The Evolution of Photography

– Electrotype process announced.

– Professor Faraday described Fox Talbot’s new method of photogenic drawing to the members of the Royal Institution, January 25th.

– Fox Talbot read a paper, giving a full description of his process, before the Royal Society, January 31st.

– Sir John Herschel introduced hyposulphite of soda as a fixing agent, February 14th.

– Dr. Alfred Swaine Taylor employed ammonia nitrate of silver in preference to chloride of silver for making photogenic drawings, and employed hyposulphite of lime in preference to hyposulphite of soda for fixing.

– Daguerre’s process published in August, and patent, for England, granted to Mr. Beard, London, August 14th.

– “History and Practice of Photogenic Drawing”; L. S. M. Daguerre. Published September.

– First photographic portrait taken on a Daguerreotype plate by Professor. J. W. Draper, New York, U. S., in the autumn of this year.

1840. “On the Art of Photogenic Drawing,” by Alfred S. Taylor, lecturer on chemistry, &c., at Guy’s Hospital. Published by Jeffrey, George Yard, Lombard Street, London.

– “The Handbook of Heliography, or the Art of Writing or Drawing by the Effect of Sunlight, with the Art of Dioramic Painting, as practised by M. Daguerre.” Anon.

– Wolcott’s reflecting camera brought from America to England and secured by Mr. Beard, patentee of the Daguerreotype process.

– The moon photographed for the first time by Dr. J. W. Draper, of New York, on a Daguerreotype plate.

– John Frederick Goddard, of London, inventor of the polariscope and lecturer on chemistry, employed chlorine added to iodine, and afterwards bromine, as accelerators in the Daguerreotype process.

1840. Antoine F. J. Claudet, F.R.S., of London, employed chlorine for the same purpose.

– M. Fizeau, of Paris, deposited a film of gold over the Daguerreotype picture after the removal of the iodine, which imparted increased brilliancy and permanency.

– Chloride of platinum employed by Herschel.

– Fox Talbot’s developer published September 20th.

1841. Calotype process patented by Fox Talbot, September 20th.

– First photographic compound portrait lens made by Andrew Ross, London.

– Towson, of Liverpool, noted that chemical and visual foci did not coincide. Defect corrected by J. Petzval, of Vienna, for Voightlander.

– “A Popular Treatise on the Art of Photography, including Daguerreotype and all the New Methods of Producing Pictures by the Chemical Agency of Light,” by Robert Hunt, published by R. Griffin, Glasgow.

– Daguerre announced an instantaneous process, but it was not successful.

1842. Sir John Herschel exhibited blue, red, and purple photographs at the Royal Institution.

– “Photography Familiarly Explained,” by W. R. Baxter, London.

1843. “Photogenic Manipulation,” by G. T. Fisher Knight, Foster Lane.

– Treatise on Photography by N. P. Lerebours, translated by J. Egerton.

1844. Fox Talbot issued “The Pencil of Nature,” a book of silver prints from calotype negatives.

– C. Cundell, of London, employed and published the use of bromide of potassium in the calotype process.

1844. “Researches on Light and its Chemical Relations,” by Robert Hunt. First edition; second ditto, 1854.

– Robert Hunt recommended proto-sulphate of iron as a developer for Talbot’s calotype negatives; also oxalate of iron and acetate of lead for other purposes.

– A. F. J. Claudet patented a red light for “dark room,” but at that date a red light was not necessary, so the old photographers continued the use of yellow lights.

1845. “Photogenic Manipulations:” Part 1, Calotype, &c.; Part 2, Daguerreotype. By George Thomas Fisher, jun. Published by George Knight and Sons, London.

– “Manual of Photography,” including Daguerreotype, Calotype, &c., by Jabez Hogg. First edition. Second ditto, including Archer’s collodion process, bichloride of mercury bleaching and intensifying, and gutta-percha transfer process, 1856.

1845. “Practical Hints on the Daguerreotype; Willats’s Scientific Manuals.”

– “Plain Directions for Obtaining Photographic Pictures by the Calotype and other processes, on paper; Willats’s Scientific Manuals.” Published by Willats, 98, Cheapside; and Sherwood, Gilbert, and Piper, Paternoster Row.

1846. Gun-cotton made known by Professor Schönbein, of Basel.

1847. Collodion made by dissolving gun-cotton in ether and alcohol, by Mr. Maynard, of Boston, U.S.

1848. “Photogenic Manipulation:” Part II., Daguerreotype, by Robert Bingham. Published by George Knight and Sons, London.

– Albumen on glass plates first employed for making negatives by M. Niépce de Saint Victor. Process published June 13th.

– Frederick Scott Archer experimented with paper pulp, tanno-gelatine, and iodised collodion, and made collodion negatives in the autumn.

1849. Collodion positive of Hever Castle, Kent, made by Frederick Scott Archer early in the year.

– M. Gustave Le Gray suggested the application of collodion to photography.

1850. “A Practical Treatise on Photography upon Paper and Glass,” by Gustave Le Gray. Translated from the French by Thomas Cousins, and published by T. and R. Willats. This book is said to contain the first printed notice of collodion being used in photography.

– R. J. Bingham, London, suggested the use of collodion and gelatine in photography.

– M. Poitevin’s gelatine process, published January 25th.

1851. Frederick Scott Archer published his collodion process in the March number of The Chemist, and introduced pyrogallic acid as a developer December 20th.

– Fox Talbot announced his instantaneous process, and obtained, at the Royal Institution, a copy of the Times newspaper, while revolving rapidly, by the light of an electric spark.

– Niépce de St. Victor’s heliochromic process, published June 22nd. Examples sent to the judges of the International Exhibition of 1862. See Jurors’ Report thereon, pp. 88-9.

– Sir David Brewster’s improved stereoscope applied to photography.

1851. “Photography, a Treatise on the Chemical Changes produced by Solar Radiation, and the Production of Pictures from Nature, by the Daguerreotype, Calotype, and other Photographic Processes,” by Robert Hunt. Published by J. J. Griffin and Co., London and Glasgow.

1852. “Archer’s Hand-Book of Collodion Process.” Published May 14th. Second edition, enlarged; published 1854.

– “Archer’s Collodion Positive Process.” Published July 20th.

– Fox Talbot’s photo-engraving on steel process; patented October 29th.

1853. A Manual of Photography, by Robert Hunt, published.

– Photographic Society of London founded. Sir Charles Eastlake, P.R.A., President; Roger Fenton, Esq., Secretary. First number of the Society’s Journal published March 3rd.

– Cutting’s American patent for use of bromides in collodion obtained June 11th, and his Ambrotype process introduced in America.

– “The Waxed-Paper Process,” by Gustave Le Gray. Translated from the French with a supplement, by James How. Published by G. Knight and Co., Foster Lane, Cheapside.

– Frederick Scott Archer introduced a triple lens to shorten the focus of a double combination lens.

1854. E. R., of Tavistock, published directions for the use of isinglass as a substitute for collodion.

– First series of photographic views of Kenilworth Castle, &c., from collodion negatives, published by Frederick Scott Archer.

– Liverpool Photographic Journal, first published by Henry Greenwood, bi-monthly.

– First roller-slide patented by Messrs. Spencer and Melhuish, May 22nd.

– Fox Talbot first applied albumen to paper to obtain a finer surface for photographic printing.

– Photo-Enamel process; first patent December 13th.

– Dry collodion plates first introduced.

1855. M. Poitevin’s helioplastic process patented February 20th.

– Dr. J. M. Taupenot’s dry plate process introduced.

– Photo-galvanic process patented June 5th.

– “Hardwich’s Photographic Chemistry.” First edition, published March 12th.

– Ferrotype process introduced in America by Mr. J. W. Griswold.

1856. “Photographic Notes.” Edited by Thomas Sutton. Commenced January 1st; bi-monthly.

1856. Sutton’s Calotype process, published March.

1856. Dr. Hill Norris’s dry plate process. Patented September 1st.

1856. Caranza published method of toning silver prints with chloride of platinum.

1857. Moule’s photogene, artificial light for portraiture. Patented February 18th.

– Carte-de-visite portraits introduced by M. Ferrier, of Nice.

– Kinnear Camera introduced. Made by Bell, Edinburgh.

1858. Pouncy’s Carbon process patented April 10th.

– Skaife’s Pistolgraph camera introduced.

1858. J. C. Burnett exposed the back of the carbon paper and obtained half-tones.

– Fox Talbot’s photo-etching process, patented April 20th.

– Paul Pretsch’s photo-engraving process introduced.

– “Sutton’s Dictionary of Photography,” published August 17th.

– The Photographic News, founded, weekly. First number published September 10th, by Cassell, Petter, and Galpin, London.

– “Fothergill Dry Process,” by Alfred Keene, published August.

1859. Sutton’s panoramic camera patented, September 28th.

– Photo-lithographic Transfer process patented by Osborne, in Melbourne, Australia.

– Wm. Blair, of Perth, secured half-tone in carbon printing by allowing the light to pass through the back of the paper on which the pigment was spread.

– Asser, of Amsterdam, also invented a photo-lithographic transfer process about this time.

1860. “Principles and Practice of Photography,” by Jabez Hughes. First edition published; fourteenth edition, 1887.

– Fargier coated carbon surface with collodion, exposed, and transferred to glass to develop.

– Spectroscope invented by Kertchoff and Bunsen.

1860. “Year-Book of Photography,” edited by G. Wharton Simpson, first published.

– Improved Kinnear camera with swing front and back by Meagher.

1861. Captain Dixon’s iodide emulsion process patented, April 29th.

– M. Gaudin, of Paris, employed gelatine in his photogene, and published in La Lumière his collodio-iodide and collodio-chloride processes.

– H. Anthony, New York, discovered that Tannin dry plates could be developed by moisture and ammonia vapour.

1862. “Alkaline Development,” published by Major Russell.

– Meagher’s square bellows camera, with folding bottom board, exhibited at the International Exhibition. Noticed in Jurors’ Report.

– Parkesine, the forerunner of celluloid films, invented by Alexander Parkes, of Birmingham.

1863. Pouncy’s fatty ink process; patented January 29th.

– Toovey’s photo-lithographic process; patented June 29th.

– “Tannin Process,” published by Major Russell.

– “Popular Treatise on Photography,” by D. Van Monckhoven. Translated from the French by W. H. Thornthwaite, London.

1864. Swan’s improved carbon process; patented August 27th.

– “Collodio-Bromide Emulsion,” by Messrs. B. J. Sayce and W. B. Bolton; published September 9th.

– “Collodio-Chloride Emulsion,” by George Wharton Simpson; published in The Photographic News, October 28th.

– Willis’s aniline process; patented November 11th.

– Obernetter’s chromo-photo process; published.

– Instantaneous dry collodion processes by Thomas Sutton, B.A. Sampson, Low, Son, and Marston, London.

1865. Paper read on “Collodio-Chloride Emulsion,” by George Wharton Simpson, at the Photographic Society, March 14th.

1865. Photography, a lecture, by the Hon. J. W. Strutt, now Lord Rayleigh, delivered April 18th; and afterwards published.

– Eburneum process; published by J. Burgess, Norwich, in The Photographic News, May 5th.

– Bromide as a restrainer in the developer; published by Major Russell.

1865. Interior of Pyramids of Egypt, photographed by Professor Piazzi Smyth with the magnesium light.

– W. H. Smith patented a gelatino-bromide or gelatino-chloride of silver process for wood blocks, &c.

1866. Magic photographs revived and popularised.

– Woodburytype process patented by Walter Bentley Woodbury, of Manchester, July 24th.

– Photography reviewed, in British Quarterly Review, by George Wharton Simpson, October 1st.

1867. M. Poitevin obtained the balance of the Duc de Luynes’s prize for permanent printing.

– Cabinet portraits introduced by F. R. Window, photographer, Baker Street, London.

1868. W. H. Harrison experimented with gelatino-bromide of silver and obtained results, though somewhat rough and unsatisfactory.

1869. John Robert Johnson’s carbon process double transfer patented.

– “Pictorial Effect in Photography,” by H. P. Robinson, first edition. London: Piper and Carter.

1870. Thomas Sutton described Gaudin’s gelatino-iodide process.

– Jabez Hughes toned collodion transfers with chloride of palladium.

– John Robert Johnson’s single transfer process for carbon printing patented.

1871. Dr. R. L. Maddox, of Southampton, published his experiments with gelatino-bromide of silver in the British Journal of Photography, September 8th.

1872. “Emaux Photographiques” (photographic enamels), second edition, by Geymet and Alker, Paris.

1873. J. Burgess, of Peckham, advertised his gelatino-bromide of silver emulsion, but it would not keep, so had to be withdrawn.

– Ostendo non Ostento published a gelatino-bromide of silver formula with alcohol.

– Platinotype process patented by W. Willis, junior, June 1st.

1873. R. Kennett’s gelatino-bromide of silver pellicle patented November 20th.

– “The Ferrotypers’ Guide” published by Scovill Manufacturing Company, New York.

1874. R. Kennett issued his gelatino-bromide of silver dry plates in March.

– Gelatino-bromide of silver paper first announced by Peter Mawdsley, of Liverpool Dry Plate Company.

– “Backgrounds by Powder Process” published by J. Werge, London.

– Flexible supports in carbon printing patented by John Robert Sawyer, of the Autotype Company.

– Leon Lambert’s carbon printing process patented.

1875. Demonstrations in carbon printing by L. Lambert given in London and elsewhere.

– Eder and Toth intensified collodion negatives and toned lantern slides with chloride of platinum.

1876. “Practical Treatise on Enamelling and Retouching,” by P. Piquepé, Piper and Carter, London.

1877. Ferrous oxalate developer published June 29th.

– Wratten precipitated the gelatine emulsion with alcohol, and so avoided the necessity of dialysing.

1878. Improvement in platinotype patented by W. Willis, junior, July.

– Abney’s “Treatise on Photography” published.

– Abney’s “Emulsion Process” published.

1879. J. Werge’s non-actinic developing tray introduced at the South London Photographic Society.

1880. “Principles and Practice of Photography,” by Jabez Hughes, comprising instructions to make and manipulate gelatino dry plates, by J. Werge. London: Simpkin and Marshall, and J. Werge.

– Gelatino-bromide of silver paper introduced by Messrs. Morgan and Kidd.

– Platinotype improvement patent granted.

– Iodides added to gelatino-bromide of silver emulsions by Captain W. de W. Abney.

1880. Warnerke’s sensitometer introduced.

– “The Argentic Gelatino-Bromide Workers’ Guide,” by John Burgess. W. T. Morgan and Co., Greenwich.

– “Photography; its Origin, Progress, and Practice,” by J. Werge. London: Simpkin, Marshall, and Co.

– Hydroquinone developer introduced by Dr. Eder and Captain Toth.

1881. Stannotype process introduced by Walter Woodbury.

– Photographers in Great Britain and Ireland 7,614 as per census returns.

– “Modern Dry Plates; or Emulsion Photography,” by Dr. J. M. Eder, translated from the German by H. Wilmer, edited by H. B. Pritchard. London: Piper and Carter.

– “Pictorial Effect in Photography,” by H. P. Robinson (cheap edition). Piper and Carter.

– “The Art and Practice of Silver Printing,” by H. P. Robinson and Captain Abney. Piper and Carter.

1882. Herbert B. Berkeley recommended the use of sulphite of soda with pyrogallic acid to prevent discolouration of film.

– “Recent Advances in Photography” (Cantor Lectures, Society of Arts), Captain Abney. London: Piper and Carter.

1882. “The A B C of Modern Photography,” comprising practical instructions for working gelatine dry plates, by W. K. Burton. London: Piper and Carter.

1882. “Elementary Treatise on Photographic Chemistry,” by A. Spiller. London: Piper and Carter.

1883. Translation of Captain Pizzighelli and Baron A. Hubl’s booklet on “Platinotype;” published in The Photographic Journal.

– Orthochromatic dry plates; English patent granted to Tailfer and Clayton, January 8th.

– “The Chemical Effect of the Spectrum,” by Dr. J. M. Eder. (Translated from the German by Captain Abney). London: Harrison and Sons.

1883. “The Chemistry of Light and Photography,” by Dr. H. Vogel. London: Kegan Paul.

1884. “Recent Improvements in Photo-Mechanical Printing Methods,” by Thomas Bolas, Society of Arts, London.

– “Picture-Making by Photography,” by H. P. Robinson. London: Piper and Carter.

1885. “Photography and the Spectroscope,” by Capt. Abney, Society of Arts.

– “The Spectroscope and its Relation to Photography,” by C. Ray Woods. London: Piper and Carter.

– “Photo-Micrography,” by A. C. Malley; second edition. London: H. K. Lewis.

1886. Orthochromatic results exhibited by Dixon and Sons at the photographic exhibition in October.

– English patent rights of Tailfer and Clayton’s orthochromatic process secured by B. J. Edwards and Co., Nov. 18th.

1887. Platinotype improvements; two patents.

1888. Pizzighelli’s visible platinotype printing paper put on the market in June.

1889. Eikonogen developer patented by Dr. Andresen, of Berlin, Germany, March 26th.

– Wire frames and supports in camera extensions patented by Thomas Rudolph Dallmeyer and Francis Beauchamp, November 6th.

CONTRIBUTIONS TO PHOTOGRAPHIC LITERATURE.

BY

JOHN WERGE

Originally published in the “Photographic News,” “British Journal of Photography,” Photographic Year-Book, and Photographic Almanac

PICTURES OF NIAGARA

Taken with Camera, Pen, and Pencil

Many very beautiful and interesting photographic views of Niagara Falls, and other places of romantic and marvellous interest, have been taken and exhibited to the world. Indeed, they are to be seen now in almost every print-seller’s window; and in the albums, stereoscopes, or folios of almost every private collector. But I question very much if it ever occurred to the mind of anyone, while looking at those pictures, what an amount of labour, expense, and danger had to be endured and encountered to obtain them—“the many hairbreadth ’scapes by flood and field,” of a very “positive” character, which had to be risked before some of the “negatives” could be “boxed.” Doubtless Mr. England, Mr. Stephen Thompson, and Mr. Wilson have many very vivid recollections of the critical situations they have been in while photographing the picturesque scenery of the Alpine passes of Switzerland, and the Highlands and glens of Scotland.

Mr. Stephen Thompson has narrated to me one or two of his “narrow escapes” while photographing his “Swiss scenes,” and I am sure Mr. England did not procure his many and beautiful “points of view” of Niagara Falls without exposing himself to considerable risk.

I had the good fortune to be one of the earlier pioneers, in company with a Yankee friend, Mr. Easterly, in taking photographs of the Falls; and my recollections of the manner in which we “went about,” poised ourselves and cameras on “points of rock” and “ledges of bluffs,” and felled trees, and lopped off branches overhanging precipices, to “gain a point,” even at the distant date are somewhat thrilling. To take a photograph of what is called “Visitors’ View” is safe and easy enough. You might plant a dozen cameras on the open space at the brink of the “American Fall,” and photograph the scene, visitors and all, as they stand, “fixed” with wonder, gazing at the Falls, American, Centre, and Horseshoe, Goat Island, and the shores of Canada included, for this point embraces in one view all those subjects. But to get at the out-of-the-way places, to take the Falls in detail, and obtain some of the grandest views of them, is a very different matter.

I remember, when we started, taking a hatchet with us, like backwoodsmen, to take a view of Prospect Tower, on the American side of the great Horseshoe Fall, how we had to hew down the trees that obstructed the light; how we actually hung over the precipice, holding on to each other’s hands, to lop off a branch still in sight where it was not wanted. The manner in which we accomplished this was what some bystanders pronounced “awful.” I hugged a sapling of a silver birch, growing on the brink of the precipice, with my left arm, while friend Easterly, holding my right hand with one of the Masonic grips—I won’t say which—hung over the precipice, and stretching out as far as he could reach, lopped off the offending branch. Yet in this perilous position my lively companion must crack his joke by punning upon my name, and a Cockney weakness at the same time, for he “guessed he was below the werge of the precipice.” The branch down, and we had resumed our perpendicular positions, he simply remarked, if that was not holding on to a man’s hand in friendship, he did not know what was.

But the work was not done yet; to get the view of the Tower we wanted, we had to make a temporary platform over the precipice. This we managed by laying a piece of “lumber” across a fallen tree, and, unshipping the camera, shoved it along the plank until it was in position, balancing the shore end of the plank with heavy stones. When all was ready for exposure, I went round and stood on the point of a jutting rock to give some idea of the great depth of the Fall, but I very nearly discovered, and just escaped being myself the plummet. In the excitement of the moment, and not thinking that the rock would be slimy and slippery with the everlasting spray, I went too rapidly forward, and the rock having a slight decline, I slipped, but was fortunately brought up by a juniper bush growing within a foot of the edge. For a second or two I lay on my back wondering if I could slide out of my difficulty as easily as I had slidden into it. In a moment I determined to go backwards on my back, hands, and feet, until I laid hold of another bush, and could safely assume a perpendicular position. After giving the signal that “all was right,” the plate was exposed, and I cautiously left a spot I have no desire to revisit. But it is astonishing how the majesty and grandeur of the scene divest the mind of all sense of fear, and to this feeling, to a great extent, is attributed the many accidents and terrible deaths that have befallen numerous visitors to the Falls.

The Indians, the tribe of the Iroquois, who were the aboriginal inhabitants of that part of the country, had a tradition that the “Great Spirit” of the “Mighty Waters” required the sacrifice of two human lives every year. To give rise to such a tradition, doubtless, many a red man, in his skiff, had gone over the Falls, centuries before they were discovered by the Jesuit missionary, Father Hennepin, in 1678; and, even in these days of Christian civilization, and all but total extirpation of the aboriginals, the “Great Spirit” does not appear to be any less exacting. Nearly every year one or more persons are swept over those awful cataracts, making an average of at least one per annum. Many visitors and local residents have lost their lives under the most painful and afflicting circumstances, the most remarkable of which occurred just before my visit. One morning, at daylight, a man was discovered in the middle of the rapids, a little way above the brink of the American Fall. He was perched upon a log which was jammed between two rocks. One end of the log was out of the water, and the poor fellow was comparatively dry, but with very little hope of being rescued from his dreadful situation. No one could possibly reach him in a boat. The foaming and leaping waters were rushing past him at the rate of eighteen or twenty miles an hour, and he knew as well as anyone that to attempt a rescue in a boat or skiff would be certain destruction, yet every effort was made to save him. Rafts were made and let down, but they were either submerged, or the ropes got fast in the rocks. The life-boat was brought from Buffalo, Lake Erie, and that was let down to him by ropes from the bridge, but they could not manage the boat in that rush of waters, and gave it up in despair. One of the thousands of agonized spectators, a Southern planter, offered a thousand dollars reward to anyone that would save the “man on the log.” Another raft was let down to him, and this time was successfully guided to the spot. He got on it, but being weak from exposure and want, he was unable to make himself fast or retain his hold, and the doomed man was swept off the raft and over the Falls almost instantly, before the eyes of thousands, who wished, but were powerless and unable, to rescue him from his frightful death. His name was Avery. He and another man were taking a pleasure sail on the Upper Niagara river, their boat got into the current, was sucked into the rapids, and smashed against the log or the rock. The other man went over the Falls at the time of the accident; but Avery clung to the log, where he remained for about eighteen hours in such a state of mind as no one could possibly imagine. None could cheer him with a word of hope, for the roar of the rapids and thunder of the cataracts rendered all other sounds inaudible. Mr. Babbitt, a resident photographer, took several Daguerreotypes of the “man on the log,” one of which he kindly presented to me. Few of the bodies are ever recovered. One or two that went over the Great Horse Shoe Fall were found, their bodies in a state of complete nudity. The weight or force of the water strips them of every particle of clothing; but that is not to be wondered at, considering the immense weight of water that rolls over every second, the distance it has to fall, and the depth of the foaming cauldron below. The fall of the Horse Shoe to the surface of the lower river is 158 feet, and the depth of the cauldron into which the Upper Niagara leaps about 300 feet, making a total of 458 feet from the upper to the lower bed of the Niagara River at the Great Horse Shoe Fall. It has been computed that one hundred million, two hundred thousand tons of water pass over the Falls every hour. The depth of the American Fall is 164 feet; but that falls on to a mass of broken rocks a few feet above the level of the lower river.