The History and Practice of the Art of Photography [5]
philosophers of Europe may smile at his method of proceeding, it will in some measure show the innate genius of American minds, and prove that we are not far behind our trans-atlantic brethren in the arts and sciences.
Mr. Wattles says: "In my first efforts to effect the desired object, they were feeble indeed, and owing to my limited knowledge of chemistry-- wholly acquired by questioning my teachers--I met with repeated failures but following them up with a determined spirit, I at last produced, what I thought very fair samples--but to proceed to my experiments."
"I first dipped a quarter sheet of thin white writing paper in a weak solution of caustic (as I then called it) and dried it in an empty box, to keep it in the dark; when dry, I placed it in the camera and watched it with great patience for nearly half an hour, without producing any visible result; evidently from the solution being to weak. I then soaked the same piece of paper in a solution of common potash, and then again in caustic water a little stronger than the first, and when dry placed it in the camera. In about forty-five minutes I plainly percieved the effect, in the gradual darkening of various parts of the view, which was the old stone fort in the rear of the school garden, with the trees, fence, &c. I then became convinced of the practicability of producing beautiful solar pictures in this way; but, alas! my picture vanished and with it, all--no not all--my hopes. With renewed determination I began again by studying the nature of the preparation, and came to the conclusion, that if I could destroy the part not acted upon by the light without injuring that which was so acted upon, I could save my pictures. I then made a strong solution of sal. soda I had in the house, and soaked my paper in it, and then washed it off in hot water, which perfectly fixed the view upon the paper. This paper was very poor with thick spots, more absorbent than other parts, and consequently made dark shades in the picture where they should not have been; but it was enough to convince me that I had succeeded, and that at some future time, when I had the means and a more extensive knowledge of chemistry, I could apply myself to it again. I have done so since, at various times, with perfect success; but in every instance laboring under adverse circumstances."
I have very recently learned, that, under the present patent laws of the United States, every foreign patentee is required to put his invention, or discovery, into practical use within eighteen months after taking out his papers, or otherwise forfeit his patent. With regard to Mr. Talbot's Calotype patent, this time has nearly, if not quite expired, and my countrymen are now at perfect liberty to appropriate the art if they feel disposed. From the statement of Mr. Wattles, it will be perceived that this can be done without dishonor, as in the first instance Mr. Talbot had no positive right to his patent.
Photography; or sun-painting is divided, according to the methods adopted for producing pictures, into
DAGUERREOTYPE, CHROMATYPE, CALOTYPE, ENERGIATYPE, CHRYSOTYPE, ANTHOTYPE and CYANOTYPE, AMPHITYPE.
CHAP. II.
THE THEORY ON LIGHT.--THE PHOTOGRAPHIC PRINCIPLE
Some philosophers contend that to the existence of light alone we owe the beautiful effects produced by the Photogenic art, while others give sufficient reasons for doubting the correctness of the assumption. That the results are effected by a principle associated with light and not by the luminous principle itself, is the most probable conclusion. The importance of a knowledge of this fact becomes most essential in practice, as will presently be seen. To this principle Mr. Hunt gives the name of ENERGIA.
THE NATURE of Light is not wholly known, but it is generally believed to be matter, as in its motions it obeys the laws regulating matter. So closely is it connected with heat and electricity that there can be little doubt of their all being but different modifications of the same substance. I will not, however,
Mr. Wattles says: "In my first efforts to effect the desired object, they were feeble indeed, and owing to my limited knowledge of chemistry-- wholly acquired by questioning my teachers--I met with repeated failures but following them up with a determined spirit, I at last produced, what I thought very fair samples--but to proceed to my experiments."
"I first dipped a quarter sheet of thin white writing paper in a weak solution of caustic (as I then called it) and dried it in an empty box, to keep it in the dark; when dry, I placed it in the camera and watched it with great patience for nearly half an hour, without producing any visible result; evidently from the solution being to weak. I then soaked the same piece of paper in a solution of common potash, and then again in caustic water a little stronger than the first, and when dry placed it in the camera. In about forty-five minutes I plainly percieved the effect, in the gradual darkening of various parts of the view, which was the old stone fort in the rear of the school garden, with the trees, fence, &c. I then became convinced of the practicability of producing beautiful solar pictures in this way; but, alas! my picture vanished and with it, all--no not all--my hopes. With renewed determination I began again by studying the nature of the preparation, and came to the conclusion, that if I could destroy the part not acted upon by the light without injuring that which was so acted upon, I could save my pictures. I then made a strong solution of sal. soda I had in the house, and soaked my paper in it, and then washed it off in hot water, which perfectly fixed the view upon the paper. This paper was very poor with thick spots, more absorbent than other parts, and consequently made dark shades in the picture where they should not have been; but it was enough to convince me that I had succeeded, and that at some future time, when I had the means and a more extensive knowledge of chemistry, I could apply myself to it again. I have done so since, at various times, with perfect success; but in every instance laboring under adverse circumstances."
I have very recently learned, that, under the present patent laws of the United States, every foreign patentee is required to put his invention, or discovery, into practical use within eighteen months after taking out his papers, or otherwise forfeit his patent. With regard to Mr. Talbot's Calotype patent, this time has nearly, if not quite expired, and my countrymen are now at perfect liberty to appropriate the art if they feel disposed. From the statement of Mr. Wattles, it will be perceived that this can be done without dishonor, as in the first instance Mr. Talbot had no positive right to his patent.
Photography; or sun-painting is divided, according to the methods adopted for producing pictures, into
DAGUERREOTYPE, CHROMATYPE, CALOTYPE, ENERGIATYPE, CHRYSOTYPE, ANTHOTYPE and CYANOTYPE, AMPHITYPE.
CHAP. II.
THE THEORY ON LIGHT.--THE PHOTOGRAPHIC PRINCIPLE
Some philosophers contend that to the existence of light alone we owe the beautiful effects produced by the Photogenic art, while others give sufficient reasons for doubting the correctness of the assumption. That the results are effected by a principle associated with light and not by the luminous principle itself, is the most probable conclusion. The importance of a knowledge of this fact becomes most essential in practice, as will presently be seen. To this principle Mr. Hunt gives the name of ENERGIA.
THE NATURE of Light is not wholly known, but it is generally believed to be matter, as in its motions it obeys the laws regulating matter. So closely is it connected with heat and electricity that there can be little doubt of their all being but different modifications of the same substance. I will not, however,