Reynolds 
 
 Formula for making 
 Porcelain Pictures
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 REYNOLDS' 
 
 FORMULA. FOR 
 
 CAMERA CLUB LIBRARY 
 
 Catalogued A'Tncfexed 193O by 
 Hal. D. Bernstein, Librarian 
 
 Entered accordi \g to Act of Congress, in the year 1865, by GEOEGE L. 
 
 REYNOLDS, . the Clerk's office of the District Court of the 
 
 United v.:ites of the Southern District of New- York. 
 
 WlLLABD & CO., PUBLISHEUS, No. 522 BEOADWAY. 
 
 I 

 
 TK 
 
 '7#id i. .JifMHffCK&: flli .fw?;ifftifc fr 
 
 HAVING for a year past been engaged in making the 
 Porcelain Pictures, I have tried within that time a multi- 
 tude of experiments with a view to the construction of a 
 convenient and suitable box in which to make them, as 
 well as to produce a formula that would enable the careful 
 artist to work with comparative certainty. The former 
 object I have more than accomplished, for I have succeeded 
 in constructing a box that is not only most perfectly 
 adapted to the production of the Porcelain pictures, but 
 which fills a void in the photographic apparatus that at the 
 present time is quite as essential as the porcelain process, 
 viz. : the production of large negatives from small ones. 
 
 It is also adapted to the production of glass transparen- 
 cies for Stereoscopes. 
 
 In publishing my formula I have no higher ambition to 
 gratify as a writer, than the use of such language as shall 
 make myself understood. Although I might with long-spun 
 theories in relation to the chemical effects with which I have 
 met during the course of my experiments fill a large volume, 
 yet I deem it of more profit to the practical artist to place 
 before him only such things as pertain directly to the pro-
 
 duction of such pictures as he may be called upon to make. 
 And while I aim to be brief, I shall endeavor to be so 
 clear in my explanations as not to be misunderstood. 
 
 I am not vain enough to think my process for making 
 these pictures the best that ever will be, for if I did 
 think so, I should experiment no more ; but on the con- 
 trary shall continue my experiments. I have produced 
 the Porcelain pictures in several different ways, yet I shall 
 only give in full that which I have found to produce the 
 best and most certain results, and am quite certain, that 
 the principles upon which the Camera Attachment is 
 founded must be used if fine, large pictures are produced 
 from small negatives. 
 
 I shall endeavor to throw out some hints and give the 
 result of some experiments yet incomplete, that may, 
 I hope, have a tendency to set the minds of such artists 
 as investigate; at work. And to him who shall succeed in 
 producing the better process, I will cheerfully join the fra^ 
 ternal brotherhood in awarding all honor due, and ample 
 consideration for services and expenditures. For I am not 
 among that number, who, never having spent time and toil, 
 sleepless nights and the hard-earned, almighty dollar in 
 searching after chemical mysteries, are ready to set him 
 down who does make a discovery that is a benefit to the 
 world in general and to the artist in particular, by gratifying 
 the former and enriching the latter, as being selfish, uncha- 
 ritable and mean if he attempts to get any other reward 
 than the scanty praise he shall receive from those whom he 
 benefits, by gratuitously publishing the result of his labors.
 
 To such as attempt to work the process I have here laid 
 down, I would say : Do not be discouraged with your first 
 attempt if it should be a failure. The process requires 
 the utmost care and neatness, and it is just as sure to work 
 in your hands as in mine, and if you wish an ocular proof 
 of what the process carefully worked will do, send one 
 dollar as directed in the circular and I will send you a 
 specimen well worth the cost. All letters should be ad- 
 dressed to mej at Newburgh, N. Y. 
 
 G. L. REYNOLDS.
 
 Chapter I. 
 
 How USED. The first thing to be looked after is to see 
 that this box is properly attached to the camera box upon 
 which it is to be used. It may readily be attached to a box 
 of any size ; if it is desired to be used upon a one-fourth or 
 one-half size, take two round-headed screws, having a square 
 shoulder, such as are found in the brass springs in the front 
 of the box, and insert one in each side of the front end of 
 your camera box, at an equal distance from a perpendicular 
 line that would pass through the centre of your tube when 
 screwed upon your box and in full working order. 
 
 Observe that these two screws be placed at just such 
 distance from the top and bottom of your camera box, that 
 when the slots of the brass pieces on the back end of the 
 Camsra Attachment rest upon them, the centre of your 
 camera tube shall be exactly horizontal with the centre of 
 the negative when occupying its place in the front end of
 
 the Camera Attachment. Put the two screws in so nearly 
 up to the head as to allow no chance for the box to droop 
 at the front end when resting upon them ; for unless it 
 occupies a position parallel with the camera box to which 
 it is attached, the negative will not hold a parallel relation 
 to the object glass in the camera or to the plate in the 
 tablet upon which the image is to be formed: and only 
 when such a relation exists can there be obtained the sharp- 
 est an r ! best results. 
 
 When you have the connection made according to the 
 best of your mechanical skill, test your accuracy in the 
 following manner, viz.: Take a plain glass, say a one- 
 fourth size, and put a small spot exactly on its centre, and 
 place it in the front end of the Camera Attachment, the 
 same as if it were a negative, then collodionize a plate and 
 put it in the tablet and take a picture of the spot, and if 
 it appears exactly upon the centre of the plate the connec- 
 tions are rightly made. If they are not right, you have 
 now an infallible guide to direct in the re-arrangement. 
 The same directions are to be observed if it is to be at- 
 tached to a four-fourth, an eight-fourth, or even a copying 
 camera capable of receiving an eleven by fourteen plate. 
 
 The No. 2 size Camera Attachment will receive as large 
 as one-half size negatives, and for all the ordinary purposes 
 of enlargement, and for all Porcelain work is large enough. 
 But if four-fourth negatives are to be used or stereoscope 
 transparencies made, then the No. 1 size will be required. 
 
 The limit of the size of porcelain pictures, or reproduced 
 negatives, that may be made by either No. 1 or No. 2 box,
 
 depends only upon the capacity and extension of the box 
 to which it is attached. If used upon an ordinary 
 four-fourth box, a porcelain picture, or an enlarged nega- 
 tive, four-fourth size, may be made from a card size with a 
 one-fourth size tube. Although the same size tube may 
 be used to reproduce an eleven by fourteen negative, yet on 
 a negative of that size a half-size tube is preferable. 
 
 As the pictures produced in these boxes are usually 
 made by a very strong light, the tube may be diaphragmed 
 to a very small opening, and the picture much improved in 
 sharpness where enlargement is required. The full apera- 
 ture of the tube in a cloudless day, with properly sensitized 
 collodion, silver bath and developer in harmony, and the 
 negative of proper density, will require an exposure of 
 only about ten or fifteen seconds for a porcelain picture; 
 yet for some reasons which will be given under another 
 head, I prefer to give an exposure of not less than three 
 to five minutes. Therefore the aperature may be reduced 
 to about the size of a ten cent piece, (if I remember the 
 size.) 
 
 Do not, however, reduce the aperature of the camera, as 
 is often done by putting the diaphragm some distance in 
 advance of the front lens of the tube : the most proper 
 and effective place for the diaphragm is between the lenses ; 
 the proper color for it, black and without a gloss, and the 
 proper shape of the aperature, round.
 
 o 
 
 -) *ft"i*ai .ni?, .s 
 
 SECTIOX I. 
 
 VIGNETTING. 
 
 We will now pass to notice the manner of Vignetting the 
 porcelain picture. It will be noticed that the Vignetting 
 apparatus, as used in the Camera Attachment, is not as 
 represented in the engraving accompanying this formula. 
 This is owing to an improvement I have made since the 
 first model was constructed. Notwithstanding, the pat- 
 ent will embrace the improvement and the box as it now 
 stands.; otfo^f 
 
 The operator, I trust, will readily see how the Vig- 
 netting portion of the box is to be arranged for use. 
 But as it is my object to leave nothing unexplained that 
 will give a possibility of failure to any one for want of full 
 explanations, I deem it best to treat the whole matter as 
 if I took it for granted that my formula and box were in 
 the hands of a beginner. Indeed, it wonld be strange if 
 it should in all cases fall into the hands of an old practi- 
 tioner ; and if it docs not, well might such an one censure 
 me for not being more explicit in my explanations. I may 
 better tell some what they know already, than neglect to 
 tell some others what would, with a few words, save them 
 a great deal of trouble. I am striving to bear in mind, as 
 I write, the difficulties I have myself encountered in the 
 days of Daguerrcotyping, while attempting to work from 
 half-explained formulas. 
 
 All processes, however minute and particular the writer 
 may be in his explanations, are far different from what would
 
 10 
 
 be his practical instructions. I shall, as far as I can, an- 
 ticipate your failures and correct them. I have known art- 
 ists who never could succeed with a written formula, that 
 would acquire a full knowledge of and comprehend the 
 whole theory on seeing the manipulations once gone 
 through with. 
 
 If a little digression is pardonable here, I will say 
 that, during my whole photographic experience, I have 
 never encountered a process for making pictures that 
 required so nice manipulations, so much care in each 
 particular stage of the process, and in which, if the process 
 is to be worked successfully without practical and ocular 
 demonstrations, there was more need of careful and par- 
 ticular instructions being given, than in the process I have 
 set out to lay before you in written working order. 
 
 Therefore, if you are disposed to accuse me of taking too 
 much notice of some small things, there may be some one 
 who will find the very thing you complain of the very 
 thing that prevented his failure. 
 
 Hundreds have already attempted to make the por- 
 celain picture, from some brief formula, and failed, not 
 perhaps so mnch because the formula was incapable of 
 producing a good picture in the hands of the one who 
 wrote it, as because the points at which failure was 
 most likely to come were not noted down. The con- 
 sequence was, the artist, after following the brief direc- 
 tions according to the best of his ability, and failing, became 
 discouraged and perhaps doubted if such a formula would 
 produce good results ; and perhaps his doubts were well
 
 11 
 
 founded ; but most likely had he seen the same formula 
 worked by its author he would have seen vastly different re- 
 sults. I shall endeavor to point out, as plainly as 1 can, the 
 places where failure may come, under each step as they 
 have presented themselves to me. 
 
 The square piece of sheet iron belonging to the Vignet- 
 ting frame, that is to contain the BLENDER or piece of 
 blackened pasteboard, or other dark material, is fixed to 
 detach from the rod for convenience of packing, and should 
 it come to you separated from it, connect them and pass 
 the rod through the front end of the Camera Attachment, 
 leaving the square piece resting perpendicularly between 
 the negative and the tube. 
 
 The notched opening or blender is adjustable^ and 
 when occupying its proper position for Vignetting, should 
 be directly in front of the centre of the lens and at 
 just such a distance from it as will produce the most 
 gradual blending upon the negative as viewed upon the 
 ground glass ; which effect will usually be found when 
 a very small opening is used, the points in the opening 
 of the blender being as long and as slender as possible, 
 and within from one to three inches of the tube. This is 
 the reason of the change being made from the original model 
 of the box, which did not allow the opening to approach 
 near enough to the tube, consequently the opening was 
 obliged to be large and placed at so great a distance from 
 the tube as to come too near the focal point of the instru- 
 ment ; therefore, however, much of the rays of light was 
 broken up with slender points in the opening ; a proper
 
 blending or small-sized pictures could not be made, for the 
 effect was the same as those obtain who for want of a suit- 
 able box set their negative up according to other formulas 
 and copy it as they would do any other copying, and place 
 the Vignetting board in the camera just in advance of the 
 object glass. 
 
 I therefore give 
 you a design in 
 the annexed cut. 
 The material of 
 which it is made, 
 is of thin paper, 
 pasted on a thick 
 piece, having an 
 opening in the thick 
 piece large enough 
 to clear the point- 
 ed opening, and 
 all the cuttings in 
 the thin piece, as 
 represented in the 
 
 
 cut A being the thick piece and B the thin. The large 
 part of the opening should vignette the shoulders. This 
 style of opening is more particularly adapted to vignetting 
 bust, single pictures ; for groups, standing figures, <fcc., 
 the good taste of the artist will decide upon the most ap- 
 propriate style of the vignetting, and shape the apera- 
 ture in accordance. 
 
 Tn making these blenders, lay out your design, with a
 
 13 
 
 pencil, then lay the paper on a piece of glass, and with a 
 sharp knife cut from the points outwards, to prevent break- 
 ing them off, as they should be preserved as sharp as pos- 
 sible. 
 
 Our practice has led to the conclusion that an exposure 
 of from three to five minutes produces better and more 
 gradual blending in the vignette, and the half tints more 
 properly brought out, than where the light has been al- 
 lowed to impinge but a moment upon the plate. We barely 
 make the suggestion, and leave your practice to prove its 
 correctness. 
 
 No matter how well otherwise the picture may be made, 
 if the vignetting is harsh and abrupt, one of the most 
 essential beauties is lost. I am satisfied, there can be no 
 arrangement made of the vignetting aperature by which 
 the tube will produce such beautiful blending as you will 
 get by following strictly the above directions. 
 
 There is with each instrument one Vignette aperature 
 of about the size that will be most needed, but any artist 
 can cut out one in a few minutes just as good and very 
 likely better than the one sent ; you have only one thing to 
 bear in mind : the longer and more slender the points are, 
 the smaller may be the clear opening, and the more beau- 
 tiful will be the blending in the picture. It is difficult to 
 get them made as slender and fine as I make them for my 
 own use, and if they were thus made they would not be 
 likely to reach you without being spoiled. 
 
 The boxes being properly attached, the negative in its 
 place, and the vignetting apparatus right, the proper po-
 
 14 
 
 sition of the instrument is the next thing to be consi- 
 dered. 
 
 To guard the operator against a carelessness that is too 
 frequently indulged in, to avoid a little trouble, I will 
 relate an incident and call upon the operator to try an 
 experiment, and he will never after be careless in the 
 choice of a position for his camera. Not long since I was 
 giving instructions in the Porcelain process to an artist, 
 and while I was out he attempted to make a picture. But 
 as the wind was blowing considerably, he did not think 
 proper to raise the window and elevate the instrument to 
 the position he had seen me work it in, but left it lying 
 horizontally on the table, supposing it to be sufficient if the 
 negative was only directed towards an out-door light. 
 
 On entering the room he showed me a picture he had just 
 made and desired to know what was the matter with it, I 
 at once saw that there had not been fair play between the 
 light and the negative ; and on stepping to the instrument 
 and seeing its position, the difficulty was at once solved. 
 Directly in front of, and not far distant from the negative, 
 was a red building, the rays from which had destroyed the 
 picture. Now, with the instrument lying just as it did, had 
 it been focussed slightly different, a picture of the building 
 instead of the negative would have appeared upon the 
 plate, consequently, as it was, an indistinct image was blend- 
 ed with the negative upon the plate; yet of course the 
 image of the negative predominated, because the focus was 
 taken upon it. 
 
 Try one experiment of the kind, and you will never
 
 15 
 
 forget to follow the instructions given. The instrument 
 should be so arranged that there shall be no interven- 
 ing object come within the range of the lenses, the nega- 
 tive and the clear sky or a white cloud, which is even 
 better than clear sky. I contend that even a pane of glass 
 intervening is detrimental just in proportion to the per cent 
 that it falls short of a perfect transparency and its close 
 proximity to the negative ; although its per cent might be 
 too small to make any perceptable difference in the picture. 
 There are many small things like this in manipulating these 
 pictures, which each of itself separately considered, is of 
 but small importance ; yet, combine them all in the same 
 picture, and the effect would be destructive. 
 
 Chapter II. 
 
 PREPARATION OF THE PLATE. 
 The next thing to be considered is preparation of the 
 plate, and herein is where cleanliness and care will prevent 
 innumerable failures. Keep the tablets clean, and occa- 
 sionally coat the wood parts with a solution of gum shellac 
 dissolved in alcohol. There is usually one side of the plate 
 that has received the smoothest finish, and is the most suit- 
 able for receiving the impression. Treat each plate before 
 collodionizing in the following manner, viz.: Prepare a 
 solution of nitric acid, one part ; water, twelve parts, and 
 immerse the plates in it, to remain for an indefinite period 
 of time ; if new plates, one hour, or even a shorter period 
 of time will suffice, whereas twelve or twenty-four hours
 
 16 
 
 will do no harm, and if they are plates that have had pic- 
 tures on, they should have as much time in the acid bath as 
 is convenient. When sufficiently acidified, wrinse them well 
 under the faucet and rub them with a cloth, to remove from 
 the surface whatever may adhere, that the stream of water 
 would not. A small block or stick, about a foot long, two 
 inches wide and half an inch thick, padded at one end, will 
 be found convenient for the purpose of rubbing. Now com- 
 plete the wrinsing with water until entirely free from specks, 
 that may adhere to the glass and be a detriment to the 
 completed picture. It is best to have for this last washing 
 filtered or well-settled water, and keep it covered and 
 clean. After this wrinsing, and immediately while the plate 
 is wet, flow the best side (which in the Porcelain glass is 
 usually the most convex side) with a solution made thus : 
 Albumen, - - - 6 oz. 
 
 Distilled Water, - - 50 " 
 Aqua Ammonia, 2 " r ^ 
 
 Iodide of Potassium, - 30 grs. i )ila ^ 
 To prepare the albumen, take the whites of six good-sized 
 fresh eggs and beat them to a froth. If properly done, 
 when settled, there will be about six ounces. To facilitate 
 the settling, a portion of the water may be added and beat 
 together. Filter the above solution before using, and in 
 filtering be careful not to get air bubbles in it, to prevent 
 which, put a strip of glass iii the bottle that contains the 
 funnel, for the end of it to rest on, that the liquid may not 
 drop into the bottle and form bubbles, for they are apt to 
 remain in the solution and form bad spots on the surface of
 
 CAMERA CLUB LIBRARV 
 
 Catalogued & Indexed 193C 
 Hal. D. Bernstein, Librarian 
 
 the plate when flowing it. After flowing the plate with 
 this solution, set it aside in a place free from dust to dry ; 
 or if in a hurry, dry by an even moderate heat. Any num- 
 ber of these glasses may be prepared ahead, as they will 
 keep well in a clean, dry place. The advantage of prepar- 
 ing the Porcelain plate in this particular manner is that the 
 purity and whiteness of its surface may be best preserved, 
 for the slightest stain upon the surface is quite fatal to the 
 delicate picture. While we have a remedy for removing 
 the usual stains that come upon the plate (that will be 
 mentioned hereafter) in the process of manipulation, there 
 are frequently stains upon the glass that no amount of rub- 
 bing will remove, and that will, unless thus treated, appear 
 when brought in contact with the developer. 
 
 While I recommend this as the best method of getting 
 a clean Porcelain plate, I also believe it to be the best mode 
 of treating glass for negatives, and acknowledge with thank- 
 fulness my obligations to Mr. Abbott, a well-kown and first 
 class photographer of Albany, N. Y., for my knowledge of it. 
 
 SECTION II. 
 
 THE NEGATIVE. 
 
 The negative is the next thing to be looked after, and as 
 it may be considered the most important of any other single 
 thing connected with the process, I will endeavor to give 
 the best description I can of the kind of negative required, 
 as well as the best mode of producing it. Although a very 
 pleasing picture may be produced from the ordinary photo- 
 graph negatives, when they are sharp and well defined in
 
 18 
 
 the shadows ; but if the high-lights of the negative are 
 very opaque or so much so as give clear whites on albumen 
 paper, when they are used for Porcelain work, the shadows 
 become too dark before the middle-tints are brought out. 
 The less contrast between the high-lights and shadows of 
 the negative, the more perfectly will the middle-tints appear 
 in the Porcelain picture, therefore the proper negative for 
 a finely-developed Porcelain is a thin one in which the high- 
 lights are well defined and the shadows not very trans- 
 parent. Now such negatives are easily produced, and in 
 fact many artists find more difficulty in producing intense 
 than thin negatives. Many negatives are daily thrown away 
 as useless for making photographs that would make first- 
 class Porcelain pictures. The condition of the silver bath, 
 collodion and developer is of the utmost importance in 
 producing the kind of negatives desired ; and their relative 
 conditions^ are not the same as when photograph negatives 
 are required. Almost all artists have on hand collodion 
 that has been rejected on account of not possessing the 
 proper qualities for intensity that will produce the best of 
 negatives for the Porcelain picture. If, however, it is to 
 be made expressly, the following will be found to possess 
 the requisite qualities, viz. : 
 
 PLAIN COLLODION. No. 1. 
 
 16 oz. 95 per ct. Alcohol ; 16 oz. Concentrated Sulphuric 
 Ether ; 340 grs. Gun Cotton. 
 
 DIRECTIONS. Dissolve the cotton in the above quantity 
 of alcohol and ether, then add 16 oz. more ether and let it
 
 19 
 
 stand three or four days to settle, then pour off the clear 
 portion for iodizing. 
 
 IODIZING SOLUTION. No. 2. 
 
 16 oz. Alcohol ; 100 grs. Bromide Cadmium ; 250 grs. 
 Iodide of Ammonium. 
 
 DIRECTIONS. Add the Bromide and Iodide to the Al- 
 cohol and stir it with a glass rod until the alcohol has 
 become saturated, which will require perhaps five minutes 
 agitation, then pour the alcohol off into another bottle and 
 add sufficient of distilled water to the undissolved excitants 
 to dissolve them, and add this to the alcohol and filter. 
 Then add No. 2, thus prepared, to No. 1. Let the whole 
 settle again, and it is ready for use. 
 
 After trying this collodion, should it prove too intense in 
 the Bath as used for Photograph negatives, add to a small 
 portion of the new some old collodion that is highly brom- 
 idized. If still the negatives do not possess the qualities 
 before described, it will if used in a silver bath and with a 
 developer made in the following mariner. 
 
 SILVEE BATH. 
 Nitrate of Silver, 5 oz.; Distilled Water, 64 oz.; Glacial 
 
 Acetic Acid, 1 drachm. 
 
 DIRECTIONS. Dissolve the whole amount of silver in 16 
 oz. of the water, then pour out 8 oz. into a separate bottle 
 or graduate-glass, and by the aid of artificial light, or in the 
 dark room, add to it Iodide of Silver sufficient to saturate it. 
 To make the Iodide of Silver, dissolve in 1 oz. of water 
 20 grs. Nitrate of Silver, and add 15 grs. Iodide of Ammo-
 
 20 
 
 nium ; then wash in the following manner, viz. : Add 8 oz. 
 soft water, stir it well and let it settle ; pour off the water, 
 add water again, and let it settle. Repeat this operation 
 of adding water several times, and lastly add the precipi- 
 tate to the 8 oz. silver solution and shake well. Let it set- 
 tle, and filter it into the other 8 oz. ; then add the whole 
 to the remaining 48 oz. of water, and after adding the acid, 
 filter the whole and it is ready for use. ' 
 
 REMARKS. The water of which the bath is made should 
 be distilled if possible. Clean ice or snow is the best sub- 
 stitute. Hard and limy water should be rejected. No 
 white deposit should be left after dissolving the silver. 
 When the bath is used much it should be boiled down 
 about once a week, unless a very large quantity of solution 
 is used. The larger the quantity of solution used the bet- 
 ter, as it retains its working qualities longer. When you 
 would boil a bath, add to it its own volume of water be- 
 fore boiling, in order to dissolve such foreign substances as 
 may have been carried into it that are soluble in water, 
 that they may be carried off with the evaporation. Boil 
 in an evaporating dish until the solution is reduced to about 
 one-eighth its original volume. Should it be evaporated to 
 dryness, no particular harm is done. Now add distilled 
 water until of the desired strength, as tested by the hydro- 
 meter, and filter. It should stand, by test, at 35 or 36 grs. 
 to the oz. The bath for Porcelain negatives should be 
 rather more acid than is generally used for the photograph 
 sufficiently so as to discover the change in litmus paper 
 the moment it is immersed in it.
 
 21 
 
 ; bo ;M5i 
 
 Chapter III. 
 
 DEVELOPMENT. 
 
 : 'i'fl- r ; iiio .it JU? , * i .: *. -. : - ' <Tj{ 7^ffi 
 
 DEVELOPER FOR PORCELAIN NEGATIVES. 
 
 Pro. Sul. Iron, 2| ounces ; Water, 32 ounces ; Acetic 
 Acid, 6 ounces; Alcohol, 2 ounces. 
 
 REMARKS. Dissolve the Proto. Sul. of Iron in the water, 
 add the acid and alcohol, and filter. On flowing the plate 
 to produce a Porcelain negative, do not forget that, where- 
 as for the photograph negative you aim to get intensity, in 
 this the aim is for the opposite ; for this purpose alcohol is 
 freely added to the developer, for the purpose mainly of 
 reducing intensity. Much of the intensity also depends 
 upon the manner in which the developer is flowed over the 
 plate. If rushed on and off rather suddenly, the free 
 Nitrate of Silver is carried off before the developer has had 
 time to combine with it and produce the intensity that 
 flowing the plate carefully, and retaining the free Nitrate 
 upon it, would have done. Yet in carrying out the thing 
 suggested in these remarks, care and judgment must be 
 used ; for if the free Nitrate be entirely and suddenly car- 
 ried off, the effect will be a want of delineation in the 
 shadows. 
 
 A bath made as before described will usually work very 
 well for making the positives on Porcelain, but it will 
 usually work with better success if weaker. From 30 to 
 35 grs. silver to the oz. water, I have found a good stand- 
 ard when treated with the developers hereafter given for
 
 22 
 
 Porcelain positives, and a highly bromidized collodion. I 
 will add another good formula for making collodion. I 
 work this as well as the former with good success. Some 
 may have better success with one, and some with the other, 
 according to the condition of the bath and developer. 
 
 COLLODION. 
 
 Alcohol, 12 ounces ; Ether, 10 ounces ; Iodide of Ammo- 
 nium, 110 grains ; Bromide Potassium, 50 grains. 
 DIRECTIONS. Dissolve the Bromide in as little water as 
 possible, then the Iodide in the same water ; after adding 
 these to the Alcohol and Ether, filter, unless filtered in a 
 collodion filter. The funnel, while filtering, should be 
 tightly covered with a glass to prevent evaporation. Add 
 the cotton, as you use it, the night before. It should not 
 be made very thick. If a cotton is used that gives a tough, 
 strong fibre, 5 grs. to the oz. is sufficient. 
 
 DEVELOPER FOR PORCELAIN POSITIVES. No. 1. 
 Protosulphate of Iron, 1 ounce ; Water, 32 ounces ; 
 
 Alcohol, 3 ounces. 
 
 DIRECTIONS. After dissolving the iron in the water, add 
 the alcohol and filter. Keep this for a stock bottle. Take 
 out each morning what you wish to use for the day, and to 
 every 10 oz. add 1 oz. Acetic acid, No. 8. 
 
 DEVELOPER FOR POPCELAIN POSITIVES. No. 2. 
 
 Pyrogalic Acid, 42 grains ; Water, 16 ounces ; Acetic 
 
 Acid, 2 ounces, Alcohol, 1 ounce. 
 
 DIRECTIONS. Dissolve the Pyrogalic in the water, add 
 the Acid and Alcohol, and filter.
 
 23 
 
 REMARKS. This developer requires that considerable 
 more time be given in the Camera than when the iron de- 
 veloper is used, and is much slower in its action upon the 
 silver, but gives very fine delineations. Be sure, however, 
 that you get pure Pyrogalic acid. 
 
 The same may be said in regard to developing the Por- 
 celain picture as has formerly been said in regard to de- 
 veloping the negative, so far as concerns pouring it on 
 hastily and rushing it across the plate. But while in the 
 case of making the negative, to avoid intensity, it is often 
 desirable to carry off a portion of the free Nitrate in devel- 
 opment, it is desirable to retain it all upon the Porce- 
 lain plate, to preserve the surface view of the image re- 
 gardless of intensity, as upon developing the Porcelain- 
 image properly very much of its clearness and beauty de- 
 pends. It is necessary to be somewhat particular in our 
 remarks upon this head. The developing solution should 
 be used in a large mouth bottle and, when the plate is to 
 be flowed, place the nose of the bottle in contact with one 
 corner of the plate, and flow it as carefully as you would 
 with collodion. Yet while the solution should not be 
 rushed rapidly across, it should be done too quickly to 
 allow anything like a cessation of its flow. And there is 
 a certain appearance in the image during this part of the 
 manipulation, at which exact time the development should 
 stop hence the necessity of having water so handy that 
 the plate can be immediately flooded or immersed to stop 
 the action of the developer at the moment the picture ar- 
 rives at the appearance spoken of. It is very difficult to
 
 24 
 
 describe the looks of the pictures, as I see it in my mind, 
 at the moment it should be stopped. If I fail to make it 
 plain, I trust a little practice will enable the artist to see 
 clearly the appearance so easily shown, but so difficult to 
 describe. The picture, when it first begins to show itself, 
 is a faint, white image, which gradually and slowly de- 
 velops into the required image. When it arrives to that 
 point where the shadows begin to pass from clearness to 
 fogginess, and just as the delineations in the shadows be- 
 gin to appear, but before they are fully and clearly seen, 
 stop the action of the developer at once, either by flowing 
 the plate immediately with, or plunging it into, water. 
 When once the picture has in any considerable degree 
 passed the point attempted to be described, the shadows 
 will, during all the after treatments, remain somewhat 
 veiled. Hence the importance of using a weak developer, 
 that the action of it may not get the advantage and pass 
 this critical point before time shall be given to arrest it. 
 Until some little practice has been acquired, the tendency 
 of the artist is to over-develope ; this tendency comes from 
 the habit of developing the Ambrotype to its full propor- 
 tions at once. But the Porcelain picture should not go 
 thus far, for the fine delineations are more fully brought 
 out in the after treatment of the plate. If the shadows 
 of the negative have not been too transparent, and the 
 proper time has been given in the Camera, and the develop- 
 ment arrested at the exact point it should have been, the 
 picture should look somewhat misty in the shadows and its 
 general appearance, both before and after fixing, and
 
 25 
 
 rather lighter than the artist accustomed to making Am- 
 brotypes would suppose it should be. Neither should it, 
 in coming from the fixing solution, have the blacks too well 
 defined, for these are cleared up and heightened in the pro- 
 cess which follows the fixing. 
 
 Chapter IV. 
 
 FIXING AND TONING. 
 
 FIXING SOLUTION. 
 
 Hypo-Sulphite of Soda, 16 oz. ; Water, 63 oz. 
 
 Dissolve and filter. 
 
 REMARKS. After development, the picture should be 
 thoroughly washed before being immersed in this solution, 
 and only be allowed to remain in it sufficiently long to re- 
 move the yellow Iodide of Silver film from the plate. Then 
 wrinse it well again in a running stream of water. If 
 these conveniences are not at hand, allow the plate to re- 
 main in water long enough to free it from the Hypo-sul- 
 phite. Warm water would facilitate the soaking. Keep 
 this solution filtered clean. 
 
 There is one thing connected with handling this solution 
 that is very important to observe. Although almost all 
 artists have learned, by sad experience, the effects of Hypo. 
 soda, when coming in contact with silver, yet in the Porce- 
 lain process it is necessary to be doubly guarded. The 
 safest practice is to wash the hands always after having 
 them in the Hypo, soda, before collodionizing a plate, and
 
 26 
 
 especially when removing it from the silver bath to place 
 in the tablet ; for if there is the least trace of it remain- 
 ing on the fingers, and it comes in contact with the silver, 
 the plate will surely be stained wherever the two solutions 
 have met, and you may charge the same to the bad condi- 
 tion of the tablet, or to what you please, the result will be 
 a stain wherever these two solutions meet upon the plate, 
 and this is one of the kind of stains that is the most stub- 
 born to remove ; and since by care and cleanliness, it is 
 so easily prevented, that is the remedy I would recommend. 
 The silver bath is often injured in a similar way, thus : 
 When the fingers have Hypo, soda upon them, the plate is 
 lifted from the bath to examine and then returned again, 
 carrying a small portion of soda with it ; a few repetitions 
 of this, and the bath is not only injured, but almost in- 
 curable. Nothing but a thorough cleansing by boiling will 
 restore it. 
 
 TONING SOLUTION. No. 1. 
 Chloride of Gold, 15 grains ; Distilled Water, 12 
 
 ounces. 
 DIRECTIONS. Dissolve and keep as a stock bottle. 
 
 TONING SOLUTION. No. 2. 
 
 Nitrate of Uranium, 5 grains; Bi. Carbon. Soda, 20 
 grains ; Water, 12 ounces. 
 
 DIRECTIONS. Dissolve the Bi. carb. soda and Uranium in 
 the water, and when wanted for use, pour out into an egg 
 cup (these are most convenient) equal parts of No. 1 and 
 No. 2 ; flow the plate with this mixture, after it is thor-
 
 27 
 
 ougnly wrinsed and freed from the Hypo. soda. It will 
 facilitate the toning if the solution is warmed, or the large 
 blaze of a spirit-lamp held under the plate while toning. 
 The plate should be kept in agitation, and the toning con- 
 tinued until the picture assumes a tolerable clearness and 
 the blacks appear about as deep as they will, then wrinse 
 the plate well. 
 
 REMAKES. The reason for recommending flowing the 
 plate to tone, instead of immersing in a dish, is to save the 
 gold solution ; for I find the toning solution not so good 
 after using a few plates in it. After the picture has ar- 
 rived at a certain point of color in toning, if continued in 
 the solution, it will fade and become dim. The point where 
 the toning should cease, cannot be determined from any 
 rule, neither can any language give the idea correctly. 
 Like many other delicate points in this process, it must be 
 learned by practice, unless pointed out by some one who 
 has had the practice. And let me repeat, that if you can- 
 not avail yourself of practical lessons, do not get discou- 
 raged ; work patiently, and follow the directions careful 
 ly ; for by so doing you must succeed. You should have, 
 as an encouragement, one of the pictures I am mating by 
 this process before you. If, after toning, the details in the 
 shadows are not quite clear, and the blacks well brought 
 out, flow over the plate, while wet, the following solution, 
 viz. : 
 
 Saturated solution of Bi. chlo. of mercury, - 2 drachms. 
 Acetic Acid, . s , u Vm^i- nD\ 3;.n K- :-. " 3 " 
 Water, utl , ? ,, ./-,., -,, ,,X: ; rJt,,, T.V 8 oz -
 
 28 
 
 DIRECTIONS. To make the saturate solution of Bi. clilo. 
 mercury, pulverize one oz. of the mercury and let it remain 
 in 16 oz. of hot water for one hour, shaking occasionally. 
 After using this solution upon the plate, wrinse thoroughly. 
 Its effect after toning, if the other treatments have been 
 correct, is to improve the blacks and sharpen the picture. 
 If, however, these conditions are all right without using 
 this solution, dispense with its use, as it does not improve 
 the durability of the picture. Even after the plate has 
 been flowed with this solution, and thoroughly washed, 
 the blacks may frequently be made still stronger by flow- 
 ing the plate with a solution of Hypo. soda. 
 
 SECTION I. 
 
 PERMANENCY AND STAINS. 
 
 Hypo. Sul. Soda 1 oz. 
 
 Water - 8 oz. 
 
 In using this solution (which can usually be dispensed 
 with) the utmost care should be used to see that the plate 
 has been thoroughly wrinsed, or the soda is liable to stain ; 
 and too much pains cannot be taken in wrinsing, after the 
 soda is used, that the collodion surface may be entirely 
 freed from all traces of sulphur. I would recommend, 
 even if the soda be not used, for safety, a running stream 
 on the plate for 15 minutes or longer, or soaked in several 
 changes of water, about that length of time in each, if 
 haste is not required ; but if in a hurry, use warm water 
 for soaking. Yet, notwithstanding these hints of caution,
 
 29 
 
 to preserve the permanency of the impression, I doubt not 
 that by many and perhaps most artists, the same disregard 
 of the consequences will follow in making these pictures, 
 that has and does exist in regard to the permanency of 
 the photograph. I can but give the warning and point 
 out the road to safety ; then, if it is not followed, and the 
 ghosts of departed patrons appear to you at some future 
 day in the form of a faded likeness on Porcelain, that you 
 will recollect once wore a loveliness in beauty far beyond 
 the painter's hand to reach, or the poet's pen to describe, 
 I am not to blame. These pictures may be made as per- 
 manent as any other style of photograph, and it is usually 
 the artist's fault that ambrotypes and photographs fade. 
 The means of destruction, however, is sometimes in the 
 paper and mode of preparing it, but never in the Porcelain. 
 ''']-{f- ' 'nyf-Ml .?<"-: i;: iHiw I'ijJq ''* \}..;'nn>\\ lot nw 
 
 To REMOVE STAINS. 
 
 It sometimes happens through carelessness or inexpe- 
 rience, that stains appear on some part of the plate, that 
 are destructive to the picture until removed. By observing 
 the foregoing directions of cleanliness, stains will usually 
 be prevented, and by observing the following, they can 
 usually be removed, viz. : 
 
 Tincture of Iodine, ~ - , 1 oz. 
 
 , No. 1. 
 Alcohol 95 per ct., - -j ^ -^ - 3 oz. 
 
 BISECTIONS. To make the Tincture of Iodine, add to 
 each ounce alcohol 40 grs of dry Iodine ; let it stand 3 
 hours, shaking occasionally.
 
 SUJO AH 3 MAO 
 
 30 
 
 Saturated solution of Cyanide of Potassium in ^ 
 
 water, - 4 drachms. > No. 2. 
 
 Alcohol, 3 oz. ) 
 
 DIRECTIONS. After fixing and toning, if stains are to be 
 removed, flow the plate first with alcohol, (while still wet 
 with water,) and keep the plate in motion until the alcohol 
 will run off and leave the plate smooth ; then carefully a,pply 
 No. 1 solution to the stained part only, being very careful 
 not to let any of this solution extend on to the picture. 
 Then pour on to the same spot, of No. 2, and the stains will 
 be removed, leaving the plate very clean and white where- 
 ever it is applied. The above solutions are plenty strong 
 enough for general use ; but if any stains are so stubborn 
 as to resist it, add to No. 1 more Tine, of Iodine, and to 
 No. 2 more of the Cyanide of potassium. The only rea- 
 son for flowing the plate with alcohol, before applying these 
 STAIN KILLERS, is that they may be poured on without 
 spreading beyond the spot desired. Without this previous 
 preparation, when the alcohol in them comes in contact 
 with the water on the plate, it would be attracted by it and 
 run to portions of the plate that might spoil the picture. 
 If any very light stains, or delicate parts of the picture or 
 even the vignetting, are desired to be removed, pour out 
 a little of No. 1 in an egg cup and reduce it with an equal 
 quantity of alcohol. Do the same with No. 2, and use with 
 care. By patience and nice manipulations, almost any 
 objectionable part of the picture may be removed ; and if 
 these latter reduced solutions be still reduced by an equal 
 volume of alcohol, the delicate vignetting of the picture
 
 CAMERA CLUB LIBRARY 
 
 Catalogued & Indexed 193O by 
 Hal. D. Bernstein, Librarian 
 31 
 
 may be blended at will by removing a part of the dark 
 portions around the edge. The alcohol used in these so- 
 lutions and for flowing the plate with, may be of the 
 poorer quality, except that in which the Iodine is dissolved 
 that should be of the best. In order to get delicate vig- 
 netting upon the background of the picture, the negative 
 should be made on a light background. 
 
 Chapter V. 
 
 COLORING AND FINISHING. ' 
 
 We have now arrived at that most interesting point 
 when the Porcelain picture is to receive its final finish, and 
 when, if in the hands of an artist of taste, at least one 
 hundred per cent may be added to its beauty with the cost 
 of a few minutes labor and a little dry colors, on a coating 
 of the COLOR ADHESIVE, sold by Willard & Co., and, I pre- 
 sume, by stock dealers generally. This liquid is invaluable 
 and quite indispensable, if colors are to be put on evenly, 
 brilliantly, and to remain as permanently as either water 
 or oil colors. This preparation does at least for the 
 Porcelain picture, the ambrotype and photograph all it 
 claims, so far as its adaptation to dry colors is concerned. 
 If the picture is to receive its final finish without color, 
 then, after wrinsing the plate as above directed, and while 
 wet, flow with alcohol, and let it remain on the plate as 
 before directed until it has become perfectly united with 
 the water ; then pour off, and before the plate begins to
 
 AHHMAO 
 
 O9! bexs 
 
 sdma , 
 
 32 
 
 dry, flow with some hard, transparent alcoholic varnish. I 
 prefer Willard & Co.'s Union Gilding, for it gives a more 
 hard and smooth surface than any other. 
 
 If you desire to color the picture, then, after wrinsing or 
 soaking as before said, let the plate dry, and when COLD, 
 flow with the Color Adhesive, pouring it on and off as 
 quickly as possible ; let it dry, and apply the colors while 
 the plate is a little warm. It is well to let the plate lie, 
 while coloring, on a block of wood or marble, moderately 
 warm. Use pencils of soft Sable's hair, repeating the 
 coatings of color until as brilliant as desired, rubbing the 
 colors in well with the brush. Then flow while dry and 
 warm, with the same Gilding or Varnish as before named. 
 If the colors have been well and tastefully applied, their 
 brilliancy and permanency on the Color Adhesive, after the 
 Gilding has been applied, renders it difficult to tell how 
 they are colored, and the colors are capable of so fine a 
 blending that most patrons would prefer them colored thus 
 than to have them worked up at great cost by stippling 
 with water colors. When varnishing, select a place free 
 from dust. As it is difficult to filter the Color Adhesive, 
 keep it corked and free from dust. The greatest propor- 
 tion of those who most liberally patronize the Photographic 
 art, are of that class who never refuse to have their beauty 
 represented in its most favorabe light, and those, too, 
 artists usually love to flatter. There never before has 
 been a style of picture that would admit of so much flattery 
 as the Porcelain picture will. The plain picture, without 
 color, gives a delicacy of complexion that is not possessed
 
 33 
 
 even by the most beautiful lady, or even the pure and 
 alabaster whiteness of the child, yet this same beauty of 
 complexion is given to all, however coarse their features 
 and dark their complexion. In this respect these pictures 
 are untruthful, and even the more generally desired for it, 
 because as a likeness otherwise they have all the accuracy 
 that the camera imparts to other styles of portraiture. And 
 we have never yet found the first customer, either lady or 
 gentleman, who felt insulted, or even manifested a dis- 
 pleasure because these pictures flattered them, and rarely 
 one that would acknowledge THEIRS did. Yet all, without 
 an exception, regard them as the most flattering picture 
 ever made. They are the only production of the camera 
 that will give a clear sharp picture of a freckled person, 
 without seeming to multiply the freckles, and improve their 
 quality. And we all know, (for we have been told it 
 often,) that the sitter is " much more freckled to-day than 
 common, and they never show only at this season of the 
 year." All customers desire to have these beauty-spots 
 left off from their likeness, and with the Porcelain picture 
 it is easily done. Make for such subjects a negative a 
 little more intense than usual, and print the picture rather 
 light and unless the freckles are very bad, they will not 
 appear ; and if they do, a little " touching out" on the 
 negative will do away with all. As before said, the plain 
 picture is highly flattering to any complexion, but if you 
 would still add flattery to flattery, a little delicate coloring 
 will do it. But unless good taste is used in the selection 
 of colors, the picture will not be improved. More failures
 
 34 
 
 are made in the choice of colors for the flesh than in any 
 other way, and the boxes or bottles usually sold for flesh 
 colors are nothing like as good as can be made from a 
 proper mixture of colors usually contained in each box of 
 dry colors sold by stock dealers. The proper mixture of 
 colors is another of those difficult things to give any rule 
 for, or to give proper written instructions. In fact, it can- 
 not be done ; the best that can be done, is to name the 
 colors to be mixed, to form a general color, and leave the 
 artist to determine the shade required, or apply to some 
 one more skilled than himself to do the work, or give him 
 practical instructions. 
 
 DRY COLORS. 
 
 Mix Indian red, rouge, carmine, yellow, and white for 
 flesh ; mix blue and carmine for purple ; mix blue and 
 rouge for middle tints of shadows ; blue and yellow for 
 green ; brown and yellow for auburn hair ; brown and 
 black for black hair ; brown and bt. sienna for furniture ; 
 brown and Indian red for flesh shadows. 
 
 WATER COLORS. 
 
 Mix carmine and Indian yellow for flesh ; carmine and 
 Prussian blue for purple ; gamboge and Prussian blue for 
 Green ; dark-brown and Naples yellow for hair. 
 
 Dark-brown alone gives good effect. For furniture, use 
 Winsor and Newton's water color paints ; get the genuine, 
 and there is no better. The six cakes named above will be 
 all that are necessary for general use. - 
 
 The best method of mixing water colors, either for use
 
 35 
 
 on albumen prints or on the Color Adhesive, is as follows, 
 viz. : 
 
 Albumen - - - 1 oz. 
 
 ~i :< ff ':{</:>// iiov oyj;nj 
 
 Water - ti . -[,;-.,-. ^ - 2 drachms. 
 
 Aqua Ammonia 1 " 
 
 Chloride " - - .] - lOgrs. 
 DIRECTIONS. Beat the white of eggs as before described, 
 add the water, Aqua ammonia and Chlo. ammonia, arid keep 
 this solution well corked and free from dust. To use, keep 
 also at hand a small bottle of clear Aqua ammonia. Drop 
 upon some white earthen dish or piece of Porcelain plate, 
 one or two drops of the Albumen mixture, and one or 
 two drops of the Ammonia. Now rub whatever color de- 
 sired off in this mixture, thicken with the Albumen, or 
 thin with the Ammonia solutions, according to the body of 
 color to be used. For example if it is a curtain or dress 
 to be colored bright red, use about two parts of the albu- 
 men solution to one of the Ammonia, and rub the cake of 
 carmine in it until the color is sufficiently thick, so that 
 when applied with the brush to the Albumen or Porcelain 
 picture, the color is brilliant enough at the first coating. 
 Again, if it is the face, neck, arms, etc., that is to be 
 colored, when the thinnest wash is to be used, drop one 
 part of the Albumen mixture and two parts of the Am- 
 monia on the earthen or glass pallet, and rub in it a very 
 little of carmine and still less of Indian yellow ; let the 
 print lay level before you, and apply the color all over the 
 flesh, regardless of the eyes. To heighten the color of 
 the cheeks, take in a small brush a little deeper color of
 
 36 
 
 the carmine, and while the previous flesh color is yet lying 
 wet on the face, barely touch this stronger color to the 
 place you would have it, and it will immediately blend off 
 more beautifully than it is possible to blend by any other 
 mode of coloring, if the first that was put on was used thin 
 and plentifully. Just before the color is fairly set and dry, 
 take a clean brush, slightly wet in the Ammonia solution, 
 and with a light touch all the color can be removed from 
 the eyes, or the high-lights on the nose or wherever de- 
 sired. Two or three cautions observed, and a little prac- 
 tice, we think, will enable any tasteful artist to conduct 
 this simple mode of painting both with surprise and satis- 
 faction to himself. The colors, when dry, should have the 
 same gloss when viewed by looking transversely across the 
 picture, that the uncolored portions have. And as the 
 gloss will depend upon the amount of the Albumen solu- 
 tion used, it is only necessary to observe that the thinner 
 the wash of color the greater may be the amount of Am- 
 monia solution used, and still preserve the gloss. Many 
 of the Albumen liquid colors sold look bronzed on drying. 
 The kind of coloring here explained never bronzes, and 
 will remain without fading equal to any other preparation, 
 and on the score of economy has vastly the advantage of 
 all others, for the whole number of cakes of paint used 
 costs less than one box of the liquid colors, and is sufficient 
 to make the amount of color in at least one hundred boxes. 
 If the desired color is not obtained at the first trial, it can 
 be removed with a wet brush, yet the finished job is never 
 so good as when the right colors are used the first time.
 
 37 
 
 Get the proper amount on, of whatever color is to be used 
 at first, for a second coating cannot be applied very well 
 after the first is dry. 
 
 Chapter VI. 
 
 TRANSPARENCIES, ENLARGEMENTS AND 
 MISCELLANIES. 
 
 STEEEOSCOPIC TBANSPAEENT POSITIVES. 
 
 We lay no claim to any new process chemically of pro- 
 ducing these pictures. The only improvement we claim is 
 our Camera Attachment, in which to produce them. The 
 Formula is doubtless familiar to most artists. Our large 
 sized Camera Attachment is constructed to receive the 
 Stereoscope plate ; all the arrangements of the Camera and 
 lens are to be just the same as for producing the Porcelain 
 pictures ; the negative is to be put in the same place and 
 in the same way, viz. : The collodion side towards the 
 lenses. The glass, however, on which they are to be made 
 should be as clear and transparent as possible. The col- 
 lodionizing, developing and fixing is the same as for an 
 ambrotype, except that the light of the dark room should 
 be so arranged that it may fall upon the picture in such a 
 way to present it as a transparency while developing, for 
 the object sought is a bright, transparent picture without 
 fogging, and the shades deep and distinct, regardless of 
 the surface view. The negative from which these are to 
 be made, should be quite the reverse from those described
 
 38 
 
 as being the best for the Porcelain process ; for the nega- 
 tive for transparencies should have their shadows quite 
 transparent. 
 
 Such negatives are best produced with an intense col- 
 lodion, short exposure and a developer quite strong with 
 iron and Acetic acid, and the development stopped just 
 where the veiling begins. After the negative is fixed, if 
 sufficiently intense, flow with a solution of Iodine in Iodide 
 of Potassium for a few moments, agitating the plate during 
 this operation, which must be short ; now wash and fix 
 again with Cyanide of Potasium. The negative will not 
 appear very transparent in the shadows, if the operation 
 has been well performed. Be careful not to leave the 
 Iodine solution on so long as to destroy the middle tints 
 in the shadows. These negatives are better without varn- 
 ishing. 
 
 The color of the positive, when viewed by transmitted 
 light, is a matter of some importonce ; therefore, after 
 fixing and washing, flow over the plate a saturated solu- 
 tion of Bichloride of mercury. As soon as the plate is 
 blackened, pour off the mercury and wash again ; then 
 dissolve 100 grs. Cyanide of potassium in 2 oz. water and 
 Nitrate of silver. As long as the precipitate dissolves, 
 filter and flow the plate, and the picture becomes of a very 
 intense black. Use this solution over until exhausted. 
 Wash the plate thoroughly, and again fix with Hyposul- 
 phite of soda (not Cyanide.) Wash dry and varnish, and 
 the picture is ready for putting up.
 
 HSU SUJO ASHMAO 
 
 'tst OSS! JwsbnJ * bauaoUteo 
 
 39' 
 
 ENLARGEMENTS. 
 
 In the preceding portion of our Formula we have de- 
 ferred to treat upon the enlargement of Porcelain pictures, 
 because so far as the arrangement of the camera is con- 
 cerned, it just as properly comes under the present head, 
 viz. : The Enlargement of Negatives. 
 
 Remove the vignetting apparatus from the Camera At- 
 tachment, if enlargement without vignetting is desired, or 
 simply take the blender from it, and slide the frame so 
 near the tube that no eifect is produced from it on the 
 plate. 
 
 It sometimes happens that the artist is desirous of en- 
 larging from his card negatives, where two or four are on 
 the plate, without cutting it. This can easily be done 
 without marring the box, by appending a rack to receive 
 the negative. When the negative is thus in its place, the 
 enlargement is effected by closing up the bellows of the 
 Camera Attachment, and extending that of the camera to 
 which it is attached. The nearer the negative is made to 
 approach the front end of the tube, the farther must the 
 ground-glass at the opposite end be from it to receive the 
 image in focus, and the greater will be the enlargement ; 
 and also, the farther the negative is carried from the front 
 lenses, the nearer the ground-glass must approach the back 
 lenses, and the smaller will be the image. Use a very 
 small diaphragm. If the enlargement is for a Porcelain 
 picture, the mode of producing is already described ; if 
 for a negative, and your copying box is of sufficient ex- 
 tension to produce the size required at once, then it is best
 
 CAMERA CLUB LIBRARY 
 
 Catalogued & Indexed 193O by 
 Hal. D. Bernstein, Librarian 
 
 to make the first production only about the size of the 
 original ; for there are to be two operations to reproduce 
 a negative. In each operation a plate is collodionized as 
 for an ambrotype, with the exposure, development and fix- 
 ing the same. The opaque and transparent parts of the 
 first impression are of course directly the reverse of the 
 negative. Then this picture being put in the place the 
 negative occupied, the camera arranged for enlarging it, 
 and the proceeding the same as before, the enlarged pic- 
 ture will be the negative required. It is quite difficult to 
 get a sharp focus on these enlargements, therefore it is 
 best to use a microscope. It is also quite essential that 
 the negative be perfectly parallel with the ground-glass 
 and with the plate in the tablet. It is not essential to 
 varnish the first impression. The collodion side should in 
 all cases be towards the lenses, unless the final picture is 
 desired to be reversed. 
 
 MISCELLANEOUS. 
 
 The following are new and valuable receipts. Let no 
 artist fail to try the process described for enameling pho- 
 tographs. 
 
 NEGATIVE VARNISH. 
 2 oz. White Gum Shelac ; 16 oz. Alcohol ; & oz. Saiida- 
 
 rack ; 15 drops Oil of Cloves. 
 
 DIRECTIONS. Dissolve and add : 2 drachms Aqua Am- 
 monia ; 2 drachms Chloroform. 
 
 AMBROTYPE COLLODION. 
 
 Alcohol, 7 oz. ; Ether, 10 oz. ; Iodide Potassium, 4 grs. ; 
 Iodide Cadmium, 4 grs. ; Bromide Potassium, 2 grs.
 
 A HSU H i * 
 
 isjg<i 
 
 DIRECTIONS. Dissolve the Bromide first in as little 
 water as possible, then the Iodide in the same, and lastly 
 the Cadmium. 
 
 ENAMELING PHOTOGRAPHS No. 1. 
 Alcohol 1 oz. ; Nitric Acid 8 drops. 
 
 ENAMELING PHOTOGRAPHS -No. 2. 
 Alcohol 12 oz.; Ether 10 oz. ; Gun Cotton 130 grs. 
 
 ENAMELING PHOTOGRAPHS. No. 3 
 Cox Gelatine 1 oz. ; Water 10 oz. 
 
 DIRECTIONS. Take fine plate-glass, and flow with No. 1 
 and let it dry ; then flow with No. 2, and let this also re- 
 main until entirely dry, and finally apply No. 3, with a 
 soft brush, or flow and let the plate set until this last coat- 
 ing is sticky ; then put the photograph on, after soaking 
 it in water, laying it down so as to exclude as much as pos- 
 sible air bubbles, and roll over the back with a blotting 
 roller to remove what bubbles remain. Let it stand four 
 or five hours, or until dry. It will, when dry, usually com- 
 mence a voluntary peeling off at the edges. If well done, 
 the photograph will have the finest polish imaginable. 
 
 REMARKS. If, before the Albumen photograph is sub- 
 jected to the above operation, it be treated in the follow- 
 ing manner, you will have, when the two are combined, a 
 colored photograph in the highest possible finish, viz. : Lay 
 the photograph down flat, by wetting it and sticking the 
 edges, while wet, to a glass or flat board withGum Arabic, 
 so that, when dry again, it will lay flat and smooth. Now 
 flow with the Color Adhesive, and when dry, color with
 
 42 
 
 dry colors, and remove from the glass or board with the 
 point of a penknife, and subject it to the enameling as be- 
 fore described. 
 
 POECELAINS BY CONTACT. 
 
 From some experiments made, which we have not had 
 time as yet to carry to any considerable degree of satis- 
 faction, it has been made evident that Porcelain pictures 
 may be made upon albumenized plates, prepared and treat- 
 ed similar to albumenized paper, and also by the Tannin 
 process as described by Russell. If we should not suc- 
 ceed in making the contact process a practical one, we 
 hope some one may. But there are some objections to it, 
 which it is impossible ever to overcome, that are not con- 
 nected with the process herein given. Every ] licture made 
 by the contact process must of course be a duplicate of the 
 negative, therefore cannot be enlarged or diminished, ex- 
 cept a negative be first made enlarged or diminished by 
 means of the Camera Attachment, as before described. It 
 is also difficult to get a clear contact between two glass 
 surfaces. Yet we have a very simple piece of apparatus 
 almost completed, that will nearly, if not wholly, over- 
 come this last objection, and if it proves a success, you 
 may hear from us again soon. 
 
 PORCELAINS WITHOUT DEVELOPMENT. 
 This is also another process of producing Porcelain pic- 
 tures, which we have been unable, as yet, to make of prac- 
 tical utility. We expect to continue our experiments, fol- 
 lowing up these and other channels ; but until we shall
 
 43 
 
 find a better process than the one with which we have pre- 
 sented you in detail, we shall not abandon, but endeavor 
 to improve it. We have found all other processes, so far, 
 not only more difficult, but inferior. To produce a Porce- 
 lain picture without development, or more properly, with 
 the development conducted in the Camera, or at the same 
 time of the exposure, prepare and coat a plate in the sil- 
 ver bath, as before described ; then flow the plate with a 
 solution of Gallic acid, from one to three grains to the oz. 
 of water ; make the exposure either by contact or in the 
 Camera, and the image is seen upon the plate as soon as 
 it is removed. Fix and tone as before directed. 
 
 4 

 
 44 
 
 In using the Opal Varnish for coloring on Porcelain or 
 Ambrotype plates (instead of letting the plate dry as be- 
 fore directed) after fixing, toning and wrinsing well, while 
 the plate is still wet, flow with a well-filtered solution, Al- 
 bumen, 1 oz., water, 10 oz. Then let it dry gradually 
 where no particles of dust can adhere to its surface. When 
 dry, flow evenly with the Opal Yarnish, and let it dry 
 again free from dust and apply the dry colors as before 
 directed. 
 
 If any very brilliant effects of color are desired, flow 
 with the varnish a second time as soon as the first coating 
 is dry. For coloring the flesh, and such portions as need 
 but little color and carefully blended, they may be best ap- 
 plied without the plate being warm ; but for drapery, and 
 where a heavy body is required, by keeping the plate warm 
 while coloring, and rubbing it in well, a brilliancy may be 
 obtained that will compare favorably with water or oil 
 colors. Get good dry colors I use Williard's, and can 
 recommend them. Finish by flowing with J. A. Maggini's 
 Ambrotype Varnish, or some other as clear and hard. 
 
 PICTURES ON GROUND GLASS. 
 
 Beautiful pictures for transparencies may be produced 
 on ground glass by making them in all respects according 
 to the Formula for making Porcelains.
 
 45 
 
 If made on ground Porcelain plates, (opal glass,) they 
 may be colored with water colors mixed with Gum Arabic 
 colors, and stippled ; and when well done they have every 
 appearance of the finest ivory miniatures. 
 
 These may be colored in the Gum Arabic colors, with 
 or without the opal varnish ; but it is best, as above di- 
 rected, to flow with the albumen mixture. If dry colors 
 are to be applied, proceed the same, as above directed. 
 
 To grind the glass, lay it on some flat surface and take 
 a thick piece of glass, about an inch square, and rub the 
 two surfaces together, wet with the flower of emory, mixed 
 with water to about the consistency of paste. 
 
 A silver bath, made as before described, except the use 
 of 1 drachm of C. P. Nitric Acid to every 16 oz. solution, 
 in place of the Acetic Acid, is better where intense nega- 
 tives are to be used for making the Porcelain pictures. 
 
 Fine gradations in vignetting may be made by the use 
 of perforated paper, such as ladies use for working worsted 
 on. Several openings may be made, of various sizes, and 
 one over-lapping the other, so as to admit of unobstructed 
 light at the smallest opening, (which may be broken up 
 with points,) and gradually less from the centre outwards.
 
 WILLARD & CO. 
 
 Photographic Warehouse, 
 
 522 BROADWAY, 
 
 Opposite St. Nicholas Hotel, JNE W-YORK. 
 
 MANUFACTURERS AND DEALERS IN 
 
 OF EVERY DESCRIPTION. 
 
 Orders respectfully SoiidtecL, 
 (Promptly.
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 
 CHARGE-URL 
 .JUL2GI978 
 
 !L 17 1978 
 
 OlSCHARGE-llflL 
 
 * 1 9 
 FEB 1 7 19] 
 
 Form L9-32m-8,'57(C8680s4)444 
 
 
 . 
 
 LOS
 
 495 Formal* for mk- 
 }3f ing porcelain 
 pictures 
 
 TR 
 
 495 
 
 R33f