History and Practice of the Art of Photography by Henry Hunt Snelling (the read aloud family txt) 📕

Having before noticed the fact that some advances had been made towards taking Daguerreotypes in color, by means of solar rays, and expressed the hope that the day was not far distant when this might be accomplished, I here subjoin Mr. Hunt's remarks on this subject.

Mr. Biot, in 1840, speaking of Mr. Fox Talbot's beautiful calotype pictures, considers as an illusion "the hope to reconcile, not only the intensity but the tints of the chemical impressions produced by radiations, with the colors of the object from which these radiations emanated." It is true that three years have passed away, and we have not yet produced colored images; yet I am not inclined to consider the hope as entirely illusive.

It must be remembered that the color of bodies depends entirely upon the arrangement of their molecules. We have numerous very beautiful experiments in proof of this. The bi-niodide of mercury is a fine scarlet when precipitated. If this precipitate is heated between plates of glass, it is converted into crystals of a fine sulphur yellow, which remain of that color if undisturbed, but which becomes very speedily scarlet if touched with any pointed instrument. This very curious optical phenomena has been investigated by Mr. Talbot and by Mr. Warrington. Perfectly dry sulphate of copper is white; the slightest moisture turns it blue. Muriate of cobalt is of a pale pink color; a very slight heat, by removing a little moisture, changes it to a green. These are a few instances selected from many which might be given.

If we receive a prismatic spectrum on some papers, we have evidence that the molecular or chemical disturbance bears some relation to the color of each ray, or, in other words, that colored light so modifies the action of ENERGIA that the impression it makes is in proportion to the color of the light it accompanies, and hence there results a molecular arrangement capable of reflecting colors differently. Some instances have been given in which the rays impressed correspond with the colors of the luminous rays in a very remarkable manner.* One of the most decided cases is that of the paper prepared with the fluoride of soda and nitrate of silver. Sir John Herschel was, however, the first to obtain any good specimens of photographically impressed prismatic colorations.

* See Mr. Hunt's "Researches on Light."

It was noticed by Daguerre that a red house gave a reddish image on his iodized silver plate in the camera obscura; and Mr. Talbot observed, very early in his researches, that the red of a colored print was copied of a red color, on paper spread with the chloride of silver.**

** In 1842, I had shown me a picture of a house in the Bowery, which had been repaired a few days previous, and in the wall a red brick left. This brick was brought out on the Daguerreotype plate of precisely the same color as the brick itself. The same artist also exhibited to me, the full length portrait of a gentleman who were a pair of pantaloons having a blue striped figure. This blue stripe was fully brought out, of the same color, in the picture.--AMER. ED.

"In 1840 I communicated to Sir John Herschel some very curious results obtained by the use of colored media, which he did me the honor of publishing in one of his memoirs on the subject from which I again copy it."

"A paper prepared with muriate of barytes and nitrate of silver, allowed to darken whilst wet in the sunshine to a chocolate color, was placed under a frame containing a red, a yellow, a green, and a blue glass. After a week's exposure to diffused light, it became red under the red glass, a dirty yellow under the yellow glass, a dark green under the green, and a light olive under the blue.

"The above paper washed with a solution of salt of iodine, is very sensitive to light, and gives a beautiful picture. A picture thus taken was placed beneath the above glasses, and another beneath four flat bottles containing colored fluids. In a few days, under the red glass and fluid, the picture became a dark blue, under the yellow a light blue, under the green it remained unchanged, whilst under the blue it became a rose red, which in about three weeks changed into green. Many other experiments of a similar nature have been tried since that time with like results.

"In the summer of 1843, when engaged in some experiments on papers prepared according to the principles of Mr. Talbot's calotype, I had placed in a camera obscura a paper prepared with the bromide of silver and gallic acid. The camera embraced a picture of a clear blue sky, stucco-fronted houses, and a green field. The paper was unavoidably exposed for a longer period than was intended--about fifteen minutes,--a very beautiful picture was impressed, which, when held between the eye and the light, exhibited a curious order of colors. The sky was of a crimson hue, the houses of a slaty blue, and the green fields of a brick red tint. Surely these results appear to encourage the hope, that we may eventually arrive at a process by which external nature may be made to impress its images on prepared surfaces, in all the beauty of their native coloration."

Before taking leave of the subject of photogenic drawing, I must mention one or two facts, which may be of essential service to operators.

It has been observed by Daguerre, and others, in Europe, and probably by some of our own artists, that the sun two hours after it has passed the meridian, is much less effective in the photographic process, than it is two hours previous to its having reached that point. This may depend upon an absorptive power of the air, which may reasonably be supposed to be more charged with vapor two hours before noon. The fuse of the hygrometer may possibly establish the truth or falsity of this supposition. The fact, however, of a better result being produced before noon being established, persons wishing their portraits taken, will see the advantage of obtaining an early sitting, if they wish good pictures. On the other hand, if the supposition above mentioned prove true, a too early sitting must be avoided.

If we take a considerable thickness of a dense purple fluid, as, for instance, a solution of the ammonia-sulphate of copper, we shall find that the quantity of light is considerably diminished, at least four-fifths of the luminous rays being absorbed, while the chemical rays permeate it with the greatest facility, and sensitive preparations are affected by its influence, notwithstanding the deficiency of light, nearly as powerfully as if exposed to the undecomposed sunbeams.

It was first imagined that under the brilliant sun and clear skies of the south, photographic pictures would be produced with much greater quickness than they could be in the atmosphere of Paris. It is found, however, that a much longer time is required. Even in the clear and beautiful light of the higher Alps, it has been proved that the production of the photographic picture requires many minutes more, even with the most sensitive preparations, than it does in London. It has also been found that under the brilliant light of Mexico, twenty minutes, and half an hour, are required to produce effects which in England would occupy but a minute; and travellers engaged in copying the antiquities of Yucatan have on several occasions abandoned the use of the photographic camera, and taken to their sketch books. Dr. Draper* has observed a similar difference between the chemical action of light in New York and Virginia. This can be only explained by the supposition that the intensity of the light and heat of these climes interferes with the action of the ENERGIC rays on those sensitive preparations which are employed.

* I would here take occasion to remark that our country man, Dr. Draper, is very frequently quoted by Mr. Hunt in his "Researches."

The Roman Astronomers state that they have procured Daguerreotype impressions of the Nebula of the sword of Orion. Signor Rondini has a secret method of receiving photographic images on lithographic stone; on such a prepared stone they have succeeded in impressing an image of the Nebula and its stars; "and from that stone they have been enabled to take impressions on paper, unlimited in number, of singular beauty, and of perfect precision." Experiments have, however, proved that "no heating power exists in the moon's rays, and that lunar light will not act chemically upon the iduret of silver."

It was at one time supposed that terrestrial or artificial light possessed no chemical rays, but this is incorrect--Mr. Brande discovered that although the concentrated light of the moon, or the light even of olefiant gas, however intense, had no effect on chloride of silver, or on a mixture of chloride and hydrogen, yet the light emitted by electerized charcoal blackens the salt. At the Royal Polytechnic Institution pictures have been taken by means of sensitive paper acted upon by the Drummond Light; but it must of course be distinctly understood, that they are inferior to those taken by the light of the sun, or diffused daylight.

If our operators could manage to produce good pictures in this way they would put money in their pockets, as many who cannot find time during the day would resort to their rooms at night. I throw out the hint in hopes some one will make the experiment.

I have learned, since the above was written, that an operator in Boston succeeded a short time since in procuring very good pictures by the aid of the Drummond Light; but that the intensity of the light falling directly upon the sitter's face caused great difficulty, and he abandoned it. This may, probably, be remedied by interposing a screen of very thin tissue paper tinged slightly of a bluish color.

Nearly, if not quite all the various colors used in painting may be made from the five primitive colors, black, white, blue, red and yellow, but for the Daguerrean artist it would be the best policy to obtain such as are required by their art already prepared. In a majority of cases, the following will be found sufficient, viz.

Carmine.
Prussian Blue.
White.
Chrome Yellow, Gamboge, Yellow Ochre; or all three.*
*Gamboge is best for drapery; Ochre for the face.
Light Red.
Indigo.
Burnt Sienna.
Bistre, or Burnt Umber.

If, in coloring any part of a lady's or gentleman's apparel, it is found necessary to produce other tints and shades, the following combinations may be used:

Orange--Mix yellow with red, making it darker or lighter by using more or less red.

Purple--This is made with Prussian blue, or indigo and red. Carmine and Prussian blue producing the richest color, which may be deepened in the shadows by a slight addition of indigo or brown.

Greens--Prussian blue and gamboge makes a very fine green, which may be varied to suit the taste of the sitter or operator, by larger portions of either, or by adding white, burnt sienna, indigo, and red, as the case may require. These combinations, under different modifications, give almost endless varieties of green.

Brown--May be made of different shades of umber, carmine and lamp-black.

Neutral tint--Is composed of indigo and lamp-black.

Crimson--Mix carmine and white, deepening the shaded parts of the picture with additional carmine.

Flesh Color--The best representative of flesh color is light red, brightened in the more glowing or warmer parts, with carmine, softened off in the lighter portions with white, and shaded with purple and burnt sienna.

Lead Color--Mix indigo and white in proportions to suit.

Scarlet--Carmine and light red.

For Jewelry cups of gold and silver preparations accompany each box for Daguerreotypists, or may be procured separately.

The method of laying colors on Daguerreotypes is one of considerable difficulty, inasmuch as they are used in the form of perfectly dry impalpable powder. The author of this little work is now