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Bringing back to Glory Mr.Wolcott's.Closed in a glass bell

On October 6th 1839, the firm of Alexander Wolcott & John Johnson commenced working on the daguerreotype process announced in August of that year, and on the 7th of October, 1839 they were able to produce a portrait daguerreotype. Wolcott & Johnson have claimed to be the first to produce a life portrait, however, it is unclear if this honor belongs to Wolcott, Morse or Draper.

In March 1840, with the aid of a new invention referred to as the mirror camera, Wilcott opened, which may have been the world's first portrait studio. On May 8, 1840 Alexander Wolcott, with the assistance of John Johnson Sr., received the first American patent for photography (US Patent No. 1582) for their Daguerreotype mirror camera, which did not have a lens. The camera was based on a concave reflecting mirror built by an associate Mr Henry Fitz, similar to those used for making celestial telescopes. The Wolcott & Johnson patent camera enabled the successful taking of life portraiture by significantly reducing the subjects sitting time from 30 minutes to only 5 minutes, while still using Daguerre’s chemical formula. Mr Johnson Sr paid Daguerre 150 pounds for the use of his process William S. Johnson who was John Johnsons father, traveled to England marketing the Wolcott & Johnson photographic camera. An English entrepreneur Richard Beard, had secured the only license for making Daguerreotypes in London from Daguerre and he agreed to jointly secured the Wolcott & Johnson camera patent for Britain with Mr. Wolcott, which was recorded on June 14th 1840. Beard then opened the first portrait studio in England. In 1842 wolcott discovered a combination of chemicals, known in London as Wolcott's mixture which reduced sitting time and was very sensitive to the action of light.  In 1844, Alexander Simon Wilcott died leaving behind a pioneering accomplishment as the very first American to secure a patent in the field of photography and open a portrait studio.

Wolcott's an ingenious New Yorker, patent model for a daguerreotype camera with

concave reflector. It was the first U.S. patent for a photographic invention.

The camera is approximately one fifth the size of the working version and is the only complete model

of the Wolcott camera known to exist. (PATENT No.1,582, May 8, 1840)

Victorian mood ---

• The History of Photographic Printing in the 19th Century
• The Component Materials of 19th-Century Prints and Their Forms of Deterioration
• Stability of Specific Print Materials
• Identification of 19th-Century Photographic and Photomechanical Print Processes
• Preservation and Collection Management
• Storage        
• 
  

The pencil of nature

en plein air. with the Lord Fox Talbot ...

Dear Talbot

William Henry Fox Talbot1800 - 1877BackgroundTalbot's connection with Lacock Abbey in Wiltshire is well known. This was originally a nunnery, founded in 1232. Talbot's family had lived there since the sixteenth century, but due to the family's financial circumstances, they were not able to afford to live there at the time of his birth.
Talbot later returned to Lacock Abbey, and there he carried out many of his early photography experiments. The building now houses a museum dedicated to the work of Talbot.
Talbot is best remembered for his photographic discoveries, but he also had expertise in mathematics and optics and was a keen astronomer and archaeologist, with a good knowledge of ancient Greek and Hebrew.
Talbot's photographs, negatives documents and equipment were donated by his grand-daughter in 1937, some to the Science Museum , some to the Royal Photographic Society।

The Calotype Process

Conceptually, and in many ways, the photographic technique employed by Adamson and Hill was very similar to that still in use today. A negative was exposed in the camera, developed in a dark room and then printed on sensitive paper. Their cameras, while wooden and large, are easy to relate to modern cameras. However, their sensitive materials were quite different from ours in one important aspect. Modern photographic film and paper are highly refined highly technological products made under strict controls in a factory setting. In addition to the other problems they faced, Adamson and Hill had to make each and every sheet of negative or print material by hand. There are no significant records of their particular working practices. However, we know they were in close touch with the art's inventor, William Henry Fox Talbot (especially through their mutual friend, Sir David Brewster) and it can be assumed that their practice built on Talbot's approach.
The calotype negative process was sometimes called the Talbotype, after its inventor. It was not Talbot's first photographic process (introduced in 1839), but it is the one for which he became most known. Henry Talbot devised the calotype in the autumn of 1840, perfected it by the time of its public introduction in mid-1841, and made it the subject of a patent (the patent did not extend to Scotland).

The base of a calotype negative, rather than the glass or film to which we have become accustomed, was high quality writing paper. The sheet of paper was carefully selected to have a smooth and uniform texture and, wherever possible, to avoid the watermark. The first stage, conducted in candlelight, was to prepare what Talbot called his iodized paper. The paper was washed over with a solution of silver nitrate and dried by gentle heat. When nearly dry, it was soaked in a solution of potassium iodide for two or three minutes, rinsed and again dried. As long as this iodized paper was stored carefully, it could be kept for some time, so it was generally prepared in batches ahead of time.

Immediately before taking a photograph, a fresh solution of gallo-nitrate of silver was mixed up. This was made from equal quantities of a solution of silver nitrate and one of gallic acid; the solution was unstable and had to be used right away. Under weak candlelight, a sheet of iodized paper was coated with this solution, left to sit for about thirty seconds and then dipped in water. It was then partially dried in the dark, often using blotting paper. The calotype paper could be employed completely dry, but was more sensitive when moist, and in any case had to be exposed in the camera within a few hours of preparation (Talbot found that he could sometimes put it away for future use but its keeping qualities were never predictable).

Under near-total darkness, the sensitive calotype paper was loaded in the camera. It was exposed to the scene, sometimes for as little as ten seconds, usually for a time closer to a minute, and sometimes for tens of minutes. If one were to examine the sheet of paper after withdrawing it from the camera, no image would be seen (just as no image is visible on modern film when it is first removed from the camera). An invisible latent image was formed by the action of light. A fresh solution of gallo-nitrate of silver was brought into play. Washed over the sheet of paper in a darkened room, it developed a visible image, usually within a few seconds. When the operator judged that the development had proceeded far enough, the paper was then washed over with a fixing liquid. This was sometimes a solution of potassium bromide and sometimes a solution of hypo (similar to modern fixers). Washing and drying completed the process.

At this point, there would be a negative image, deep brown or black in colour, on one surface of the writing paper. Being plain paper, the temptation to correct errant details in pencil was natural to most operators. The artist Hill, and possibly the technician Adamson, frequently used pencil or ink to retouch the negatives. Sometimes the dried negative was waxed to make it more transparent.

Strictly speaking, the term calotype referred only to the developed negative process. Prints could also be made on calotype paper, exposed and then developed much like modern photographic papers, but this was a more complicated process and led to what were considered unsatisfactory cold print tones. Only a few prints were made experimentally using the calotype process itself. Instead, the common practice was to turn to Talbot's original photogenic drawing paper, invented by him in 1834 and the one first introduced to the public in 1839.

Talbot's original process was based on the same type of smooth writing paper employed in making the negatives. The printing paper was first soaked in a solution of common table salt, dried, and then brushed on one side with a solution of silver nitrate. This embedded light-sensitive silver chloride within the surface fibres of the paper. The dry paper was placed under the finished calotype negative, sandwiched under glass, and then placed in bright light. Within perhaps fifteen minutes, a visible image had formed on the print paper. It was then fixed, most often in hypo, washed and dried. The image would be present in rich brown tones, sometimes tending towards red, sometimes towards purple, depending on various factors and rarely fully controllable. These prints did not have a widely accepted name in the 1840s (they were sometimes called transfers). Today, they are generally called salted paper prints or salt prints. Like the calotype negatives, these plain paper prints could be easily retouched in ink or wash. However, unlike some of their contemporaries, Hill & Adamson preferred to do their work on the negatives, and modified the prints very little.