Article #167-1 | Gutenberg Articles

Excerpt

Excerpt from American Hand Book of the Daguerreotype, by S. D. Humphrey

About the same time, Mr. John Goddard, of London (who was associated
with myself), discovered a rather valuable combination of chemicals,
consisting of a mixture of iodine, bromine, iodus, and iodic acid, and
a proper combination of those bodies gave an action somewhat more
sensitive than chloride of iodine—but the “high lights” of the
portraits would become solarized or overdone, more frequently with this
combination than with the chloride of iodine. Throughout the year 1841,
I used, with great success, chloride of iodine, applied as one
coating—occasionally in conjunction with Mr. Wolcott, attempting the
use of iodine, bromine, and chlorine, and at times with more or less
success. The difficulty of exactly combining, the three elements above
mentioned, in order to produce a certainty of result with harmony of
effect, was the work of many months, with great labor and study, the
slightest modification requiring a long, series of practical
experiments, a single change consuming, frequently, an entire day in
instituting comparisons, etc., etc.

Early in the year, 1842, I discovered a combination of chemicals (now
known in London as “Wolcott’s Mixture,” in hermetically sealed bulbs)
of exceeding uniform character, very sensitive to the action of light,
and specimens produced in 1842-3, with this combination, will bear
comparison with the best specimens produced at this late date.

About the same time, I discovered that however much overdone a
Daguerreotype might be, the means were at hand to save or redeem it. It
has long, since been known to operators, that if a plate be exposed to
light after being coated, unless it be again coated, a clear and
distinct picture could not be obtained upon the same plate without
first repolishing and recoating the same, care being taken that no
light fall upon the prepared surface. To prevent solarization, coat a
plate as usual, expose to the action of light any required time
(according to circumstances), say from quarter to one half more time
than would be required in the ordinary method of procedure; observe,
before putting the plate in the mercury box, place it over the vapor of
iodine, bromine, or chlorine, etc. (carefully excluding the light), for
a very brief period, great care being required to have the selected
vapor very much diluted with air, in order to success. Many experiments
will be required ere arriving at satisfactory results. Specimens now
unknown to general operators, for harmony of effect, have been, and may
again be produced by the method pointed out above. I have found the
best general effect, and the most certain result to follow from the use
of the vapor of chlorine—but this requires more than ordinary care. I
would, therefore, recommend the use of iodine. Thus: to a few grains of
iodine, add an ounce of warm water (which will become tinged with
iodine); when cold, to half a pint of pure water in a new and clean
coating box, put, of the above, fifty drops; stir and mix well this
small quantity of iodine in with the water; in ten minutes this box
will be ready for use. Great care and judgment will be required in the
application of this vapor to the plate; if the plate remain over the
vapor too long, the developed picture will have a faint and misty
appearance; if not exposed long enough, the “high light” will be
solarized. I have great hope of the ultimate use of this process, as it
is the only means yet discovered to be enabled to secure specimens of
extremes of light and shade, yet producing harmony of effect; and I
would call the attention of the profession to the fact, that a plate
may be exposed to the action of light for any length of time (a
thousand times longer than required to act for the lesser quantity of
mercury to deposit itself, or that amount necessary to form a perfect
specimen), and be restored by the application of any of the vapors
above mentioned, remarking that for extremes for solarization, denser
vapors will be required. Much remains to be done with this discovery to
the application of the Daguerreotype.

Explanation

This excerpt from The American Hand-Book of the Daguerreotype (1858) by Samuel Dwight Humphrey is a technical yet revealing passage that blends scientific experimentation, artistic craftsmanship, and the challenges of early photography. Written during the daguerreotype’s heyday (1839–1860s), the text reflects the trial-and-error process of perfecting photographic chemistry, while also hinting at broader themes of innovation, precision, and the intersection of art and science. Below is a detailed breakdown of the excerpt, focusing on its content, literary techniques, historical context, and significance.

1. Context & Background

The Daguerreotype Process: Invented by Louis Daguerre in 1839, the daguerreotype was the first practical photographic method, producing highly detailed images on silver-plated copper sheets. The process involved polishing the plate, sensitizing it with chemical vapors (like iodine), exposing it to light in a camera, developing it with mercury vapor, and fixing the image with sodium thiosulfate.
Samuel D. Humphrey: A prominent American daguerreotypist and inventor, Humphrey was known for his experimental approach to improving the process, particularly in chemical sensitizers and exposure techniques. His Hand-Book was a practical guide for professionals, blending empirical advice with personal discoveries.
Scientific & Artistic Challenges: Early photographers struggled with inconsistent results, solarization (over-exposure), and the delicate balance of chemicals. Humphrey’s work reflects the collaborative and competitive nature of 19th-century photographic innovation, with references to colleagues like John Goddard (London) and Alexander Wolcott (New York).

2. Themes in the Excerpt

A. The Pursuit of Precision & Control

The passage is obsessed with exactitude, emphasizing the laborious, iterative nature of photographic experimentation:

"The slightest modification requiring a long series of practical experiments" → Highlights the meticulous, time-consuming process of refining chemical combinations.
"Many experiments will be required ere arriving at satisfactory results" → Reinforces the trial-and-error methodology of early photography.
The specific measurements (e.g., "fifty drops" of iodine solution, "quarter to one half more time" for exposure) underscore the scientific rigor behind what was also an artistic medium.

B. Innovation & Discovery

Humphrey presents himself as a pioneer, documenting his personal breakthroughs:

"I discovered a combination of chemicals (now known in London as ‘Wolcott’s Mixture’)" → Claims credit for a widely used formula, suggesting international recognition.
"The only means yet discovered to... secure specimens of extremes of light and shade" → Positions his method as revolutionary, solving a key problem (solarization).
The collaborative yet competitive tone ("associated with myself," "attempting the use of iodine, bromine, and chlorine, and at times with more or less success") reflects the shared yet individualistic nature of 19th-century scientific progress.

C. Artistry vs. Science

While the text is technical, it also touches on aesthetic concerns:

"Harmony of effect" (repeated three times) → A photographic ideal, balancing technical precision with visual beauty.
"The ‘high lights’ of the portraits would become solarized or overdone" → Solarization (a reversal of tones due to over-exposure) was both a technical flaw and an artistic challenge.
The restorative process (using vapors to "redeem" over-exposed plates) suggests that photography was as much about correction as creation.

D. The Daguerreotype as a Fragile Medium

The excerpt reveals the ephemeral, unpredictable nature of early photography:

"If a plate be exposed to light after being coated... a clear and distinct picture could not be obtained" → Light sensitivity made the process highly perishable.
"Great care and judgment will be required" → The photographer’s skill and intuition were as crucial as the chemicals.
The hermetically sealed bulbs (for Wolcott’s Mixture) hint at the need for stability in an unstable process.

3. Literary Devices & Stylistic Choices

A. Technical Jargon & Precision

Humphrey’s prose is densely technical, using scientific terminology ("chloride of iodine," "iodic acid," "vapor of bromine") to establish authority and expertise.
Imperative mood ("observe," "place it over the vapor," "stir and mix well") → Gives the text a didactic, instructional tone, typical of 19th-century manuals.
Repetition of key phrases ("harmony of effect," "great care," "many experiments") → Emphasizes the recurring challenges of the process.

B. First-Person Narrative & Personal Authority

Humphrey centers himself in the narrative ("I discovered," "I have found," "I would recommend"), positioning the text as a personal account of discovery.
This subjective voice contrasts with the objective scientific details, blending memoir with manual.

C. Metaphor & Imagery

"High lights" → Literally refers to the brightest parts of a daguerreotype, but also metaphorically suggests the peaks of achievement in the process.
"Solarized or overdone" → Solarization (a photographic defect) is described almost like culinary overcooking, implying that photography was a delicate, craft-based process.
"Redeem" (to save an over-exposed plate) → Religious connotation, framing the photographer as a savior of lost images.

D. Hypothetical & Conditional Language

"If a plate be exposed... unless it be again coated" → Uses hypothetical scenarios to anticipate problems.
"Much remains to be done with this discovery" → Ends on an open-ended, forward-looking note, suggesting that photography is an evolving art.

4. Significance of the Excerpt

A. Historical Importance

The passage documents a critical moment in photographic history, when chemistry and artistry were inseparable.
Humphrey’s experimental approach reflects the broader 19th-century scientific ethos, where individual inventors (like Daguerre, Fox Talbot, and Wolcott) drove progress.
The international exchange of knowledge (e.g., "Wolcott’s Mixture" being known in London) shows how photography was a global collaborative effort.

B. Philosophical Implications

The struggle for control over the daguerreotype process mirrors human attempts to master nature through science.
The fragility of the medium (light sensitivity, chemical instability) parallels the ephemerality of memory and time, themes that would later dominate photographic theory.
The tension between precision and artistry foreshadows modern debates about photography as document vs. photography as art.

C. Influence on Later Photography

Humphrey’s restorative techniques prefigure later darkroom manipulation (e.g., dodging and burning in 20th-century photography).
His emphasis on "harmony of effect" anticipates pictorialism, a movement that valued aesthetic beauty over technical perfection.
The experimental spirit he embodies is foundational to alternative photographic processes (e.g., cyanotypes, gum bichromate).

5. Close Reading of Key Passages

Passage 1: The Problem of Solarization

"The ‘high lights’ of the portraits would become solarized or overdone, more frequently with this combination than with the chloride of iodine."

"High lights" = The brightest parts of the image (e.g., a subject’s forehead or jewelry).
"Solarized" = A defect where over-exposure reverses tones, turning highlights dark (named after the sun’s role in exposure).
The comparison to chloride of iodine suggests that new chemicals brought new problems, requiring adaptive solutions.

Passage 2: The Restorative Process

"I discovered that however much overdone a Daguerreotype might be, the means were at hand to save or redeem it... place it over the vapor of iodine, bromine, or chlorine (carefully excluding the light)."

"Redeem" implies a almost moral rescue of the image, elevating the photographer’s role.
The careful exclusion of light reinforces the daguerreotype’s sensitivity—light is both the creator and destroyer of the image.
The use of vapors shows how chemistry could correct mistakes, a precursor to modern post-processing.

Passage 3: The Ideal of Harmony

"The only means yet discovered to be enabled to secure specimens of extremes of light and shade, yet producing harmony of effect."

"Extremes of light and shade" = High contrast, a dramatic aesthetic prized in early photography.
"Harmony of effect" = The balance between technical sharpness and artistic cohesion.
This duality (precision vs. beauty) is central to photographic theory even today.

6. Conclusion: Why This Excerpt Matters

Humphrey’s passage is more than a technical manual—it is a window into the mind of an early photographic pioneer, revealing:

The painstaking, almost alchemical process of daguerreotypy.
The blurring of lines between science and art in 19th-century photography.
The collaborative yet competitive nature of invention.
The philosophical underpinnings of photography as a medium that captures, distorts, and redeems reality.

His obsessive attention to detail, personal voice, and optimistic experimentalism make this excerpt not just a historical document, but a literary snapshot of a transformative era in visual culture. The daguerreotype, with its mirror-like precision and ghostly imperfections, becomes a metaphor for humanity’s struggle to fix fleeting moments in time—a theme that resonates far beyond the 19th century.

Questions

Question 1

The passage’s repeated emphasis on "harmony of effect" serves primarily to:

A. contrast the mechanical precision of daguerreotypy with the subjective preferences of portrait sitters.
B. underscore the irreconcilable tension between scientific progress and artistic expression in early photography.
C. articulate an ideal in which technical mastery and aesthetic cohesion are mutually reinforcing rather than opposing forces.
D. critique the over-reliance on chemical experimentation at the expense of visual composition.
E. suggest that the pursuit of perfection in photography is inherently futile due to the medium’s inherent instability.

Question 2

The author’s description of the restorative process—using vapors to "redeem" over-exposed plates—is most analogous to which of the following scenarios?

A. A chef adjusting the seasoning of a dish after initially oversalting it.
B. A surgeon revising a botched procedure with a more precise instrument.
C. A musician tuning an instrument mid-performance to correct a discordant note.
D. A painter scraping away layers of oil paint to reveal an earlier, hidden composition.
E. An alchemist attempting to transmute base metals into gold through repeated distillation.

Question 3

The phrase "many experiments will be required ere arriving at satisfactory results" primarily functions to:

A. lament the inefficiency of 19th-century photographic methods compared to modern techniques.
B. imply that the daguerreotype process is fundamentally unpredictable and thus resistant to standardization.
C. suggest that the author’s discoveries are the result of serendipity rather than systematic inquiry.
D. reinforce the iterative, empirical nature of scientific progress in an era without theoretical frameworks.
E. criticize contemporary photographers for their reluctance to adopt new chemical combinations.

Question 4

The author’s assertion that "a plate may be exposed to the action of light for any length of time... and be restored" is most effectively interpreted as:

A. a hyperbolic claim intended to attract commercial interest in his methods.
B. an admission that the daguerreotype’s light sensitivity was its greatest technical flaw.
C. evidence that the chemical restoration process was more reliable than the initial exposure.
D. a metaphorical argument for the resilience of artistic vision in the face of material constraints.
E. a paradoxical celebration of the medium’s capacity for both destruction and salvation through human intervention.

Question 5

Which of the following best describes the relationship between the author’s tone and the subject matter?

A. Clinical detachment, reflecting the objective demands of scientific documentation.
B. Cautious optimism, tempering enthusiasm for discovery with acknowledgment of the process’s fragility.
C. Uncritical reverence, presenting the daguerreotype as a flawless union of art and science.
D. Defensive pride, anticipating skepticism from rival photographers.
E. Nostalgic resignation, mourning the obsolescence of early photographic techniques.

Solutions and Explanations

1) Correct answer: C

Why C is most correct: The passage repeatedly invokes "harmony of effect" not as a contrast or critique but as an ideal synthesis of technical precision ("extremes of light and shade") and aesthetic unity. The author’s focus on chemical experimentation (e.g., vapor restoration) and visual outcomes (e.g., avoiding solarization) demonstrates that these elements are interdependent, not antagonistic. The phrase encapsulates the daguerreotype’s dual nature as both a scientific process and an artistic medium, where mastery of one enables the other.