright- 
ness by its union with the gold ; froms which 

* See description of apparatuB page 7* 



33 

results a great degree of permanency, and a re- 
markable increase in the lights of the picture." 

When a plate is finished by M. Fizeau's pro- 
cess just described, it can be kept in a port- 
folio, and easily cleaned with a soft camel's hair 
pencil ; and if an endeavour is made to remove 
the design with the finger it can be done but 
imperfectly and with difficulty. If the picture 
will not resist this trial on the edge of the plate, 
the operation ought to be repeated. 

It sometimes happens that while the plate is 
being heated, a film of silver detaches itself and 
swims in the liquid, of course destroying part of 
the picture. This accident is probably owing 
to the oxidation of the silver while under the 
influence of too much heat. 

The lamp should be removed as soon as small 
bubbles of air appear to form on the surface of the 
metal. When the picture is not perfectly fixed 
it is better to go through the operation a second 
time, rather than run the risk of spoiling a good 
picture by trying to fix it perfectly the first time. 



34 



CHAPTER IV. 



THE CALOTYPE. 

The word Calotype is derived from two Greek 
words signifying "beautiful picture or image/' 
The Calotype process for taking pictures on 
paper, has been patented in this country by 
Mr. Fox Talbot, in whose specification it was first 
described ; it difiers in one respect from all the for- 
mer photogenic processes, inasmuch as the image 
formed on the Calotype paper is quite invisible 
when taken from the camera, until washed over 
with a liquid containing gallic acid, when the 
picture gradually appears in all its details. In 
this particular the beautiful process bears a re- 
markable analogy to the Daguerreotype. 

The first difficulty the Calotypist has to con- 
tend with is, to obtain a paper of sufficiently fine 
and even texture, and perfectly free from all fo- 
reign matter in its substance, which would cause 
blemishes in the picture. Ñ The best kind of paper 
is that called blue wove, or bank post, and each 
sheet, preparatory to its being used, should be 



35 

carefiilly examined before a strong light, and those 
sheets rejected in which any spots or uneven tex- 
ture is observed. When a sufficient quantity of 
paper has been selected and evenly cut to the 
required size, it should be kept clean and free 
from grease till a convenient time for its pre- 
paration. 

The following is an outline of the Calotype 
process, as described by Mr. Fox Talbot in his 
specification, with some slight modifications sug- 
gested by Mr. Mitchel, Dr. Ryan and others. 

PREPABATION OF THB PAPER. 

The articles required for the first part of the 
operation are: Ñ two drachms of crystalized 
nitrate of silver dissolved in six ounces of distilled 
water ; and two and a half drachms of iodide of 
potassium dissolved in one pint of distilled 
water. The mode of proceeding is as follows: 

Fasten the sheet of paper by its corners on a 
smooth board, by four small pegs of wood, or 
what is better, small pins of silver wire, and wash 
it on the upper side with the solution of iodide 
of potassium by means of a soft cameFs hair 
brush : when the paper appears to be thoroughly 



36 

wetted, allow the superfluous solution to drain 
from it for a few minutes and set it aside, pro- 
tected from dust, till perfectly dry; if time is an 
object it may be dried before a gentle fire, Ñ 
then wash the paper thus prepared on the same 
side as before, evenly, with the solution of nitrate 
of silver and dry it again with the same precau- 
tion Ñ when dry, it may be removed from the 
board and dipped for about half a minute in 
the solution of iodide of potassium, which for this 
purpose should be poured into a flat dish of suffi- 
cient size to contain the sheet of paper; when 
removed from this solution it should be finished 
by being washed in distilled water,* this wash- 
ing process is most conveniently done by hold- 
ing the sheet of paper by two of its corners and 
moving it briskly to and fro in the water, which 
should be contained in a suitable vessel, (a deep 
pie dish answers the purpose exceedingly well) 
when well washed, dry it lightly between some 
folds of white blotting paper, then fasten it again 
on the piece of board and allow it to dry spon- 
taneously in a drawer or other dark place free 
from dust. 

* If a sufficient quantity of distilled water cannot be obtained, 
rain or pump water well boiled, allowed to settle and get per- 
fectly cold, will answer every purpose. 



37 

The paper so far prepared is called iodized 
paper, and although scarcely affected by light, 
it is always advisable to perform the process just 
described by candle light, which has a very 
slight decomposing effect, and therefore least 
likely to spoil the paper. 

The manipulation of producing the iodized 
paper may appear at first sight very tedious and 
operose, but as the whole success of the opera- 
tion mainly depends upon obtaining an even 
distribution of the iodide of silver, which is the 
result of the combination of the two mixtures 
used on the paper, a careful attention to the 
different details of the process will be amply 
repaid by the success which cannot fail to at- 
tend it. 

The iodized paper when well made should 
appear of a clear light primrose colour, and of 
an even tint all over that side which has been 
prepared ; it may be kept unchanged for any 
length of time in a port-folio, or between the 
leaves of a book, so as to be protected from the 
light. 

The -second part of the process which renders 



38 

the paper so exceedingly sensitive to light, is best 
performed a short time before the paper is to 
be used. The two solutions required for this 
part of the operation are 1st, two drachms of 
crystalized nitrate of silver, dissolved in two 
ounces of distilled water, to which should be 
added half an ounce of crystalizable acetic acid.* 
2nd. A small quantity of crystalized gallic acid 
dissolved in distilled water; these solutions ought 
to be kept in separate stopped phials, and are 
used in the following manner: Ñ Mix a small 
quantity (say half a drachm) of the solution of 
nitrate of silver with an equal quantity of the 
solution of gallic acid ; this mixture is called for 
the sake of distinction, "Gallo-nitrate of silver;" 
it will not keep long, and therefore should be 
used as soon as possible after making. Having 
placed a sheet of the iodized paper upon the 
board or slate that fits the back of the camera, 
wash the prepared side by means of a soft 
camel's-hair brush, with the gallo-nitrate of 
silver; allow it to remain for about half a 
minute, then dip it into some distilled water, 
and afterwards lightly dry it between some folds 

* The acid ought to be as pare as possible, the strong pyro- 
Ugneous or acetic acid, commonly sold in the shops, should not 
be used, as it is very apt to produce stains on the paper imme- 
diately it is applied. 



39 

of blotting paper; it may then be placed upon 
the slate, and is ready to be put into the camera. 

The dampness of the paper will make it ad- 
here sufficiently to the slate or board, to prevent 
the necessity of any other fastening. 

Having previously adjusted the focus of the 
camera, place the slate holding the paper in its 
place, and allow the focus to fall on it. The 
time requisite to produce an impression in a 
great measure depends upon the brightness of 
the object, and the clearness of the atmosphere, 
from fifteen seconds to two minutes is generally 
sufficient. 

When the paper is removed, after exposure 
for a sufficient time in the camera, little or no 
image will be seen; the hidden impression how- 
ever can be brought out by washing it as before 
with the gallo nitrate of silver, and slightly 
warming it. This is most conveniently done^by 
laying the paper on a flat tin or pewter vessel, 
made for the purpose, and filled with hot-water; 
or if this apparatus is not at hand, a flat earthen 
or glass bottle filled with hot-water, will answer 
every purpose; after the lapse of a minute or 
so, if the trial has been successful, the picture 



40 

will be seen to unfold itself in all its details 
in a most beautiful and extraordinary manner. 
Those parts of the picture where the light has 
acted strongly becoming dark, while the other 
parts corresponding to the shades of the object, 
remain white or nearly so. 

When the picture appears sufficiently distinct, 
it should be removed from the source of heat 
and set, by dipping it into some distilled water, 
after that, into a solution of one ounce of bro- 
mide of potassium, in one pint of distilled water, 
in which it should remain about half a minute ; 
when removed from this solution it should be 
again washed in distilled water and dried. 

The whole of this part of the process should 
be conducted in a room from which the light of 
day is excluded ; the only light used should be 
that of a candle or small lamp, surrounded with 
a shade of yellow glass, which has been found 
to prevent any decomposing effect on the sen- 
sitive paper. 

The Calotype picture thus formed, may be 
exposed to light without injury ; but the pro- 
cess producing a negative impression, as it is 
called, that is, the lights of the object copied 



41 

being represented by shades, and vice versa, it 
is necessary, to obtain a correct picture, to re- 
verse it on some common photogenic paper, by 
the same means as before described for copying 
prints, (see p. 10.) 

If the Calotype impression is not found to be 
transparent enough, a small quantity of olive 
oil rubbed over it; or what is better, a portion 
of white wax scraped over its surface, and then 
placed on a hot iron, will make it sufficiently 
transparent to obtain as many photogenic pic- 
tures from it as may be required. 

Should the object copied on the Calotype 
paper be a portrait or bust, it is a very excel- 
lent 'plan to cut the impression cleanly out with 
a sharp penknife or scissors, carefully following 
the outline of the picture ; the impression should 
then be laid on the photogenic paper and copied 
in the usual way, by which means the reverse 
will have the bust or portrait shown with much 
greater distinctness and effect than if done by 
the ordinary method. 

* 

Should the Calotype pictures, by constant ex- 
posure to light, lose their sharpness and detail, 
washing them over *again with the gallo-nitrate 

a ¥ 



42 

of silver and heating them, will restore their 
former distinctness. 

This Calotype paper is so exceedingly sensitive 
to the influence of light, that very beautiful pho- 
togenic copies of lace, feathers, leaves, and such 
like articles, may be made by the light of a 
common coal gas flame, or an argand lamp. 
The mode of proceeding is precisely that de- 
scribed for obtaining the ordinary photogenic 
drawings by daylight, only substituting the calo- 
type paper, which should be damp, for the 
common photogenic. 

When exposing the prepared paper to the 
light, it should be held about four or five inches 
from the flame, and the time required will be 
about three minutes. 



PIN IS. 



LoBdettÑ Pfinted by W. Gilbert, Salten-hall Court, Canooa Street 



PHOTOGRAPHIC APPARATUS, 

CHEMICALS, &c. 
MANUFACTURED AND SOLD BY 

EDWD. PALMER, 

Philosophical Instrument Jkfaher, ^c, 

103, NBWaATB STREET, LON]>01f. 



£,. 8. d* 

Small Photookapbig Camera, with 9liding tube 110 

Ditto, Improved, with Achromatic Lens 115 

Ditto, with Hackwork adjustment ¥¥¥.210 

Ditto, with Chemicals 3 3 

Second Size Photographic Camera, with Achro- 
matic Lens 3 3 

Ditto, with Chemicals 4 4 

Third Size ditto,with Achromatic Lens 6 6 

Ditto, ditto, with Chemicals, &c. 7 7 

Daguerreotype Camera, complete, with Appa- 
ratus and Chemicals for portraits and small views* ¥ 10 10 
Larger sizes made to order. 
Mercury Boxes, Ids. and £1 Is. each. 
Iodine Boxes, 6s., 7s. 6d., and lOs. 6d. each, according to size 

and fittings. 
Glasses for Bromine Solution, fW>m 5s. 
Buff Sticks for cleaning Silver Plates. 
Boxes for holding Silver Plates. 
Plate Holders, with clamp for fastening to table. 
Achromatic Lenses of all sizes. 
Camel Hair Brushes for Calotype, Is. each. 
Tin, Pewter, and Glass Vessds for heating Calotjpt paper 

from 2s. 6d. each. 
Brass Spirit Lamps, with sliding ring, 7s. 
Glass ditto, plain, 2s. 3s. 4s. and 5s. each. 
Glass Measnrss, from Is. 6d. 

Scales and Weights, with glass pans, 18s. 21s. and 42s. 
White Blotting Paper, Is. 6d. per quire. 
Frame and Ptete Glass, for Photographic Drawing from 5i. 

each. 
Glass Pestles and Mortars, from 2s. 6d. 
SUrring Hods, frt>m 3d. 
Funnds, for filtering solutions. 



CHEMICALS. 

f. d. 

Pure Nitrate of Silver, crystalized ¥¥¥¥¥¥¥¥ per ounce 5 6 

Iodide of Potassium ¥¥¥¥¥¥¥ 2 

Bromide ditto 7 6 

Gallic Add, crystalized 12 

Muriate of Ammonia ¥¥¥¥ ¥¥¥¥¥¥¥¥¥¥¥^ 6 

Hyposulphite of Soda, crystalized ¥¥¥¥ ¥! 

Chloride of gold 5 

Iodine 16 

Ditto, very superior ¥¥¥ 2 6 

Chloride ditto 5 

Bromine ¥ 7 6 

Prepared Tripoli ¥¥¥ . 1 

Lamp Black, prepared ¥ 1 

Pyroligneous ^ther, for spirit lamps* ¥ ¥ ¥ per pint 2 

Glacial Acetic Acid 2 

Pore Nitric Acid, 4d. per ounce. 
Distilled Mercury, 6s. lb. 
Iodized Paper, Is. and 2s. 6d. per packet. 
Photogenic Paper, Is. and 2s. 6d. per packet. 



r 



t-