DARK RooM

Waiting for the magical effect.

HAVING examined carefully the plate of glass, and removed from its surface any adhering fibre or dust, take it in the left hand, holding it with the forefinger and thumb by the upper left-hand corner, and with the bottle of iodized collodion in the other hand, pour from the bottle on to the glass, towards the upper right-hand corner, such a quantity of the solution as will run in a body freely.

Whilst pouring the iodized collodion on to the glass, tilt the glass slightly towards the upper right-hand corner, and when this is reached, incline the glass to the upper left-hand corner, but not touching it, to avoid coming in contact with the thumb of the left hand; this corner passed, run the iodized collodion down towards the lower left-hand corner, and finally incline the glass to the lower right-hand corner, at the same time holding the glass upright over the neck of the bottle (which should be retained in the right hand whilst the operation is going on), to allow the superfluous collodion to drain off into the bottle; during the time it is draining, move the plate vertically backwards and forwards over the neck of the bottle, to prevent the furrowed appearance the film is likely to assume if allowed to drain quietly to the lower right-hand corner.

To perform the above operation with certainty, requires a steady hand, and some little practice. After the glass has drained for a few seconds, and the collodion has ceased running from the plate, it should be immersed in the exciting bath; from five to twenty seconds may elapse between the two operations; if the drying is prolonged, the sensibility and evenness of the coating are injured, and the iodide of silver is liable to be thrown out from the film on to its surface.

Very often, in dry, hot weather, the plate will require to be immersed in the exciting bath directly the film has set; if the plate has been allowed to dry too much, the iodide from the upper part of the plate will most likely be thrown out on to the surface of the film, and be washed away by the liquid in the exciting bath. Care should be taken not to breathe upon the surface of the glass during the operation of pouring on the iodized collodion.

OXIDE OF SILVER.

Sym: AG + O.

Eq. 116. Silver 108 + Oxygen 8

Oxide of silver can be obtained from a solution of nitrate of silver, by the addition of a solution of pure potassa, or soda; oxide of silver is set free and falls as an insoluble brown powder; it should be repeatedly washed to remove all traces of the excess of potassa, or soda,and the nitrate of the alkali formed. After washing, it should be thrown upon a clean linen filter to drain, and afterwards dried; or it can be preserved in a moist state in a wide-mouthed bottle.

CHLORIDE OF SILVER.

Sym: AG + C.

Eq. 144. Silver 108 + Chlorine 36

Chloride of silver is most conveniently formed by the addition of a solution of common salt, (chloride of sodium,) to a solution of nitrate of silver. It falls readily as a white precipitate, and should be repeatedly washed, to free it from the excess of common salt, and the nitrate of soda formed during the process. After washing, it may be collected on a linen filter, and subjected to pressure to free it from moisture, and then dried, or it may be preserved in a moist state. It is soluble in ammonia, hyposulphite of soda, iodide and cyanide of potassium.

SEPTEMBER LIGHT ...

AMBROTYPE  1860

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.

at the moment closed for holidays

THE SORCERERS꘠

open air chemistry

"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.

Ora et labora