Photography

by Samuel D. Humphrey

Polishing the Daguerreotype Plate--Buffing the Plate--Coating the Plate--Exposure of the Plate in the Camera--Position--Developing the Daguerreotype--Exposure to Mercury--Removing the Coating--Gilding or fixing the Image--Coloring Daguerreotype.

First of all, cleanliness should be observed. When there is dust or dirt about your room, particularly about the work-bench, failures will be frequent; for the smallest particles of rotten-stone, when allowed to come in contact with the buffs, will produce scratches on the surface of the plate, which very much injures the operation, and often causes failures.

Dust flying about the room is injurious, if allowed to fall on the plate, either before or after it has been coated, as it causes black spots which cannot be removed.

An article so extensively used in the practice of the Daguerreotypic art as Bromine, is deserving of especial attention, and accordingly every person should endeavor to make himself familiar with its properties and applications.

I am indebted to Mr. J. H. Fitzgibbons for the following process, which he employed in producing the excellent specimens he exhibited at the Crystal Palace:

History of Iodine.--This is one of the simple chemical bodies which was discovered in 1812 by M. Courtois, of Paris, a manufacturer of saltpetre, who found it in the mother-water of that salt. Its properties were first studied into by M. Gay Lussac. It partakes much of the nature of chlorine and bromine. Its affinity for other substances is so powerful as to prevent it from existing in an isolated state. It occurs combined with potassium and sodium in many mineral waters, such as the brine spring of Ashby-de-la-Zouche, and other strongly saline springs.

This process is patented in the United States, by J. A. Whipple, of Boston, and of course no honorable person will use it for his own benefit without purchasing a right.