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Excerpt ​

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

In going over the plate, great care should be observed, in touching its
surface as equally as possible. The greatest care should be taken
neither to touch the plate with the fingers, nor that part of the
cotton flannel which is to come in contact with its surface; take a
clean piece of flannel by one corner, snap it smartly to free it from
dust and loose fibres, lay it face-side upward, dust on a little fine
rotten stone; with this, polish around, or across, or in circles,
lightly and briskly, passing gradually over the whole surface of the
plate, as was done before with the wet. The plate should now exhibit a
bright, clear, uniform surface, with a strong metallic lustre,
perfectly free from any appearance of film; if not, the last polished
should be continued until the effect is obtained, and when once
obtained, the plate is ready for buffing.

Buffing the Plate.—There are a variety of ways and means employed in
this part of the operation. Some choose wheels, and others prefer the
ordinary hand-buff. I have been unable to detect any peculiar advantage
in the use of the wheel except in the facility of the operation; no
doubt, however, but there is a saving of time, particularly in the
preparation of the larger plates. For general use, we have not seen a
wheel better adapted for this purpose than the one patented by Messrs.
Lewis.

It is generally well to use a hand-buff before placing the plate on the
wheel; this is in order to prevent, as far as possible, the dust or
other substance that may be on the surface of the plate from coming in
contact with the cover of the wheel. I will here follow out the use of
the hand-buffs (two are necessary) as they are mostly used.

Explanation ​

This excerpt from The American Hand-Book of the Daguerreotype (1858) by Samuel Dwight Humphrey is a practical, instructional guide for preparing a daguerreotype plate—a polished silver-coated copper plate used in early photography. The passage reflects the meticulous, labor-intensive process of daguerreotypy, the first commercially successful photographic method (invented by Louis Daguerre in 1839). Below is a detailed breakdown of the text, its context, themes, literary devices, and significance, with a focus on the technical precision and rhetorical strategies employed.

1. Context & Background ​

  • Daguerreotypy as a Process: The daguerreotype was the dominant form of photography from 1839 to the mid-1850s. Unlike later photographic methods, it produced a unique, direct-positive image on a highly polished silver plate, requiring extreme care in preparation.
  • Humphrey’s Role: S.D. Humphrey was a pioneering American daguerreotypist, instructor, and entrepreneur who wrote manuals to standardize the process. His handbook was aimed at amateur and professional practitioners, reflecting the democratization of photography in the mid-19th century.
  • Historical Significance: The passage captures the craftsmanship and artisanal skill required before photography became mechanized. The daguerreotype’s decline (due to cheaper, reproducible methods like the ambrotype and tintype) makes this text a historical artifact of early photographic labor.

2. Themes in the Excerpt ​

A. Precision & Control ​

The text emphasizes exactitude in every step, reinforcing that daguerreotypy was as much a scientific procedure as an artistic one. Key examples:

  • "Great care should be observed" (repeated emphasis on caution).
  • "Neither to touch the plate with the fingers" (avoiding contamination).
  • "Lightly and briskly, passing gradually over the whole surface" (controlled, methodical motion).
  • "Perfectly free from any appearance of film" (the ideal outcome).

This reflects the fragility of the medium—any imperfection (fingerprints, dust, uneven polishing) would ruin the image.

B. Craftsmanship vs. Industrialization ​

Humphrey discusses hand-buffing vs. wheel-buffing, revealing a tension between:

  • Traditional craft (hand-polishing, tactile skill).
  • Emerging mechanization (wheels for efficiency, patented tools like "Messrs. Lewis"’s wheel).

This mirrors the broader 19th-century shift from artisan labor to industrial production.

C. Authority & Instruction ​

The didactic tone establishes Humphrey as an expert guiding novices. Phrases like:

  • "It is generally well to..." (advisory, based on experience).
  • "I have been unable to detect any peculiar advantage..." (personal judgment).
  • "I will here follow out the use of the hand-buffs..." (directing the reader).

This rhetorical authority was crucial in an era when photography was still mysterious and experimental.

3. Literary & Rhetorical Devices ​

A. Imperative Mood (Commands) ​

The text is procedural, using direct commands to ensure clarity:

  • "Take a clean piece of flannel..."
  • "Lay it face-side upward..."
  • "Polish around, or across, or in circles..."

This step-by-step structure mirrors scientific or technical writing, leaving no room for ambiguity.

B. Sensory & Tactile Imagery ​

Humphrey appeals to touch and sight to describe the ideal plate:

  • "Bright, clear, uniform surface" (visual).
  • "Strong metallic lustre" (reflective quality).
  • "Snap it smartly to free it from dust" (auditory and tactile).

This immerses the reader in the physicality of the process.

C. Comparative Language (Hand vs. Wheel) ​

Humphrey weighs options without outright dismissal:

  • "Some choose wheels, and others prefer the ordinary hand-buff."
  • "No doubt... there is a saving of time..." (acknowledges efficiency).
  • "For general use, we have not seen a wheel better adapted..." (qualified endorsement).

This balanced rhetoric suggests pragmatism—neither method is perfect, but each has its place.

D. Repetition for Emphasis ​

  • "Great care should be observed" (twice in the first sentence).
  • "Lightly and briskly" (reinforcing the motion).
  • "Perfectly free from any appearance of film" (stressing the goal).

Repetition drills the instructions into the reader’s mind, emphasizing no margin for error.

4. Significance of the Passage ​

A. Historical Insight into Early Photography ​

The excerpt demonstrates the labor behind 19th-century images, contrasting with today’s instant digital photography. It highlights:

  • The physicality of making a photograph (polishing, buffing, handling chemicals).
  • The skill gap—daguerreotypy required training and patience, unlike modern point-and-shoot cameras.

B. The Daguerreotype as a "Mirror with a Memory" ​

The polished silver plate was literally a mirror before exposure. The text’s focus on achieving a "bright, clear, uniform surface" underscores how daguerreotypes were both scientific tools and magical objects—capturing reality with eerie precision.

C. The Democratization of Knowledge ​

Humphrey’s manual was part of a wave of 19th-century "how-to" books that made complex techniques accessible. This reflects the Victorian era’s faith in progress and self-improvement, where amateurs could master professional skills through printed guides.

D. The Ephemerality of Early Photographic Processes ​

The daguerreotype’s obsoleteness by the 1860s makes this text a time capsule. The detailed, almost obsessive instructions reveal a lost world of photographic craft, where each plate was a one-of-a-kind object.

5. Close Reading of Key Lines ​

"The plate should now exhibit a bright, clear, uniform surface, with a strong metallic lustre, perfectly free from any appearance of film..." ​

  • "Bright, clear, uniform": The triple adjectives emphasize the ideal state—any deviation would ruin the image.
  • "Metallic lustre": The plate must be mirror-like, as the daguerreotype’s image forms on this reflective surface.
  • "Perfectly free": The absolute language ("perfectly") shows no tolerance for error—a single flaw could scatter light and spoil the exposure.

"I have been unable to detect any peculiar advantage in the use of the wheel except in the facility of the operation..." ​

  • "Peculiar advantage": Humphrey downplays the wheel’s benefits, suggesting hand-buffing may be superior in quality.
  • "Facility of the operation": The wheel’s only real benefit is speed, not precision—a trade-off between craft and efficiency.

6. Connection to Broader Literary & Cultural Movements ​

  • Realism & Scientific Precision: The daguerreotype’s hyper-detailed images aligned with 19th-century realism in literature (e.g., Dickens, Balzac). Humphrey’s technical exactitude mirrors this obsession with accuracy.
  • The Cult of the Handmade: The artisanal focus contrasts with the Industrial Revolution’s mass production, reflecting Romantic-era values (e.g., William Morris’s Arts and Crafts Movement).
  • Photography as Magic & Science: Early photography was seen as both a scientific breakthrough and a mystical process (e.g., Oliver Wendell Holmes’ 1859 essay "The Stereoscope and the Stereograph" called the daguerreotype a "mirror with a memory").

7. Conclusion: Why This Passage Matters ​

This excerpt is more than a dry technical manual—it is a window into the material culture of early photography. Humphrey’s precise, authoritative prose reveals:

  1. The physical labor behind 19th-century images.
  2. The transition from craft to industry in photographic methods.
  3. The democratization of knowledge through instructional texts.
  4. The ephemeral nature of technological progress—daguerreotypy was cutting-edge in 1858 but obsolete within a decade.

By studying this passage, we gain not just historical knowledge, but an appreciation for the tactile, painstaking artistry that defined photography’s infancy—an artistry now lost to automation.

Would you like any further analysis on specific aspects, such as the scientific language or comparisons to other 19th-century technical writing?