Part 3

"Talbot did not patent my valuable fixer. Here I had the advantage of having published my use of hyposulphite of soda, which Mr. Hodgson made for me in 1837, when London did not contain an ounce of it for sale. The early operators had no fixer; that was _their fix_; and, so far as any record exists, they got no further in this direction than 'imagining some experiments on the subject!' I tried ammonia, but it acted too energetically on the picture itself to be available for the purpose. It led me, however, to the ammonia nitrate process of printing positives, a description of which process (though patented by Talbot in 1843) I sent to a photographic brother in 1839, and a quotation from my letter of that date has already appeared in one of my communications to _Notes and Queries_. On examining Brande's Chemistry, under the hope of still finding the desired solvent which should have a greater affinity for the simple silver compound on the uncoloured part of the picture than for the portion blackened by light, I happened to see it stated, on Sir John Herschel's authority, that hyposulphite of soda dissolves chloride of silver. I need not now say that I used this fixer with success. The world, however, would not have been long without it, for, when Sir John himself became a photographer in the following year, he first of all used hyposulphite of ammonia, and then permanently fell back upon the properties of his other compound. Two of my solar microscope negatives, taken in 1837, and exhibited with several others by Mr. Brayley in 1839 as illustrations of my letter and of his lecture at the London Institution, are now in the possession of the London Photographic Society. They are, no doubt, the earliest examples of the agency of two chemical compounds which will be co-existent with photography itself, viz., gallate of silver and hyposulphite of soda, and my use of them, as above described, will sanction my claim to be the first to take paper pictures rapidly, and to fix them permanently.

"Such is a short account of my contribution to this interesting branch of science, and, in the pleasure of the discovery, I have a sufficient reward."

These lengthy extracts from the Rev. Mr. Reade's published letter render further comment all but superfluous, but I cannot resist taking advantage of the opportunity here afforded of pointing out to all lovers of photography and natural justice that the progress of the discovery has advanced to a far greater extent by Mr. Reade's reasoning and experiments than it was by Mr. Talbot's ingenuity. The latter, as Mr. Reade observes, only "caught the ball" and threw it into the Patent Office, with some improvements in the manipulations. Mr. Reade generously ascribes all honour and glory to Mr. Talbot for his shrewdness in seizing what he had overlooked, viz., the development of the latent image; but there is a quiet current of rebuke running all through Mr. Reade's letter about the justice of patenting a known sensitiser and a known accelerator, which he alone had combined and applied to the successful production of a negative on paper. Mr. Talbot's patent process was nothing more, yet he endeavoured to secure a monopoly of what was in substance the discovery and invention of another. Mr. Talbot was either very precipitate, or ill-advised, to rush to the Patent Office with his modification, and even at this distant date it is much to be regretted that he did so, for his rash act has, unhappily for photography, proved a pernicious precedent. Mr. Reade gave his discoveries to the world freely, and the "pleasure of the discovery" was "a sufficient reward." All honour to such discoverers. They, and they only, are the true lovers of science and art, who take up the torch where another laid it down, or lost it, and carry it forward another stage towards perfection, without sullying its brightness or dimming the flame with sordid motives.

The Rev. J. B. Reade lived to see the process _he_ discovered and watched over in its embryo state, developed with wondrous rapidity into one of the most extensively applied arts of this marvellous age, and died, regretted and esteemed by all who knew him, December 12th, 1870. Photographers, your occupations are his monument, but let his name be a tablet on your hearts, and his unselfishness your emulation!

The year 1838 gave birth to another photographic discovery, little thought of and of small promise at the time, but out of which have flowed all the various modifications of solar and mechanical carbon printing. This was the discovery of Mr. Mungo Ponton, who first observed and announced the effects of the sun's rays upon bichromate of potash. But that gentleman was unwise in his generation, and did not patent his discovery, so a whole host of patent locusts fell upon the field of research in after years, and quickly seized the manna he had left, to spread on their own bread. Mr. Mungo Ponton spread a solution of bichromate of potash upon paper, submitted it under a suitable object to the sun's rays, and told all the world, without charge, that the light hardened the bichromate to the extent of its action, and that the unacted-upon portions could be dissolved away, leaving the object _white_ upon a yellow or orange ground. Other experimenters played variations on Mr. Ponton's bichromate scale, and amongst the performers were M. E. Becquerel, of France, and our own distinguished countryman, Mr. Robert Hunt.

During the years that elapsed between the death of M. Niépce and the period to which I have brought these records, little was heard or known of the researches of M. Daguerre, but he was not idle, nor had he abandoned his iodine ideas. He steadily pursued his subject, and worked with a continuity that gained him the unenviable reputation of a lunatic. His persistency created doubts of his sanity, but he toiled on _solus_, confident that he was not in pursuit of an impossibility, and sanguine of success. That success came, hastened by lucky chance, and early in January, 1839, M. Daguerre announced the interesting and important fact that the problem was solved. Pictures in the camera-obscura could be, not only seen, but caught and retained. M. Daguerre had laboured, sought, and found, and the bare announcement of his wonderful discovery electrified the world of science.

The electric telegraph could not then flash the fascinating intelligence from Paris to London, but the news travelled fast, nevertheless, and the unexpected report of M. Daguerre's triumph hurried Mr. Talbot forward with a similar statement of success. Mr. Talbot declared his triumph on the 31st of January, 1839, and published in the following month the details of a process which was little, if any, in advance of that already known.

Daguerre delayed the publication of his process until a pension of six thousand francs per annum had been secured to himself, and four thousand francs per annum to M. Isidore Niépce for life, with a reversion of one-half to their widows. In the midst of political and social struggles France was proud of the glory of such a marvellous discovery, and liberally rewarded her fortunate sons of science with honourable distinction and substantial emolument. She was proud and generous to a chivalrous extent, for she pensioned her sons that she might have the "glory of endowing the world of science and of art with one of the most surprising discoveries" that had been made on her soil; and, because she considered that "the invention did not admit of being secured by patent;" but avarice and cupidity frustrated her noble and generous intentions in this country, and England alone was harassed with injunctions and prosecutions, while all the rest of the world participated in the pleasure and profits of the noble gift of France.

In July, 1839, M. Daguerre divulged his secret at the request and expense of the French Government, and the process which bore his name was found to be totally different, both in manipulation and effect, from any sun-pictures that had been obtained in England. The Daguerreotype was a latent image produced by light on an iodised silver plate, and developed, or made visible, by the fumes of mercury; but the resultant picture was one of the most shimmering and vapoury imaginable, wanting in solidity, colour, and firmness. In fact, photography as introduced by M. Daguerre was in every sense a wonderfully shadowy and all but invisible thing, and not many removes from the dark ages of its creation. The process was extremely delicate and difficult, slow and tedious to manipulate, and too insensitive to be applied to portraiture with any prospect of success, from fifteen to twenty minutes' exposure in bright sunshine being necessary to obtain a picture. The mode of proceeding was as follows:--A copper plate with a coating of silver was carefully cleaned and polished on the silvered side, that was placed, silver side downwards, over a vessel containing iodine in crystals, until the silvered surface assumed a golden-yellow colour. The plate was then transferred to the camera-obscura, and submitted to the action of light. After the plate had received the requisite amount of exposure, it was placed over a box containing mercury, the fumes of which, on the application of a gentle heat, developed the latent image. The picture was then washed in salt and water, or a solution of hyposulphite of soda, to remove the iodide of silver, washed in clean water afterwards, and dried, and the Daguerreotype was finished according to Daguerre's first published process.

The development of the latent image by mercury subliming was the most marvellous and unlooked-for part of the process, and it was for that all-important thing that Daguerre was entirely indebted to chance. Having put one of his apparently useless iodized and exposed silver plates into a cupboard containing a pot of mercury, Daguerre was greatly surprised, on visiting the cupboard some time afterwards, to find the blank looking plate converted into a visible picture. Other plates were iodized and exposed and placed in the cupboard, and the same mysterious process of development was repeated, and it was not until this thing and the other thing had been removed and replaced over and over again, that Daguerre became aware that quicksilver, an article that had been used for making mirrors and reflecting images for years, was the developer of the invisible image. It was indeed a most marvellous and unexpected result. Daguerre had devoted years of labour and made numberless experiments to obtain a transcript of nature drawn by her own hand, but all his studied efforts and weary hours of labour had only resulted in repeated failures and disappointments, and it appeared that Nature herself had grown weary of his bungling, and resolved to show him the way.

The realization of his hopes was more accidental than inferential. The compounds with which he worked, neither produced a visible nor a latent image capable of being developed with any of the chemicals with which he was experimenting. At last accident rendered him more service than reasoning, and occult properties produced the effect his mental and inductive faculties failed to accomplish; and here we observe the great difference between the two successful discoverers, Reade and Daguerre. At this stage of the discovery I ignore Talbot's claim in _toto_. Reade arrived at his results by reasoning, experiment, observation, and judiciously weakening and controlling the re-agent he commenced his researches with. He had the infinite pleasure and disappointment of seeing his first picture flash into existence, and disappear again almost instantly, but in that instant he saw the cause of his success and failure, and his inductive reasoning reduced his failure to success; whereas Daguerre _found_ his result, was puzzled, and utterly at a loss to account for it, and it was only by a process of blind-man's bluff in his chemical cupboard that he laid his hands on the precious pot of mercury that produced the visible image.

That was a discovery, it is true; but a bungling one, at best. Daguerre only worked intelligently with one-half of the elements of success; the other was thrust in his way, and the most essential part of his achievement was a triumphant accident. Daguerre did half the work--or, rather, one-third--light did the second part, and chance performed the rest, so that Daguerre's share of the honour was only one-third. Reade did two-thirds of the process, the first and third, intelligently; therefore to him alone is due the honour of discovering practical photography. His was a successful application of known properties, equal to an invention; Daguerre's was an accidental result arising from unknown causes and effects, and consequently a discovery of the lowest order. To England, then, and not to France, is the world indebted for the discovery of photography, and in the order of its earliest, greatest, and most successful discoverers and advancers, I place the Rev. J. B. Reade first and highest.

[Illustration: SECOND PERIOD.

DAGUERREOTYPE.

L. J. M. DAGUERRE. _Used Iodine, 1839._

JOHN FREDERICK GODDARD. _Applied Bromine, 1840._

NEW YORK. _Copy of Instantaneous Daguerreotype, 1854._]

SECOND PERIOD.

PUBLICITY AND PROGRESS.

1839 has generally been accepted as the year of the birth of Practical Photography, but that may now be considered an error. It was, however, the Year of Publicity, and the progress that followed with such marvellous rapidity may be freely received as an adversely eloquent comment on the principles of secrecy and restriction, in any art or science, like photography, which requires the varied suggestions of numerous minds and many years of experiment in different directions before it can be brought to a state of workable certainty and artistic and commercial applicability. Had Reade concealed his success and the nature of his accelerator, Talbot might have been bungling on with modifications of the experiments of Wedgwood and Davy to this day; and had Daguerre not sold the secret of his iodine vapour as a sensitiser, and his accidentally discovered property of mercury as a developer, he might never have got beyond the vapoury images he produced. As it was, Daguerre did little or nothing to improve his process and make it yield the extremely vigorous and beautiful results it did in after years. As in Mr. Reade's case with the Calotype process, Daguerre threw the ball and others caught it. Daguerre's advertised improvements of his process were lamentable failures and roundabout ways to obtain sensitive amalgams--exceedingly ingenious, but excessively bungling and impractical. To make the plates more sensitive to light, and, as Daguerre said, obtain pictures of objects in motion and animated scenes, he suggested that the silver plate should first be cleaned and polished in the usual way, then to deposit successively layers of mercury, and gold, and platinum. But the process was so tedious, unworkable, and unsatisfactory, no one ever attempted to employ it either commercially or scientifically. In publishing his first process, with its working details, Daguerre appears to have surrendered all that he knew, and to have been incapable of carrying his discovery to a higher degree of advancement. Without Mr. Goddard's bromine accelerator and M. Fizeau's chloride of gold fixer and invigorator, the Daguerreotype would never have been either a commercial success or a permanent production.

1840 was almost as important a period in the annals of photography as the year of its enunciation, and to the two valuable improvements and one interesting importation, the Daguerreotype process was indebted for its success all over the world; and photography, even as it is practised now, is probably indebted for its present state of advancement to Mr. John Frederick Goddard, who applied bromine, as an accelerator, to the Daguerreotype process this year. In the early part of the Daguerreotype period it was so insensitive there was very little prospect of being able to take portraits with it through a lens. To meet this difficulty Mr. Wolcott, an American optician, constructed a reflecting camera and brought it to London. It was an ingenious contrivance, but did not fully answer the expectations of the inventor. It certainly did not require such a long exposure with this camera as when the rays from the image or sitter passed through a lens; but, as the sensitised plate was placed _between_ the sitter and the reflector, the picture was necessarily small, and neither very sharp nor satisfactory. This was a mechanical contrivance to shorten the time of exposure, which partially succeeded, but it was chemistry, and not mechanics, that effected the desirable result. Both Mr. Goddard and M. Antoine F. J. Claudet, of London, employed chlorine as a means of increasing the sensitiveness of the iodised silver plate, but it was not sufficiently accelerative to meet the requirements of the Daguerreotype process. Subsequently Mr. Goddard discovered that the vapour of bromine, added to that of iodine, imparted an extraordinary degree of sensitiveness to the prepared plate, and reduced the time of sitting from minutes to seconds. The addition of the fumes of bromine to those of iodine formed a compound of bromo-iodide of silver on the surface of the Daguerreotype plate, and not only increased the sensitiveness, but added to the strength and beauty of the resulting picture, and M. Fizeau's method of precipitating a film of gold over the whole surface of the plate still further increased the brilliancy of the picture and ensured its permanency. I have many Daguerreotypes in my possession now that were made over forty years ago, and they are as brilliant and perfect as they were on the day they were taken. I fear no one can say the same for any of Fox Talbot's early prints, or even more recent examples of silver printing.

Another important event of this year was the importation of the first photographic lens, camera, &c., into England. These articles were brought from Paris by Sir Hussey Vivian, present M.P. for Glamorganshire (1889). It was the first lot of such articles that the Custom House officers had seen, and they were at a loss to know how to classify it. Finally they passed it under the general head of Optical Instruments. Sir Hussey told me this, himself, several years before he was made a baronet. What changes fifty years have wrought even in the duties of Custom House officers, for the imports and exports of photographic apparatus and materials must now amount to many thousands per annum!

Having described the conditions and state of progress photography had attained at the time of my first contact with it, I think I may now enter into greater details, and relate my own personal experiences from this period right up to the end of its jubilee celebration.

I was just fourteen years old when photography was made practicable by the publication of the two processes, one by Daguerre, and the other by Fox Talbot, and when I heard or read of the wonderful discovery I was fired with a desire to obtain a sight of these "sun-pictures," but the fire was kept smouldering for some time before my desire was gratified. Nothing travelled very fast in those days. Railroads had not long been started, and were not very extensively developed. Telegraphy, by electricity, was almost unknown, and I was a fixture, having just been apprenticed to an engraving firm hundreds of miles from London. But at last I caught sight of one of those marvellous drawings made by the sun in the window of the Post Office of my native town. It was a small Daguerreotype which had been sent there along with a notice that a licence to practise the "art" could be obtained of the patentee. I forget now what amount the patentee demanded for a licence, but I know that at the time referred to it was so far beyond my means and hopes that I never entertained the idea of becoming a licencee. I believe some one in the neighbourhood bought a licence, but either could not or did not make use of it commercially.

Some time after that, a Miss Wigley, from London, came to the town to practise Daguerreotyping, but she did not remain long, and could not, I think, have made a profitable visit. If so, it could scarcely be wondered at, for the sun-pictures of that period were such thin, shimmering reflections, and distortions of the human face divine, that very few people were impressed either by the process or the newest wonder of the world. At that early period of photography, the plates were so insensitive, the sittings so long, and the conditions so terrible, it was not easy to induce anyone either to undergo the ordeal of sitting, or to pay the sum of twenty-one shillings for a very small and unsatisfactory portrait. In the infancy of the Daguerreotype process, the sitters were all placed out-of-doors, in direct sunshine, which naturally made them screw up or shut their eyes, and every feature glistened, and was painfully revealed. Many amusing stories have been told about the trials, mishaps, and disappointments attending those long and painful sittings, but the best that ever came to my knowledge was the following. In the earliest of the forties, a young lady went a considerable distance, in Yorkshire, to sit to an itinerant Daguerreotypist for her portrait, and, being limited for time, could only give one sitting. She was placed before the camera, the slide drawn, lens uncapped, and requested to sit there until the Daguerreotypist returned. He went away, probably to put his "mercury box" in order, or to have a smoke, for it was irksome--both to sitter and operator--to sit or stand doing nothing during those necessarily long exposures. When the operator returned, after an absence of fifteen or twenty minutes, the lady was sitting where he left her, and appeared glad to be relieved from her constrained position. She departed, and he proceeded with the development of the picture. The plate was examined from time to time, in the usual way, but there was no appearance of the lady. The ground, the wall, and the chair whereon she sat, were all visible, but the image of the lady was not; and the operator was completely puzzled, if not alarmed. He left the lady sitting, and found her sitting when he returned, so he was quite unable to account for her mysterious non-appearance in the picture. The mystery was, however, explained in a few days, when the lady called for her portrait, for she admitted that she got up and walked about as soon as he left her, and only sat down again when she heard him returning. The necessity of remaining before the camera was not recognised by that sitter. I afterwards reversed that result myself by focussing the chair, drawing the slide, uncapping the lens, sitting down, and rising leisurely to cap the lens again, and obtained a good portrait without showing a ghost of the chair or anything else. The foregoing is evidence of the insensitiveness of the plates at that early period of the practice of photography; but that state of inertion did not continue long, for as soon as the accelerating properties of bromine became generally known, the time of sitting was greatly reduced, and good Daguerreotype views were obtained by simply uncapping the lens as quickly as possible. I have taken excellent views in that manner myself in England, and, when in America, I obtained instantaneous views of Niagara Falls and other places quite as rapidly and as perfect as any instantaneous views made on gelatine dry plates, one of which I have copied and enlarged to 12 by 10 inches, and may possibly reproduce the small copy in these pages.