The Evolution of Photography Part 5

The close of this year was marked by a very sad catastrophe intimately a.s.sociated with photography, by the death of Mr. Mawson at Newcastle-on-Tyne; he was killed by an explosion of nitro-glycerine.

Mr. Mawson, in conjunction with Mr. J. W. Swan, was one of the earliest and most successful manufacturers of collodion, and, as early as 1852, I made negatives with that medium, though I did not employ collodion solely until 1857, when I abandoned for ever the beautiful and fascinating Daguerreotype.

On Friday, December 27th, Antoine Jean Francois Claudet, F.R.S., &c., &c., died suddenly in the 71st year of his age. He was one of the earliest workers and improvers of the Daguerreotype process in this country, and one of the last to relinquish its practice in London. Mr.

Claudet bought a share of the English patent of Mr. Berry, the agent, while he was a partner in the firm of Claudet and Houghton in 1840, and commenced business as a professional Daguerreotypist soon afterwards.

Before the introduction of bromine as an accelerator by Mr. G.o.ddard, Mr.

Claudet had discovered that chloride of iodine increased the sensitiveness of the Daguerreotype plate, and he read a paper on that subject before the Royal Society in 1841. He was a member of the council of the Photographic Society for many years, and a copious contributor to its proceedings, as well as to photographic literature. In his intercourse with his _confreres_ he was always courteous, and when I called upon him in 1851 he received me most kindly, I met him again in Glasgow, and many times in London, and always considered him the best specimen of a Frenchman I had ever met. Towards his clients he was firm, respectful, and sometimes generous, as the following characteristic anecdote will show. He had taken a portrait of a child, which, for some reason or other, was not liked, and demurred at. He said, "Ah! well, the matter is easily settled. I'll keep the picture, and return your money"; and so he thought the case was ended; but by-and-by the picture was asked for, and he refused to give it up. Proceedings were taken to compel him to surrender it, which he defended. In stating the case, the counsel remarked that the child was dead. Mr. Claudet immediately stopped the counsel and the case by exclaiming, "Ah! they did not tell me that before. Now, I make the parents a present of the portrait." I am happy to say that I possess a good portrait of Mr. Claudet, taken in November, 1867, with his _Topaz lens_, 5/8-inch aperture. Strangely enough, Mr. Claudet's studio in Regent Street was seriously damaged by fire within a month of his death, and all his valuable Daguerreotypes, negatives, pictures, and papers destroyed.

On April 9th, 1868, I exhibited, at the South London Photographic Society, examples of nearly all the types of photography then known, amongst them a Daguerreotype by Daguerre, many of which are now in the Science Department of the South Kensington Museum, and were presented by me to form the nucleus of a national exhibition of the rise and progress of photography, for which I received the "thanks of the Lords of the Council on Education," dated April 22nd, 1886.

There was nothing very remarkable done in 1868 to forward the interests or development of photography, yet that year narrowly escaped being made memorable, for Mr. W. H. Harrison, now editor of the _Photographic News_, actually prepared, exposed, and developed a gelatino-bromide dry plate, but did not pursue the matter further. 1869 also pa.s.sed without adding much to the advancement of photography, and I fear the same may be said of 1870, with the exception of the publication, by Thos. Sutton, of Gaudin's gelatino-iodide process.

On February 21st, 1870, Robert J. Bingham died in Brussels. When the Daguerreotype process was first introduced to this country, Mr. Bingham was chemical a.s.sistant to Prof. Faraday at the Royal Inst.i.tution. He took an immediate interest in the wonderful discovery, and made an improvement in the application of bromine vapour, which ent.i.tled him to the grat.i.tude of all Daguerreotypists. When Mr. G.o.ddard applied bromine to the process, he employed "bromine water," but, in very hot weather, the aqueous vapour condensed upon the surface of the plate, and interrupted the sensitising process. Mr. Bingham obviated this evil by charging hydrate of lime with bromine vapour, which not only removed the trouble of condensation, but increased the sensitiveness of the prepared plate. This was a great boon to all Daguerreotypists, and many a time I thanked him mentally long before I had the pleasure of meeting him in London. Mr. Bingham also wrote a valuable manual on the Daguerreotype and other photographic processes, which was published by Geo. Knight and Sons, Foster Lane, Cheapside. Some years before his death, Mr. Bingham settled in Paris, and became a professional photographer, but chiefly as a publisher of photographic copies of paintings and drawings.

Abel Niepce de St. Victor, best known without the Abel, died suddenly on April 6th, 1870. Born at St. Cyr, July 26th, 1805. After pa.s.sing through his studies at the Military School of Saumur, he became an officer in a cavalry regiment. Being studious and fond of chemistry, he was fortunate enough to effect some saving to the Government in the dyeing of fabrics employed in making certain military uniforms, for which he received compensation and promotion. His photographic fame rests upon two achievements: firstly, his application of iodized alb.u.men to gla.s.s for negative purposes in 1848, a process considerably in advance of Talbot's paper negatives, but it was quickly superseded by collodion; secondly, his researches on "heliochromy," or photography in natural colours.

Niepce de St. Victor, like others before and since, was only partially successful in obtaining some colour reproductions, but totally unsuccessful in rendering those colours permanent. In proof of both these statements I will quote from the Juror's Report, on the subject, of the International Exhibition, 1862:--"The obtaining of fixed natural colours by means of photography still remains, as was before remarked, to be accomplished; but the jurors have pleasure in recording that some very striking results of experiments in this direction were forwarded for their inspection by a veteran in photographic research and discovery, M. Niepce de St. Victor. These, about a dozen in number, 3-1/2 by 2-1/2 inches, consisted of reproductions of prints of figures with parti-coloured draperies. Each tint in the pictures exhibited, they were a.s.sured, was a faithful reproduction of the original. Amongst the colours were blues, yellows, reds, greens, &c., all very vivid. Some of the tints gradually faded and disappeared in the light whilst under examination, and a few remained permanent for some hours. The possibility of producing natural colour thus established is a fact most interesting and important, and too much praise cannot be awarded to the skilful research which has been to this extent crowned with success. The jury record their obligations to their chairman, Baron Gross, at whose personal solicitation they were enabled to obtain a sight of these remarkable pictures." Such was the condition of photography in natural colours towards the close of 1862, and so it is now after a lapse of twenty-eight years. In 1870 several examples of Niepce de St. Victor's heliochromy were sent to the Photographic Society of London, and I had them in my hands and examined them carefully in gas-light; they could not be looked at in daylight at all. I certainly saw _faint_ traces of colour, but whether I saw them in their original vigour, or after they had faded, I cannot say. All I can say is that the tints were very feeble, and that they had not been obtained _through the lens_. They were, at their best, only contact impressions of coloured prints obtained after many hours of exposure. The examples had been sent to the Photographic Society with the hope of selling them for the benefit of the widow, but the Society was too wise to invest in such evanescent property. However, a subscription was raised both in England and France for the benefit of the widow and orphans of Niepce de St. Victor.

December, 1870, was marked by the death of one of the eminent pioneers of photography. On the 12th, the Rev. J. B. Reade pa.s.sed away at Bishopsbourne Rectory, Canterbury, in the sixty-ninth year of his age. I have already, I think, established Mr. Reade's claim to the honour of being the first to produce a photographic negative on paper developed with gallic acid, and I regret that I am unable to trace the existence of those two negatives alluded to in Mr. Reade's published letter. Mr.

Reade told me himself that he gave those two historic negatives to Dr.

Diamond, when Secretary to the Photographic Society, to be lodged with that body for safety, proof, and reference; but they are not now in the possession of the Photographic Society, and what became of them no one knows. Several years ago I caused enquiries to be made, and Dr. Diamond was written to by Mr. H. Baden Pritchard, then Secretary, but Dr.

Diamond's reply was to the effect that he had no recollection of them, and that Mr. Reade was given to hallucinations. Considering the positions that Mr. Reade held, both in the world and various learned and scientific societies, I don't think that he could ever have been afflicted with such a mental weakness. He was a clergyman in the Church of England, an amateur astronomer and microscopist, one of the fathers of photography, and a member of Council of the Photographic Society, and President of the Microscopical Society at the time of his death. I had many a conversation with him years ago, and I never detected either weakness or wandering in his mind; therefore I could not doubt the truth of his statement relative to the custodianship of the first paper negative that was taken through the lens of a solar microscope. Mr.

Reade was a kind and affable man; and, though a great sufferer on his last bed of sickness, he wrote loving, grateful, and Christian like letters to many of his friends, some of which I have seen, and I have photographed his signature to one of them to attach to his portrait, which I happily possess.

In 1871 the coming revolution in photography was faintly heralded by Dr.

R. L. Maddox, publishing in the _British Journal of Photography_, "An Experiment with Gelatino-Bromide." Successful as the experiment was it did not lead to any extensive adoption of the process at the time, but it did most unquestionably exhibit the capabilities of gelatino-bromide.

As that communication to the _British Journal of Photography_ contained and first made public the working details of a process that was destined to supersede collodion, I will here insert a copy of Dr. Maddox's letter _in extenso_.

"An Experiment with Gelatino-Bromide.

"The collodio-bromide processes have for some time held a considerable place in the pages of the _British Journal of Photography_, and obtained such a prominent chance of being eventually the process of the day in the dry way, that a few remarks upon the application of another medium may perhaps not be uninteresting to the readers of the journal, though little more can be stated than the result of somewhat careless experiments tried at first on an exceedingly dull afternoon. It is not for a moment supposed to be new, for the chances of novelty in photography are small, seeing the legion of ardent workers, and the ground already trodden by its devotees, so that for outsiders little remains except to take the result of labours so industriously and largely circulated through these pages, and be thankful.

"Gelatine, which forms the medium of so many printing processes, and which doubtless is yet to form the base of many more, was tried in the place of collodion in this manner:--Thirty grains of Nelson's gelatine were washed in cold water, then left to swell for several hours, when all the water was poured off, and the gelatine set in a wide-mouthed bottle, with the addition of four drachms of pure water, and two small drops of _aqua regia_, and then placed in a basin of hot water for solution. Eight grains of bromide of cadmium dissolved in half a drachm of pure water were now added, and the solution stirred gently. Fifteen grains of nitrate of silver were next dissolved in half a drachm of water in a test tube, and the whole taken into the dark room, when the latter was added to the former slowly, stirring the mixture the whole time. This gave a fine milky emulsion, and was left for a little while to settle. A few plates of gla.s.s well cleaned were next levelled on a metal plate put over a small lamp; they were, when fully warmed, coated by the emulsion spread to the edges by a gla.s.s rod, then returned to their places, and left to dry. When dry, the plates had a thin opalescent appearance, and the deposit of bromide seemed to be very evenly spread in the substance of the substratum.

"These plates were printed from, in succession, from different negatives, one of which had been taken years since on alb.u.men with oxgall and diluted phosphoric acid, sensitised in an acid nitrate, and developed with pyrogallic acid, furnishing a beautiful warm brown tint.

"The exposure varied from the first plate thirty seconds to a minute and a half, as the light was very poor. No vestige of an outline appeared on removal from the printing-frame. The plates were dipped in water to the surface, and over them was poured a plain solution of pyrogallic acid, four grains to the ounce of water. Soon a faint but clean image was seen, which gradually intensified up to a certain point, then browned all over; hence, the development in the others was stopped at an early stage, the plate washed, and the development continued with fresh pyro, with one drop of a ten-grain solution of nitrate of silver, then re-washed and cleared by a solution of hyposulphite of soda.

"The resulting tints were very delicate in detail, of a colour varying between a bistre and olive tint, and after washing dried with a brilliant surface. The colour of the print varied greatly according to the exposure. From the colour and delicacy it struck me that with care to strain the gelatine, or use only the clearest portion, such a process might be utilised for transparencies for the lantern, and the sensitive plates be readily prepared.

"Some plates were fumed with ammonia; these fogged under the pyro solution. The proportions set down were only taken at random, and are certainly not as sensitive as might be procured under trials. The remaining emulsion was left shut up in a box in the dark room, and tried on the third day after preparation; but the sensibility had, it seems, greatly diminished, though the emulsion, when rendered fluid by gently warming, appeared creamy, and the bromide thoroughly suspended. Some of this was now applied to some pieces of paper by means of a gla.s.s rod, and hung up to surface dry, then dried fully on the warmed level plate, and treated as sensitised paper.

"One kind of paper, that evidently was largely adulterated by some earthy base, dried without any brilliancy, but gave, under exposure of a negative for thirty seconds, very nicely toned prints when developed with a weak solution of pyro. Some old alb.u.menized paper of Marion's was tried, the emulsion being poured both on the alb.u.men side, and, in other pieces, on the plain side; but the salting evidently greatly interfered, the resulting prints being dirty-looking and greyed all over.

"These papers, fumed with ammonia, turned grey under development. They printed very slowly, even in strong sunlight, and were none of them left long enough to develop into a full print. After washing they were cleared by weak hypo solution. It is very possible the iron developer may be employed for the gla.s.s prints, provided the acidification does not render the gelatine soft under a development.

"The slowness may depend in part on the proportions of bromide and nitrate not being correctly balanced, especially as the ordinary, not the anhydrous, bromide was used, and on the quant.i.ties being too small for the proportion of gelatine. Whether the plates would be more sensitive if used when only surface dry is a question of experiment; also, whether other bromides than the one tried may not prove more advantageous in the presence of the neutral salt resulting from the decomposition, or the omission or decrease of the quant.i.ty of _aqua regia_. Very probably also the development by gallic acid and acetate of lead developer may furnish better results than the plain pyro.

"As there will be no chance of my being able to continue these experiments, they are placed in their crude state before the readers of the Journal, and may eventually receive correction and improvement under abler hands. So far as can be judged, the process seems quite worth more carefully conducted experiments, and, if found advantageous, adds another handle to the photographer's wheel.

R. L. Maddox, M.D."

After perusing the above, it will be evident to any one that Dr. Maddox very nearly arrived at perfection in his early experiments. The slowness that he complains of was caused entirely by not washing the emulsion to discharge the excess of bromide, and the want of density was due to the absence of a restrainer and ammonia in the developer. He only made positive prints from negatives; but the same emulsion, had it been washed, would have made negatives in the camera in much less time. Thus, it will be seen, that Dr. Maddox, like the Rev. J. B. Reade, threw the ball, and others caught it; for the gelatine process, as given by Dr.

Maddox, is only modified, not altered, by the numerous dry plate and gelatino-bromide paper manufacturers of to-day.

Meanwhile collodion held the field, and many practical men thought it would never be superseded.

In this year Sir John Herschel died at a ripe old age, seventy-nine.

Photographers should revere his memory, for it was he who made photography practical by publishing his observation that hyposulphite of soda possessed the power of dissolving chloride and other salts of silver.

[Ill.u.s.tration: FOURTH PERIOD.

GELATINE.

Dr. R. L. MADDOX.

_From Photograph by J. Thomson._ GELATINO-BROMIDE EMULSION 1871.

R. KENNETT.

_From Photograph by J. Werge, 1887._ GELATINO-BROMIDE PELLICLE 1873 DRY-PLATES 1874]

FOURTH PERIOD.

GELATINE SUCCESSFUL.

In 1873, Mr. J. Burgess, of Peckham, London, advertised his gelatino-bromide emulsion, but as it would not keep in consequence of decomposition setting in speedily, it was not commercial, and therefore unsuccessful. It evidently required the addition of some preservative, or antiseptic, to keep it in a workable condition, and Mr. J. Traill Taylor, editor of the _British Journal of Photography_, made some experiments in that direction by adding various essential oils; but Mr.

Gray--afterwards the well-known dry plate maker--was most successful in preserving the gelatine emulsion from decomposition by the addition of a little oil of peppermint, but it was not the emulsion form of gelatino-bromide of silver that was destined to secure its universal adoption and success.

At a meeting of the South London Photographic Society, held in the large room of the Society of Arts, John Street, Adelphi, Mr. Burgess endeavoured to account for his emulsion decomposing, but he did not suggest a remedy, so the process ceased to attract further attention.

Mr. Kennett was present, and it was probably Mr. Burgess's failure with emulsion that induced him to make his experiments with a sensitive pellicle. Be that as it may, Mr. Kennett did succeed in making a workable gelatino-bromide pellicle, and obtained a patent for it on the 20th of November, 1873. I procured some, and tried it at once. It gave excellent results, but preparing the plates was a messy and sticky operation, which I feared would be prejudicial to its usefulness and success. This I reported to Mr. Kennett immediately, and found that his own experience corroborated mine, for he had already received numerous complaints of this objection, while others failed through misapprehension of his instruction; and very comical were some of these misinterpretations. One attempted to coat the plates with the _end_ of the stirring-rod, while another set them to drain in a rack, and those that did succeed in coating the plates properly, invariably spoiled them by over-exposure or in development. He was overwhelmed with correspondence and visitors, and to lessen his troubles I strongly advised him to prepare the plates himself, and sell them in that form ready for use. He took my advice, and in March, 1874, issued his first batch of gelatino-bromide dry plates; but even that did not remove his vexation of spirit, nor lessen his troublesome correspondence. Most of his clients were sceptical, and exposed the plates too long, or worked under wet-plate conditions in their dark rooms, and fog and failure were the natural consequences. Most, if not all, of his clients at that time were amateurs, and it was not until years after, that professional photographers adopted the dry and abandoned the wet process. In fact, it is doubtful if the profession ever tried Mr. Kennett's dry plates at all, for it was not until J. W. Swan and Wratten and Wainwright issued their dry plates, that I could induce any professional photographer to give these new plates a trial, and I have a very vivid recollection of the scepticism and conservatism exhibited by the most eminent photographers on the first introduction of gelatino-bromide dry plates.

For example, when I called upon Messrs. Elliott and Fry to introduce to their notice these rapid plates, I saw Mr. Fry, and told him how rapid they were. He was incredulous, and smilingly informed me that I was an enthusiast. It was a dull November morning, 1878, and I challenged him, not to fight, but to give me an opportunity of producing as good a picture in quarter the time they were giving in the studio, no matter what that time was. This rather astonished him, and he invited me up to the studio to prove my statement. I ascertained that they were giving _ninety_ seconds--a minute and a half!--on a wet collodion plate, 10 by 8. I knew their size, and had it with me, as well as the developer. Mr.

Fry stood and told the operator, Mr. Benares, to take the time from me.

Looking at the quality of the light, I gave _twenty_ seconds, but Mr.

Benares was disposed to be incredulous also, and, after counting twenty, went on with "one for the plate, and one more for Mr. Werge," but I told him to stop, or I would have nothing more to do with the business. The plate had twenty-two or three seconds' exposure, and when I developed in their dark room, it was just those two or three seconds over-exposed.

Nevertheless, Mr. Fry brought me a print from that negative in a few days, and acknowledged that it was one of the finest negatives he had ever seen. They were convinced, and adopted the new dry plates immediately. But it was not so with all, for many of the most prominent photographers would not at first have anything to do with gelatine plates, and remained quite satisfied with collodion; but the time came when they were glad to change their opinion, and give up the wet for the dry plates; but it was a long time, for Mr. Kennett introduced his dry plates in 1874, and it was not until 1879 and 1880 that professional photographers had adopted and taken kindly to gelatine plates generally.

With amateurs it was very different, and many of their exhibits in the various exhibitions were from gelatine negatives obtained upon plates prepared by themselves, or commercial makers. In the London Photographic Society's exhibition of 1874, and following, several prints from gelatine negatives were exhibited, and in 1879 they were pretty general.

Among the many exhibited that year was Mr. Gale's swallow-picture, which created at the time a great deal of interest and controversy, and Mr. Gale was invited over and over again to acknowledge whether the appearance of the bird was the result of skill, accident, or "trickery;"

but I don't think that he ever gratified anyone's curiosity on the subject. I can, however, state very confidently that he was innocent of any "trickery" in introducing the bird by double printing, for the late Mr. Dudley Radcliffe told me at the time that he (Mr. Radcliffe) not only prepared the plate, but developed the negative, and was surprised to see the bird there. This may have been the reason why Mr. Gale was so reticent on the subject; but I am antic.i.p.ating, and must go back to preserve my plan of chronological progression.

In 1875 a considerable impetus was given to carbon printing, both for small work and enlarging by the introduction of the Lambertype process.

Similar work had been done before, but, as Mr. Leon Lambert used to say, he made it "facile"; and he certainly did so, and induced many photographers to adopt his beautiful, but troublesome, chromotype process. There were two Lamberts in the tent--one a very clever manipulator, the other a clever advertiser--and between the two they managed to sell a great many licences, and carry away a considerable sum of money. I was intimate with them both while they remained in England, and they were both pleasant and honourable men.

On January 18th, 1875, O. G. Rejlander died, much to the regret of all who took an interest in the art phase of photography. Rejlander has himself told us how, when, and where he first fell in love with photography. In 1851 he was not impressed with the Daguerreotypes at the great exhibition, nor with "reddish landscape photographs" that he saw in Regent Street; but when in Rome, in 1852, he was struck with the beauty of some photographs of statuary, which he bought and studied, and made up his mind to study photography as soon as he returned to England. How he did that will be best told by himself:--"In 1853, having inquired in London for the best teacher, I was directed to Henneman. We agreed for so much for three or five lessons; but, as I was in a hurry to get back to the country, I took all the lessons in one afternoon!

Three hours in the calotype and waxed-paper process, and half-an-hour sufficed for the collodion process!! He spoke, I wrote; but I was too clever. It would have saved me a year or more of trouble and expense had I attended carefully to the rudiments of the art for a month." His first attempt at "double printing" was exhibited in London in 1855, and was named in the catalogue, _group printed from three negatives_. Again, I must allow Mr. Rejlander to describe his reasons for persevering in the art of "double printing":--"I had taken a group of two. They were expressive and composed well. The light was good, and the chemistry of it successful. A very good artist was staying in the neighbourhood, engaged on some commission. He called; saw the picture; was very much delighted with it, and so was I. Before he left my house he looked at the picture again, and said it was 'marvellous,' but added, 'Now, if I had drawn that, I should have introduced another figure between them, or some light object, to keep them together. You see, there is where you photographers are at fault. Good morning!' I snapped my fingers after he left--but not at him--and exclaimed aloud, 'I can do it!' Two days afterwards I called at my artist-friend's hotel as proud as--anybody. He looked at my picture and at me, and took snuff twice. He said, 'This is another picture.' 'No,' said I, 'it is the same, except with the addition you suggested.' 'Never,' he exclaimed; 'and how is it possible?