Kitabı oku: «The Evolution of Photography», sayfa 9
Every year compels me to record the death of some old and experienced photographer, or some artist associated with photography from its earliest introduction. Among the latter was Norman Macbeth, R.S.A., an eminent portrait painter, who was quick to see and ready to avail himself of the invaluable services of a new art, or means of improving art, both in drawing and detail, and make the newly-discovered power a help in his own labours, and an economiser of the time of his sitters. The first time I had the pleasure of meeting him was in Glasgow in 1855, when he brought one of his sitters to me to be Daguerreotyped, and he preferred a Daguerreotype as long as he could get one, on account of its extreme delicacy and details in the shadows; but he could not obtain any more Daguerreotypes after 1857, for at that time I abandoned the Daguerreotype for ever, and was the last to practise the process in Glasgow, and probably throughout Great Britain.
From the time that Mr. Macbeth commenced taking photographs himself, he took a keen interest in photography to the last, and only about a month before he died, he read an able, instructive, and interesting paper on the “Construction and Requirements of Portrait Art” before the members of the London and Provincial Photographic Association; and that paper should be in the possession, and frequent perusal, of every student of photographic portraiture. Although an artist in feeling and by profession, Mr. Macbeth was no niggard in his praises of artistic photography, and I have frequently heard him expatiate lovingly on the artistic productions of Rejlander, Robinson, and Hubbard; but, like all artists, he abominated retouching, and denounced it in the strongest terms, and regretted its prevalence and practice as destructive of truth, and “truth in photography,” he used to say, “was its greatest recommendation.”
The annals of 1889—the jubilee year of published and commercial photography—commence with the record of death. On the 21st of January, Mr. John Robert Sawyer died at Naples in the 61st year of his age. Mr. Sawyer had been for many years a member of the Autotype Company, and his foresight and indefatigability were largely instrumental in making that Company a commercial success. It was anything but a success from the time that it was commenced by the late Mr. Winsor and Mr. J. R. Johnson, but from the moment that Mr. J. R. Sawyer became “director of works,” the company rapidly became a flourishing concern, and possesses now a world-wide reputation. Mr. Sawyer was one of the early workers in photography, and for several years conducted a photographic business in the city of Norwich. It was there that circumstances induced him to give his attention to some form of permanent photography with the view of employing it to illustrate a work on the carving and sculpture in Norwich Cathedral, particularly the fine work in the roof of the nave. Mr. Sawyer naturally turned his attention, in the first place, to the autotype process, but it was then in its infancy, and the price prohibitory. The collotype process then became his hope and refuge, but that also was in its infancy, and not practised in England. Mr. Sawyer therefore started for Berlin early in 1869, and there met a certain Herr Ghémoser, a clever expert in the collotype process, from whom he obtained valuable information and working instructions. On his return home, Mr. Sawyer laboured at the collotype process until he overcame most of its difficulties, and on January 1st, 1871, he entered into partnership with Mr. Walter Bird, and removed to London with the intention of making the collotype process a feature in the business. Messrs. Sawyer and Bird commenced their London experiences in Regent Street, but on January 1st, 1872, they entered into an agreement with the Autotype Fine Art Company to work the collotype process as a branch of their business. Meanwhile, another partner, Mr. John Spencer, had joined the firm, and at the end of that year Messrs. Spencer, Sawyer, Bird and Co. purchased the Autotype patents, plant, and stock at Ealing Dene, and all its interest in the wholesale trade; and, in 1874, they bought up the whole of the Fine Art business, including the stock in Rathbone Place, and became the Autotype Company.
The great photographic feature of this year was the Convention held on August 19th in St. James’s Hall, Regent Street, London, in celebration of the jubilee of practical photography, which was inaugurated by the delivery of an address by the president, Mr. Andrew Pringle. The address was a fairly good résumé of all that had been done for the advancement of photography during the past fifty years.
The exhibition of photographs was somewhat of a failure; little was shown that possessed any historical interest, and that little was contributed by myself. There was a considerable display of apparatus of almost every description, but there was nothing that had not been seen, or could have been seen, in the shops of the exhibitors.
The papers that were read were of considerable interest, and imparted no small amount of information, especially Mr. Thos. R. Dallmeyer’s on “False Rendering of Photographic Images by the Misapplication of Lenses”; Mr. C. H. Bothamley’s on “Orthochromatic Photography with Gelatine Plates”; Mr. Thomas Bolas’s on “The Photo-mechanical Printing Methods as employed in the Jubilee Year of Photography”; but by far the most popular, wonderful, and instructive, was Professor E. Muybridge’s lecture, with illustrations, on “The Movements of Animals.” The sight of the formidable batteries of lenses was startling enough, but when the actions of the horse, and other animals, were shown in the “Zoopraxiscope,” the effect on the sense of sight was both astounding and convincing, and I began to marvel how artists could have lived and laboured in the wrong direction for so many years, especially when the lecturer showed that a prehistoric artist had scratched on a bone a rude but truthful representation of an animal in motion. Both the sight and intelligence of that prehistoric artist must have been keener than the senses of animal painters of the nineteenth century.
Taking it all in all, the Jubilee Convention was an immense success, and brought photographers and amateurs to London from the most distant parts of the country. Looking round the Hall on the opening night, and scanning the features of those present, I was coming to the conclusion that I was the oldest photographer present, when I espied Mr. Baynham Jones, a man of eighty-three winters, and certainly the oldest amateur photographer living; so I willingly ceded the honour of seniority to him, and as soon as he espied me he clambered over the rails to come and sit at my side and talk over the past, and quite unknown to many present, aspects and difficulties of photography. Mr. Baynham Jones was an enthusiastic photographer from the very first, for in 1839, as soon as Daguerre’s process was published, he made himself a camera out of a cigar-box and the lens of his opera-glass, and, being unable to obtain a Daguerreotype plate in the country, he cut up a silver salver and worked away on a solid silver plate until he succeeded in making a Daguerreotype picture. Mr. Baynham Jones was not the first photographer in this country, for the Rev. J. B. Reade preceded him by about two years; but I have not the slightest doubt of his being the first Daguerreotypist in England, and in that jubilee year of 1889 he was working with gelatine plates and films, and enthusiastic enough to come all the way from Cheltenham to London to attend the meetings of the Jubilee Convention of Photography.
With this brief allusion to the doings and attractions of the Jubilee Convention, I fear I must bring my reminiscences of photography to a close; but before doing so I feel it incumbent on me to call attention to the fact that two years after celebrating the jubilee of photography we should, paradoxical as it may appear, celebrate its centenary, for in 1791 the first photographic picture that ever was made, seen, or heard tell of, was produced by Thomas Wedgwood, and though he was unable to fix it and enable us to look upon that wonder to-day, the honour of being the first photographer, in its truest sense, is unquestionably due to an Englishman. Thomas Wedgwood made photographic pictures on paper, and there they remained until light or time obliterated them; whereas J. H. Schulze, a German physician, only obtained impressions of letters on a semi-liquid chloride of silver in a bottle, and at every shake of the hand the meagre impression was instantly destroyed. If we consider such men as Niépce, Reade, Daguerre, and Fox Talbot the fathers of photography, we cannot but look upon Thomas Wedgwood as the Grand Father, and the centenary of his first achievement should be celebrated with becoming honour as the English centenary of photography.
CHRONOLOGICAL RECORD OF
INVENTIONS, DISCOVERIES, PUBLICATIONS, AND APPLIANCES, FORMING FACTORS IN THE INCEPTION, DISCOVERY, AND DEVELOPMENT OF PHOTOGRAPHY
1432 B.C. Iron said to have been first discovered.
424 B.C. Lenses made and used by the Greeks. And a lens has been found in the ruins of Nineveh.
79 A.D. Glass known and used by the Romans.
697. Glass brought to England.
1100. Alcohol first obtained by the alchemist, Abucasis.
1287. Nitric acid first obtained by Raymond Lully. Present properties made known by Dr. Priestley, 1785.
1297. Camera-obscura constructed by Roger Bacon.
1400. Chloride of gold solution known to Basil Valentine.
1500. Camera-obscura improved by Baptista Porta.
1555. Chloride of silver blackening by the action of light. Doubtless it was the knowledge of this that induced Thomas Wedgwood and Sir Humphry Davy to make their experiments.
1590. Paper first made in England, at Dartford, Kent, by Sir John Speilman. It is said that the Chinese made paper 170 years B.C.
1646. Magic lantern invented by Athanasius Kircher.
1666. Sir Isaac Newton divided a sunbeam into its seven component parts, and re-constructed the camera-obscura.
1670. Salt mines of Staffordshire discovered.
1727. J. H. Schulze, a German physician, observed that light blackened chalk impregnated with nitrate of silver solution and gold chloride.
1737. Solution of nitrate of silver applied to paper, by Hellot.
1739. Chloride of mercury made by K. Neumann.
1741. Platinum first known in Europe: M. H. St. Claire Deville’s new method of obtaining it from the ore, 1859.
1750. J. Dolland, London, first made double achromatic compound lenses.
1757. Chloride of silver made by J. B. Beccarius.
1774. Dr. Priestly discovered ammonia to be composed of nitrogen and hydrogen; but ammonia is as old as the first decomposition of organic matter.
1777. Charles William Scheele observed that the violet end of the spectrum blackened chloride of silver more rapidly than the red end. Chlorine discovered.
1779. Oxalate of silver made by Bergmann.
1789. Uranium obtained from pitch-blende by Klaproth.
1791. Thomas Wedgwood commenced experiments with a solution of nitrate of silver spread upon paper and white leather, and obtained impressions of semi-transparent objects and cast shadows. Sir Humphry Davy joined him later.
1797. Nitrate of silver on silk by Fulhame.
1799. Hyposulphite of soda discovered by M. Chaussier.
1800. John William Ritter, of Samitz, in Silesia, observed that chloride of silver blackened beyond the violet end of the spectrum, thus discovering the action of the ultra violet ray.
1801. Potassium discovered by Sir Humphry Davy.
1802. Examples of Heliotypes, by Wedgwood and Davy, exhibited at the Royal Institution, and process published.
1803. Palladium discovered in platinum by Dr. Wollaston.
1808. Strontium obtained from carbonate of strontia by Sir Humphry Davy.
1812. Iodine discovered by M. D. Curtois, of Paris.
– Nitrate of silver and albumen employed by D. Fischer.
1813. Ditto investigated by M. Clement.
1814. Joseph Nicéphore de Niépce commenced experiments with the hope of securing the pictures as seen in the camera-obscura.
– Iodide of silver made by Sir H. Davy.
1819. Sir John Herschel published the fact that hyposulphite of soda dissolved chloride and other salts of silver.
1824. Niépce obtained pictures in the camera-obscura upon metal plates coated with asphaltum, or bitumen of Judea.
– L. G. M. Daguerre commenced his researches.
– Permanganate of potash. Fromenkerz.
1826. Bromine discovered in sea-water by M. Balard.
– Bromine of silver made.
1827. Niépce exhibited his pictures in England, and left one or more, now in the British Museum.
1829. Niépce and Daguerre entered into an alliance to pursue their researches mutually.
1832. Evidence of Daguerre employing iodine.
1837. Rev. J. B. Reade, of Clapham, London, obtained a photograph in the solar microscope, and employed tannin as an accelerator and hyposulphite of soda as a fixer for the first time in photography.
1838. Reflecting stereoscope exhibited by Charles Wheatstone.
– Mungo Ponton observed that light altered and hardened bichromate of potash, and produced yellow photographs with that material. This discovery led to the invention of the Autotype, Woodburytype, Collotype, and other methods of photo-mechanical printing.
1839. Daguerre’s success communicated to the Academy of Science, Paris, by M. Arago, January 7th.
– 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.
