



Produced by Gregory Walker, for the Digital Daguerreian Archive Project.










This etext was created by Gregory Walker, in Austin, Texas, for the
Digital Daguerreian Archive Project--electronic texts from the dawn of
photography.

Internet: gwalker@netcom.com   CompuServe: 73577,677

The location of the illustrations in the text are marked by
"[hipho_##.gif]" on a separate line.

I hope this etext inspires a wider interest in the origins of
photography and in the modern practice of the Daguerreian Art.





THE HISTORY AND PRACTICE OF THE ART OF PHOTOGRAPHY;

OR THE PRODUCTION OF PICTURES THROUGH THE AGENCY OF LIGHT.

CONTAINING ALL THE INSTRUCTIONS NECESSARY FOR THE COMPLETE PRACTICE OF
THE DAGUERREAN AND PHOTOGENIC ART, BOTH ON METALLIC PLATES AND ON PAPER.


By HENRY H. SNELLING.



ILLUSTRATED WITH WOOD CUTS.



New York:  PUBLISHED BY G. P. PUTNAM, 155 Broadway, 1849.




Entered according to act of Congress in the year 1849, by H. H.
Snelling, in the Clerk's office, of the District Court of the Southern
District of New York.


New York:  PRINTED BY BUSTEED & McCOY, 163 Fulton Street.




TO EDWARD ANTHONY, ESQ., AN ESTEEMED FRIEND.

Whose gentlemanly deportment, liberal feelings, and strict integrity
have secured him a large circle of friends, this work is Respectfully
Dedicated By the AUTHOR.




                            PREFACE.


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.

All the English works on the subject--particularly on the practical
application, of Photogenic drawing--are deficient in many minute
details, which are essential to a complete understanding of the art.
Many of their methods of operating are entirely different from, and
much inferior to, those practised in the United States: their
apparatus, also, cannot compare with ours for completeness, utility or
simplicity.

I shall, therefore, confine myself principally--so far as Photogenic
drawing upon metalic plates is concerned--to the methods practised by
the most celebrated and experienced operators, drawing upon French and
English authority only in cases where I find it essential to the
purpose for which I design my work, namely:  furnishing a complete
system of Photography; such an one as will enable any gentleman, or
lady, who may wish to practise the art, for profit or amusement, to do
so without the trouble and expense of seeking instruction from
professors, which in many cases within my own knowledge has prevented
persons from embracing the profession.

To English authors I am principally indebted for that portion of my
work relating to Photogenic drawing on paper.  To them we owe nearly
all the most important improvements in that branch of the art.
Besides, it has been but seldom attempted in the United States, and
then without any decided success.  Of these attempts I shall speak
further in the Historical portion of this volume.

Every thing essential, therefore, to a complete knowledge of the whole
art, comprising all the most recent discoveries and improvements down
to the day of publication will be found herein laid down.




CONTENTS

      I.  A BRIEF HISTORY OF THE ART.
     II.  THE THEORY ON LIGHT.--THE PHOTOGRAPHIC PRINCIPLE
    III.  SYNOPSIS OF MR. HUNT'S TREATISE ON "THE INFLUENCE OF THE
          SOLAR RAYS ON COMPOUND BODIES, WITH ESPECIAL REFERENCE TO
          THEIR PHOTOGRAPHIC APPLICATION."
     IV.  A FEW HINTS AND SUGGESTIONS TO DAGUERREOTYPISTS.
      V.  DAGUERREOTYPE APPARATUS.
     VI.  THE DAGUERREOTYPE PROCESS.
    VII.  PAPER DAGUERREOTYPES.--ETCHING DAGUERREOTYPES.
   VIII.  PHOTOGENIC DRAWING ON PAPER.
     IX.  CALOTYPE AND CHRYSOTYPE.
      X.  CYANOTYPE--ENERGIATYPE--CHROMATYPE--ANTHOTYPE--AMPHITYPE
          AND "CRAYON DAGUERREOTYPE."
     XI.  ON THE PROBABILITY OF PRODUCING COLORED PICTURES BY THE SOLAR
          RADIATIONS--PHOTOGRAPHIC DEVIATIONS--LUNAR PICTURES--DRUMMOND
          LIGHT.
    XII.  ON COLORING DAGUERREOTYPES.
   XIII.  THE PHOTOGRAPHOMETER.
          INDEX.




INTRODUCTION


  New York, January 27, 1849.
  E. ANTHONY, ESQ.

Dear Sir,--In submitting the accompanying "History and Practice of
Photography" to your perusal, and for your approbation, I do so with
the utmost confidence in your ability as a practical man, long engaged
in the science of which it treats, as well as your knowledge of the
sciences generally; as well as your regard for candor.  To you,
therefore, I leave the decision whether or no I have accomplished my
purpose, and produced a work which may not only be of practical benefit
to the Daguerrean artist, but of general interest to the reading
public, and your decision will influence me in offering it for, or
withholding it from, publication.

If it meets your approbation, I would most respectfully ask permission
to dedicate it to you, subscribing myself,

  With esteem,
  Ever truly yours,
  HENRY H. SNELLING


  New York, February 1st, 1849.
  Mr. H. H. SNELLING.

Dear Sir--Your note of January 27th, requesting permission to dedicate
to me your "History and Practice of Photography," I esteem a high
compliment, particularly since I have read the manuscript of your work.

Such a treatise has long been needed, and the manner in which you have
handled the subject will make the book as interesting to the reading
public as it is valuable to the Daguerrean artist, or the amateur
dabbler in Photography.  I have read nearly all of the many works upon
this art that have emanated from the London and Paris presses, and I
think the reader will find in yours the pith of them all, with much
practical and useful information that I do not remember to have seen
communicated elsewhere.

There is much in it to arouse the reflective and inventive faculties of
our Daguerreotypists.  They have heretofore stumbled along with very
little knowledge of the true theory of their art, and yet the quality
of their productions is far in advance of those of the French and
English artists, most of whose establishments I have had the pleasure
of visiting I feel therefore, that when a sufficient amount of
theoretic knowledge shall have been added to this practical skill on
the part of our operators, and when they shall have been made fully
acquainted with what has been attained or attempted by others, a still
greater advance in the art will be manifested.

A GOOD Daguerreotypist is by no means a mere machine following a
certain set of fixed rules.  Success in this art requires personal
skill and artistic taste to a much greater degree than the unthinking
public generally imagine; in fact more than is imagined by nine-tenths
of the Daguerreotypists themselves.  And we see as a natural result,
that while the business numbers its thousands of votaries, but few rise
to any degree of eminence.  It is because they look upon their business
as a mere mechanical operation, and having no aim or pride beyond the
earning of their daily bread, they calculate what will be a fair per
centage on the cost of their plate, case, and chemicals, leaving MIND,
which is as much CAPITAL as anything else (where it is exercised,)
entirely out of the question.

The art of taking photographs on PAPER, of which your work treats at
considerable length, has as yet attracted but little attention in this
country, though destined, as I fully believe, to attain an importance
far superior to that to which the Daguerreotype has risen.

The American mind needs a waking up upon the subject, and I think your
book will give a powerful impulse in this direction.  In Germany a high
degree of perfection has been reached, and I hope your countrymen will
not be slow to follow.

Your interesting account of the experiments of Mr. Wattles was entirely
new to me, and is another among the many evidences that when the age is
fully ripe for any great discovery, it is rare that it does not occur
to more than a single mind.

Trusting that your work will meet with the encouragement which your
trouble in preparing it deserves, and with gratitude for the undeserved
compliment paid to me in its dedication,

  I remain, very sincerely,
  Your friend and well wisher,
  E. ANTHONY.



PHOTOGRAPHY.

CHAP. I.

A BRIEF HISTORY OF THE ART.


As in all cases of great and valuable inventions in science and art the
English lay claim to the honor of having first discovered that of
Photogenic drawing.  But we shall see in the progress of this history,
that like many other assumptions of their authors, priority in this is
no more due them, then the invention of steamboats, or the cotton gin.

This claim is founded upon the fact that in 1802 Mr. Wedgwood recorded
an experiment in the Journal of the Royal Institution of the following
nature.

"A piece of paper, or other convenient material, was placed upon a
frame and sponged over with a solution of nitrate of silver; it was
then placed behind a painting on glass and the light traversing the
painting produced a kind of copy upon the prepared paper, those parts
in which the rays were least intercepted being of the darkest hues.
Here, however, terminated the experiment; for although both Mr.
Wedgwood and Sir Humphry Davey experimented carefully, for the purpose
of endeavoring to fix the drawings thus obtained, yet the object could
not be accomplished, and the whole ended in failure."

This, by their own showing, was the earliest attempt of the English
savans.  But this much of the principle was known to the Alchemists at
an early date--although practically produced in another way--as the
following experiment, to be found in old books, amply proves.

"Dissolve chalk in aquafortis to the consistence of milk, and add to it
a strong solution of silver; keep this liquor in a glass bottle well
stopped; then cutting out from a piece of paper the letters you would
have appear, paste it on the decanter, and lay it in the sun's rays in
such a manner that the rays may pass through the spaces cut out of the
paper and fall on the surface of the liquor the part of the glass
through which the rays pass will be turned black, while that under the
paper remains white; but particular care must be observed that the
bottle be not moved during the operation."

Had not the alchemists been so intent upon the desire to discover the
far famed philosopher's stone, as to make them unmindful of the
accidental dawnings of more valuable discoveries, this little
experiment in chemistry might have induced them to prosecute a more
thorough search into the principle, and Photogenic art would not now,
as it is, be a new one.

It is even asserted that the Jugglers of India were for many ages in
possession of a secret by which they were enabled, in a brief space, to
copy the likeness of any individual by the action of light.  This fact,
if fact it be, may account for the celebrated magic mirrors said to be
possessed by these jugglers, and probable cause of their power over the
people.

However, as early as 1556 the fact was established that a combination
of chloride and silver, called, from its appearance, horn silver, was
blackened by the sun's rays; and in the latter part of the last century
Mrs. Fulhame published an experiment by which a change of color was
effected in the chloride of gold by the agency of light; and gave it as
her opinion that words might be written in this way.  These incidents
are considered as the first steps towards the discovery of the
Photogenic art.

Mr. Wedgwood's experiments can scarcely be said to be any improvement
on them since he failed to bring them to practical usefulness, and his
countrymen will have to be satisfied with awarding the honor of its
complete adaptation to practical purposes, to MM.  Niepce and Daguerre
of France, and to Professors Draper, and Morse of New-York.

These gentlemen--MM.  Niepce and Daguerre--pursued the subject
simultaneously, without either, however being aware of the experiments
of his colleague in science.  For several years, each pursued his
researches individually until chance made them acquainted, when they
entered into co-partnership, and conjointly brought the art almost to
perfection.

M. Niepce presented his first paper on the subject to the Royal Society
in 1827, naming his discovery Heliography.  What led him to the study
of the principles of the art I have no means, at present, of knowing,
but it was probably owing to the facts recorded by the Alchemists, Mrs.
Fulhame and others, already mentioned.  But M. Daguerre, who is a
celebrated dioramic painter, being desirous of employing some of the
singularly changeable salts of silver to produce a peculiar class of
effects in his paintings, was led to pursue an investigation which
resulted in the discovery of the Daguerreotype, or Photogenic drawing
on plates of copper coated with silver.

To this gentleman--to his liberality--are we Americans indebted for the
free use of his invention; and the large and increasing class of
Daguerrean artists of this country should hold him in the most profound
respect for it.  He was not willing that it should be confined to a few
individuals who might monopolise the benefits to be derived from its
practice, and shut out all chance of improvement.  Like a true, noble
hearted French gentleman he desired that his invention should spread
freely throughout the whole world.  With these views he opened
negociations with the French government which were concluded most
favorably to both the inventors, and France has the "glory of endowing
the whole world of science and art with one of the most surprising
discoveries that honor the land."

Notwithstanding this, it has been patented in England and the result is
what might have been expected:  English pictures are far below the
standard of excellence of those taken by American artists.  I have seen
some medium portraits, for which a guinea each had been paid, and taken
too, by a celebrated artist, that our poorest Daguerreotypists would be
ashamed to show to a second person, much less suffer to leave their
rooms.

CALOTYPE, the name given to one of the methods of Photogenic drawing on
paper, discovered, and perfected by Mr. Fox Talbot of England, is
precisely in the same predicament, not only in that country but in the
United States, Mr. Talbot being patentee in both.  He is a man of some
wealth, I believe, but he demands so high a price for a single right in
this country, that none can be found who have the temerity to purchase.

The execution of his pictures is also inferior to those taken by the
German artists, and I would remark en passant, that the Messrs.  Mead
exhibited at the last fair of the American Institute, (of 1848,) four
Calotypes, which one of the firm brought from Germany last Spring, that
for beauty, depth of tone and excellence of execution surpass the
finest steel engraving.

When Mr. Talbot's patent for the United States expires and our
ingenious Yankee boys have the opportunity, I have not the slightest
doubt of the Calotype, in their hands, entirely superceding the
Daguerreotype.

Let them, therefore, study the principles of the art as laid down in
this little work, experiment, practice and perfect themselves in it,
and when that time does arrive be prepared to produce that degree of
excellence in Calotype they have already obtained in Daguerreotype.

It is to Professor Samuel F. B. Morse, the distinguished inventor of
the Magnetic Telegraph, of New York, that we are indebted for the
application of Photography, to portrait taking.  He was in Paris, for
the purpose of presenting to the scientific world his Electro-Magnetic
Telegraph, at the time, (1838,) M. Daguerre announced his splendid
discovery, and its astounding results having an important bearing on
the arts of design arrested his attention.  In his letter to me on the
subject, the Professor gives the following interesting facts.

"The process was a secret, and negociations were then in progress, for
the disclosure of it to the public between the French government and
the distinguished discoverer.  M. Daguerre had shown his results to the
king, and to a few only of the distinguished savans, and by the advice
of M. Arago, had determined to wait the action of the French Chambers,
before showing them to any other persons.  I was exceedingly desirous
of seeing them, but knew not how to approach M. Daguerre who was a
stranger to me.  On mentioning my desire to Robert Walsh, Esq., our
worthy Consul, he said to me;'state that you are an American, the
inventor of the Telegraph, request to see them, and invite him in turn
to see the Telegraph, and I know enough of the urbanity and liberal
feelings of the French, to insure you an invitation.' I was successfull
in my application, and with a young friend, since deceased, the
promising son of Edward Delevan, Esq., I passed a most delightful hour
with M. Daguerre, and his enchanting sun-pictures. My letter containing
an account of this visit, and these pictures, was the first
announcement in this country of this splendid discovery."

"I may here add the singular sequel to this visit.  On the succeeding
day M. Daguerre paid me a visit to see the Telegraph and witness its
operations.  He seemed much gratified and remained with me perhaps two
hours; two melancholy hours to him, as they afterwards proved; or while
he was with me, his buildings, including his diorama, his studio, his
laboratory, with all the beautiful pictures I had seen the day before,
were consumed by fire.  Fortunately for mankind, matter only was
consumed, the soul and mind of the genius, and the process were still
in existence."

On his return home, Professor Morse waited with impatience for the
revelation of M. Daguerre's process, and no sooner was it published
than he procured a copy of the work containing it, and at once
commenced taking Daguerreotype pictures.  At first his object was
solely to furnish his studio with studies from nature; but his
experiments led him into a belief of the practicability of procuring
portraits by the process, and he was undoubtedly the first whose
attempts were attended with success.  Thinking, at that time, that it
was necessary to place the sitters in a very strong light, they were
all taken with their eyes closed.

Others were experimenting at the same time, among them Mr. Wolcott and
Prof. Draper, and Mr. Morse, with his accustomed modesty, thinks that
it would be difficult to say to whom is due the credit of the first
Daguerreotype portrait.  At all events, so far as my knowledge serves
me, Professor Morse deserves the laurel wreath, as from him originated
the first of our inumerable class of Daguerreotypists; and many of his
pupils have carried the manipulation to very great perfection.  In
connection with this matter I will give the concluding paragraph of a
private letter from the Professor to me; He says.

"If mine were the first, other experimenters soon made better results,
and if there are any who dispute that I was first, I shall have no
argument with them; for I was not so anxious to be the first to produce
the result, as to produce it in any way.  I esteem it but the natural
carrying out of the wonderful discovery, and that the credit was after
all due to Daguerre.  I lay no claim to any improvements."

Since I commenced the compilation of this work, I have had the pleasure
of making the acquaintance of an American gentleman--James M. Wattles
Esq.--who as early as 1828--and it will be seen, by what I have already
stated, that this is about the same date of M. Niepce's discovery--had
his attention attracted to the subject of Photography, or as he termed
it "Solar picture drawing," while taking landscape views by means of
the camera-obscura.  When we reflect upon all the circumstances
connected with his experiments, the great disadvantages under which he
labored, and his extreme youthfullness, we cannot but feel a national
pride--yet wonder--that a mere yankee boy, surrounded by the deepest
forests, hundred of miles from the populous portion of our country,
without the necessary materials, or resources for procuring them,
should by the force of his natural genius make a discovery, and put it
in practical use, to accomplish which, the most learned philosophers of
Europe, with every requisite apparatus, and a profound knowledge of
chemistry--spent years of toil to accomplish.  How much more latent
talent may now be slumbering from the very same cause which kept Mr.
Wattles from publicly revealing his discoveries, viz; want of
encouragement--ridicule!

At the time when the idea of taking pictures permanently on paper by
means of the camera-obscura first occurred to him, he was but sixteen
years of age, and under the instructions of Mr. Charles Le Seuer, (a
talented artist from Paris) at the New Harmony school, Indiana.
Drawing and painting being the natural bent of his mind, he was
frequently employed by the professors to make landscape sketches in the
manner mentioned.  The beauty of the image of these landscapes produced
on the paper in the camera-obscura, caused him to pause and admire them
with all the ardor of a young artist, and wish that by some means, he
could fix them there in all their beauty.  From wishing he brought
himself to think that it was not only possible but actually capable of
accomplishment and from thinking it could, he resolved it should be
done.

He was, however, wholly ignorant of even the first principles of
chemistry, and natural philosophy, and all the knowledge he was enabled
to obtain from his teachers was of very little service to him.  To add
to this, whenever he mentioned his hopes to his parents, they laughed
at him, and bade him attend to his studies and let such moonshine
thoughts alone--still he persevered, though secretly, and he met with
the success his perseverance deserved.

For the truth of his statement, Mr. Wattles refers to some of our most
respectable citizens residing at the west, and I am in hopes that I
shall be enabled to receive in time for this publication, a
confirmation from one or more of these gentlemen.  Be that as it may, I
feel confident in the integrity of Mr. Wattles, and can give his
statement to the world without a doubt of its truth.

The following sketch of his experiments and their results will,
undoubtedly, be