Photography

Mr. Hunt describes a process, discovered by himself by which the Daguerrean art may be applied to paper. His description is as follows:--

The last number (for March, 1849) of the London Art-Journal, gives the following description of a recent improvement in Photographic Manipulation, and as I am desirous of furnishing everything new in the art, I stop the press to add it, entire, to my work.

We shall now proceed to describe the various processes for Photogenic drawing on paper; first, however, impressing on the mind of the experimenter, the necessity which exists for extreme care in every stage of the manipulation. In this portion of my work I am entirely indebted to the works of Professors Hunt, Fisher and others.

The object of this little work is to fill a void much complained of by Daguerreotypists--particularly young beginners.

The author has waited a long time in hopes that some more able pen would be devoted to the subject, but the wants of the numerous, and constantly increasing, class, just mentioned, induces him to wait no longer.

The materials and apparatus necessary for the Calotype process are--

Two or Three Shallow Dishes, for holding distilled water, iodide, potassium, &c.--the same water never being used for two different operations.

White Bibulous Paper.

Photogenic Camera--Fig. 9.

Pressure Frame--Fig 29.

Paper, of the very best quality--directions for the choice of which have been already given.

OXIDE OF SILVER exposed for a few hours to good sunshine, passes into a more decided olive color, than characterises it when first prepared by precipitation from nitrate of silver. Longer exposure renders this color very much lighter, and the covered parts, are found much darker, than those on which the light has acted directly. In some instances where the oxide of silver has been spread on the paper a decided whitening process in some parts, after a few days exposure, is noticed.

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.

Beyond all doubt this is traceable to dampness. Truly this is not a new thought; but where does this dampness come from? How does it originate, and where is it located? Generally it has been referred to a point entirely remote from its real location.

This dampness exists particularly upon the surface of the plate; is obviously derived immediately from the atmosphere; and is owing to a certain relative temperature of the plate with the hygrometric condition of the atmosphere.

I do not give the method employed by our regular plate manufacturers; this is not important, as the operator could not possibly profit by it from the fact of the great expense of manufacturing. The following will be found practical:

In the great catalogue of complaints made by operators, none is more common than that alleged against the quality of plates in general use. Although the greatest diversity of opinion exists upon this subject, nevertheless the plates of every manufactory share in this universal condemnation.