A Manual of the Collodion Photographic Process - Preface
By Frederick Scott Archer
Contents
Part 1
Part 2
- Preparation of Collodion Film
- Immersion of Plate in the Bath
- Exposure of the Prepared Plate to the Action of Light
- Development of the Image
- Fixing of the Image
PART III
- The Whitening Process
- The Camera
- Description of the Camera
- Glass Bath
- Photographic Lens
- Summary of Precautions
- Conclusion
PREFACE
The Collodion Process I am about to describe, and to the elucidation of which I am anxious to devote my attention in the present manual, has already, since I first introduced it in the spring of last year, produced many beautiful results; and the facility of its manipulation offers a valuable and ready assistant to the artist, and to those who are desirous of obtaining transcripts of nature, without the exaggerated drawing, and false light and shade, now so much adopted in the various illustrated works of the day.
Some persons express disappointment on viewing the productions of this art, because they do not find those sudden contrasts which are generally the exaggerations of the draughtsman, aiming at the improvement of his model.
The reverse of this ought to be the feeling of the true artist, who should avail himself of these faithful delineations of nature to restrain the freedom of his pencil.
Many imagine that Photography may take the place of the painter’s art, as more likely to give faithful portraiture, and correct views of character and detail; but it is not in this light that I look upon it as performing its true office, for the character and expression of the features are so continually varying, that in this, as in the painter’s art, the same watchfulness and observation of character are necessary, and the same artistic arrangement is required.
A certain general expression must be sought for. Who has not observed too often in portraiture the want of that general expression? the absence of which mars the otherwise correct delineation of the features.
It is not my intention to enter into any detailed historical account of Photography generally, but to confine myself to matter relating to the Collodion process; and to give such instruction and advice in the manipulation, without entering into too much detail, as I consider will be of service to those who are for the first time about to work this process, and who are but little, if at all, acquainted with the art generally.
It will, however, be as well to say afew words in reference to the various experiments which led me to adopt collodion as a material so well adapted for receiving the chemical agents ne- cessary in this beautiful art.
In the account I published in the “ Chemist” of March last year, the difficulties attending the use of paper were spoken of as being too great ever to be overcome, on account of the unevenness of its texture, and other defects.
These considerations eventually induced me to abandon its use, and seek for some other substance equally applicable; and it certainly is remarkable, that a material which may be called a modification of paper, should be found so well to answer the purpose required.
My first attempts with collodion were directed to the improvement of the surface of paper, by spreading over one side a thick solution of collodion. These essays were not successful, for after the necessary washing, &c. in the process, the collodion film did not adhere to the paper sufficiently to be of any use.
However, previous to and during the progress of these experiments, I was trying various other substances as media, for holding the chemical agent—Zyloidin, other modifications of starch, extremely fine paper pulp, tannogelatine solutions, and several combinations of albumen. Each had its turn, and it was only after repeated experiments in numerous ways that I decided on collodion, as being the best, and at the same time the most available substitute for paper. Its exceeding ease of manipulation, and the brilliancy of the pictures obtained with it, cannot fail to strike every one who sees them; and justifies me in the opinion I entertain of its great value and practical im- portance.
The strength of the film allows the removal of the drawing from the glass on which it has been produced, and this is a most distinctive feature in the process.
The readiness with which the film can = produced on glass, without the previous preparation so tedious in other processes, also gives it great practical value, particularly to those who have not much leisure to devote to the art.
It is difficult to say who first attempted to use collodion in photography, and it will hardly be a matter of much importance to pursue this inquiry; but the first publication in which it was alluded to, was that of M. G. le Gray, of Paris, and then only incidentally, as a substance which might possibly be made available.
There is no doubt that many tried it previously to this, but as their experiments produced no results, and led to no practical end, their claims to the first use of collodion cannot be considered of much value.
FRED. SCOTT ARCHER.
14th March, 1852.