Watermelon please, EDWARDIAN PIC NIC

Russia 1908 by Tamara Antipina 

Maine USA 1894 found the gilded victorians


MEANWHILE SUMMER

It rains and pulls wind ... OPEN AGAIN

Elegant family 19th century cabinet card photograph.

 Washing an extremely yellowed and acid artwork on paper yields this pleasing sequence of yellow wash  waters!

All that discolouration removed from the paper makes  the image appear brighter and the paper
 is stabilized aganist further deterioration.
 We'll show you the difference in the artwork once the tratment is complete ...

the passion for the cheek blush. Victorian Beauty

Tintypes, originally known as or ferrotypes or melainotypes, were invented in the 1850s and continued to be produced into the 20th century.

 The photographic emulsion was applied directly to a thin sheet of iron coated with a dark lacquer or enamel, which produced a unique positive image. Like the ambrotype, tintypes were often hand-colored. Customers purchased cases, frames, or paper envelopes to protect and display their images.

Tintypes and ambrotypes found in cases and frames can be difficult to identify.

 A magnet will be attracted to the iron support, but if a sheet of metal is used behind an ambrotype, one could be fooled into thinking that the image is a tintype.

 A hand-coloured Ambrotype Tintype and Daguerrotype portrait of a woman, taken by an unknown photographer in about 1845. The colour has been rather liberally applied to her cheeks, making her look as if she is blushing.
...
An ambrotype is comprised of an underexposed glass negative placed against a dark background.
 The dark backing material creates a positive image. Photographers often applied pigments to the surface of the plate to add color, often tinting cheeks and lips red and adding gold highlights to jewelry, buttons, and belt buckles.
 Ambrotypes were sold in either cases or ornate frames to provide an attractive product and also to protect the negative with a cover glass and brass mat.

Bad preservation! evaluation afternoon ,,,

storage

Morning work in afternoon thermal bath

Relaxing in Gallery

"La"mixture!

DEVELOPMENT OF THE LATENT IMAGE

... On the removal of the plate from the camera no image is visible, it has to be developed. This operation is nothing more than giving an increased density and depth to an exceedingly faint and delicate impression which the light refracted through the lens of the camera has defined upon the iodide of silver in the film; it is, in fact, a continuation of the action of light, which action is the commencement of the reduction of the iodide of silver contained in the collodion to the metallic state, carried on, when thus commenced in the camera, by the reducing agent employed.

We have now to bring out this image. The developing liquids made from formula 1,2,3, as given in the preceding division of the subject, will effect this object.

Take a small quantity of the solution to be used, in a porcelain cup or glass measure, and pour it over the surface of the plate; this should be done with a quick and steady motion of the hand; beginning at the nearest left-hand comer of the glass, giving it, at the same time, a tilting motion, to assist in covering the glass evenly. Precise and certain directions cannot be given when to stop the action of the developing liquid, although there are indications which the operator will detect after he has acquired some little experience from practice, sufficient to tell when it has done its work.

During the progress of the development on the plate it should be examined, to ascertain whether the more delicate shades of the view are coming out. Whilst the attention is being directed to this point, the parts of the picture which have already appeared may be left to themselves; for the chief difficulty will be to bring out the more delicate markings of the shadows, as these are the parts which will be the latest to make their appearance on the plate. The action of the developing liquid should, therefore, be continued until these faint impressions are visible; if, however, the liquid has become entirely decomposed before this is accomplished, it may be poured off, and a fresh supply, with two or three drops of nitrate of silver solution added to it, poured on ; this fresh dose will probably bring out the faint parts as desired.

If, after fixing the image, it is found that the faint and delicate markings of the shadows have not been developed, it must be concluded that the exposure in the camera has been too short; consequently, the next plate must be kept longer in the camera. Sometimes a difficulty is experienced in getting the plate covered sufficiently quick, although the developing liquid has got a proper proportion of acetic acid mixed with it; this often is caused by the plate having been removed to the camera before it is quite saturated in the exciting bath; or from the plate having become too dry, from long exposure in the camera.

A slight immersion in the silver bath after exposure in the camera, just before pouring on the developing liquid, will remedy this fault. Another reason why the developing liquid will not flow evenly over the plate is, that the exciting bath has acquired, from constant use, a large quantity of alcohol, which is thrown out from the film during its saturation in the bath; this defect will be quickly produced, when using a prepared collodion having a large proportion of alcohol in it.

The addition of a small quantity of alcohol to the developing liquid will often be found a remedy; but if this is not sufficient, the solution of nitrate of silver should be boiled either in a German beaker or porcelain dish, to drive off the alcohol. The liquid will, of course, be reduced in bulk by this operation, but if it is measured previous to commencing, water can afterwards be added to make up the original quantity.

Archer used Talbot’s calotype process which produced paper negatives but, dissatisfied with the results, he soon began his own experiments to develop a more sensitive and finely detailed process.

For his experiments Archer used collodion—a newly-discovered substance which was used as a medical dressing. A sticky solution of gun cotton in ether, collodion dried quickly to produce a tough, transparent, waterproof film.

The process he discovered was to coat a glass plate with collodion mixed with potassium iodide and then immerse the plate in a sensitising solution of silver nitrate. Exposed in the camera while still wet, the plate was then developed and fixed immediately. Crisp, detailed negatives were produced by exposures of only a few seconds.

Initially called the Archertype, but commonly known as the wet-collodion process, Archer’s process was to dominate photography for the next thirty years.

between a ball of wool and sipping a cup of tea

Midsummer tree,folk festivals around which a MAYPOLE DANCE often takes place

In Britain the maypole was found primarily in England and in areas of Scotland and Wales which were under English influence. However, the earliest recorded evidence comes from a Welsh poem written by Gryffydd ap Adda ap Dafydd in the mid-14th century, in which he described how people used a tall birch pole at Llanidloes, central Wales. Literary evidence for maypole use across much of Britain increases in later decades, and "by the period 1350-1400 the custom was well established across southern Britain, in town and country and in both Welsh-speaking and English-speaking areas."

how can you not stay enchanted with these old photographs
... looking in my library a knitting book to make a sweater for this winter 
I found this book of Welsh woman  in traditional  rural dress.
1885-1905

the unique Welsh hat

The cap

Also known as the mob cap, the cap was a linen or cotton head cover with goffered  folded fabrics around the face. Some had long lappets which hung down the front below shoulder level.

The Welsh hat

The distinctive feature of Welsh hats is the broad, stiff, flat brim and the tall crown. There were two main shapes of crown: those with drum shaped crowns were worn in north-west Wales and those with slightly tapering crowns were found in the rest of Wales. They were probably originally made of felt (known as beaver, but not necessarily made of beaver fur), but most surviving examples are of silk plush (also sometimes known as beaver) on a stiffened buckram base. A third type of hat, known as the cockle hat, was worn in the Swansea area.

Sorg ond slaep