Article #168-1 | Gutenberg Articles

Excerpt

Excerpt from The History and Practice of the Art of Photography, by Henry Hunt Snelling

Bromine and Fluoric Acid, in combination, are used by some Daguerrean
artists as a sensitive, but any of the above compounds are better;
besides this, the fluoric acid is a dangerous poison, and the quick
made from it will not repay the risk to the health in using it.

As I have before said, great caution should be observed in examining
the color of the plate, even by the feeble light allowed, which, when
attained, must be immediately placed in the holder belonging to the
camera and covered with the dark slide. You then pass to the

THIRD OPERATION.--Submitting the Plate to the action of Light in the
Camera.--Experience alone must guide the operator as to the time the
plate should be exposed to the influence of the light; this being
dependent on a variety of circumstances, as clearness of the
atmosphere--and here, a reference to the hygrometer will be of
advantage--time of day, object to be taken, and the degree of
sensitiveness imparted to the plate by the quickstuff. As I have
before said, the artist should be careful to see that the interior of
the camera is clean and free from dust, as the small particles flying
about, or set in motion by the sliding of the holder into the box,
attach themselves to the plate, and cause the little black spots, by
which an otherwise good picture is frequently spoiled. Care should
also be taken in withdrawing the dark slide, in front of the plate,
from the holder, as the same effect may be produced by a too hasty
movement. The lens is the last thing to be uncovered, by withdrawing
the cap c. fig. 5., which should not be done until you have placed the
sitter in the most desirable position. When, according to the judgment
and experience of the operator, the plate has remained long enough to
receive a good impression, the cap is replaced over the lens, and the
dark slide over the plate, which is then removed from the camera.

Explanation

This excerpt from The History and Practice of the Art of Photography (1849) by Henry Hunt Snelling is a technical manual for early photographers working with the Daguerreotype process, the first commercially viable photographic method, invented by Louis Daguerre in 1839. Snelling, an American photographer and writer, was one of the first to document the practical aspects of Daguerreotypy in English, making his work a crucial resource for 19th-century practitioners. The passage provides step-by-step instructions for preparing and exposing a Daguerreotype plate, while also warning of hazards and common pitfalls.

Detailed Explanation of the Excerpt

1. Chemical Preparations & Warnings (First Paragraph)

"Bromine and Fluoric Acid, in combination, are used by some Daguerrean artists as a sensitive, but any of the above compounds are better; besides this, the fluoric acid is a dangerous poison, and the quick made from it will not repay the risk to the health in using it."

Context: The Daguerreotype process involved coating a silver-plated copper sheet with light-sensitive chemicals (called "quickstuff"). Photographers experimented with various compounds (iodine, bromine, chlorine) to increase sensitivity. Here, Snelling discourages the use of fluoric acid (hydrofluoric acid) and bromine due to toxicity and inefficiency.
Themes & Significance:
- Safety vs. Innovation: Early photography was hazardous, with chemicals like mercury (used in development) and hydrofluoric acid posing serious health risks. Snelling’s warning reflects the trial-and-error nature of 19th-century science and the lack of modern safety standards.
- Practicality over Experimentation: He suggests that while some artists try unconventional chemicals, proven methods (iodine vapor, for example) are more reliable.
Literary Devices:
- Juxtaposition: Contrasts the allure of experimental chemicals ("sensitive") with their dangers ("dangerous poison").
- Authoritative Tone: Snelling speaks as an expert, using directive language ("are better," "will not repay the risk") to guide practitioners.

2. Handling the Prepared Plate (Second Paragraph)

"As I have before said, great caution should be observed in examining the color of the plate, even by the feeble light allowed, which, when attained, must be immediately placed in the holder belonging to the camera and covered with the dark slide."

Process Explanation: After sensitizing the plate with chemicals, the photographer checks its color (typically a pale yellow or rosy hue, indicating proper iodization). However, even dim light can prematurely expose the plate, so it must be quickly loaded into the camera’s lightproof holder (the "dark slide").
Themes & Significance:
- Precision & Patience: Daguerreotypy required extreme care—a single misstep (like exposing the plate to light too soon) could ruin the image.
- The Ephemeral Nature of Early Photography: Unlike modern photography, where images can be reviewed instantly, Daguerreotypes were invisible until developed, making the process high-stakes and unpredictable.
Literary Devices:
- Repetition: "As I have before said" reinforces the importance of caution, a recurring theme in Snelling’s instructions.
- Urgency: Words like "immediately" and "feeble light allowed" convey the delicate, time-sensitive nature of the work.

3. Exposing the Plate in the Camera (Third Operation)

"THIRD OPERATION.--Submitting the Plate to the action of Light in the Camera.--Experience alone must guide the operator as to the time the plate should be exposed to the influence of the light; this being dependent on a variety of circumstances..."

Process Explanation: The exposure phase is where the latent image is formed on the plate. Snelling lists variables affecting exposure time:
- Atmospheric conditions (clear vs. overcast skies—hence the reference to a hygrometer, a device measuring humidity).
- Time of day (bright midday light vs. dim evening light).
- Subject matter (a dark object requires more light than a light one).
- Plate sensitivity (how well the "quickstuff" was applied).
The photographer must also:
- Ensure the camera interior is dust-free (particles could create black spots on the final image).
- Remove the dark slide carefully (sudden movements could dislodge dust).
- Uncover the lens only after positioning the sitter (to avoid wasted exposure).
- Recap the lens once the exposure is judged complete.
Themes & Significance:
- Artistry vs. Science: While photography is often seen as a mechanical process, Snelling emphasizes subjective judgment ("according to the judgment and experience of the operator"). This blurs the line between technician and artist.
- The Unpredictability of Nature: The reliance on weather, light, and chemistry highlights how early photographers were at the mercy of external factors beyond their control.
- The Problem of Dust: A recurring issue in 19th-century photography, dust could ruin an otherwise perfect image, forcing photographers to work in controlled environments.
Literary Devices:
- Enumeration: Snelling lists variables (clearness of atmosphere, time of day, etc.) to emphasize the complexity of the process.
- Metaphorical Language: The plate "receives a good impression" likens photography to a passive, almost organic process, as if the plate is absorbing light like a sponge.
- Imperative Mood: Commands like "Care should also be taken" and "the cap is replaced" reinforce the step-by-step, no-room-for-error nature of the work.

Broader Significance of the Passage

Historical Context:
- This text captures the early days of photography, when the medium was both a scientific marvel and a dangerous craft.
- The Daguerreotype was expensive, fragile, and unique (no negatives meant each image was one-of-a-kind), making photography a luxury reserved for portraits and special occasions.
Technological Evolution:
- Snelling’s instructions reflect the labor-intensive nature of pre-digital photography, where each step required manual precision.
- Later advancements (like wet-plate collodion and dry-plate negatives) would simplify some of these challenges.
Artistic Implications:
- The long exposure times (often several minutes) meant sitters had to remain completely still, leading to the stiff, formal poses seen in early portraits.
- The unpredictability of the process contributed to photography’s mystique—each successful image was a small miracle.
Literary & Cultural Impact:
- Manuals like Snelling’s helped democratize photography, spreading knowledge beyond a small circle of inventors.
- The language of caution and precision mirrors the Victorian-era fascination with science and progress, as well as the anxiety about new technologies.

Conclusion

This excerpt is more than just a technical guide—it’s a window into the challenges, dangers, and artistry of early photography. Snelling’s methodical yet urgent tone reflects the high stakes of Daguerreotypy, where chemistry, light, and human skill had to align perfectly to produce an image. His warnings about toxic chemicals and dust remind us that behind every 19th-century photograph lies a painstaking, often perilous process. Today, as digital photography makes image-making instantaneous, Snelling’s words serve as a humbling reminder of how far the medium has come.

Questions

Question 1

The passage’s treatment of fluoric acid most strongly suggests that Snelling views the Daguerrean artist’s relationship with experimental chemicals as one of:

A. resigned acceptance of necessary risks in the pursuit of artistic innovation.
B. pragmatic skepticism toward unproven methods that fail to justify their hazards.
C. cautious optimism about the potential of emerging compounds to revolutionize the field.
D. moral condemnation of reckless practitioners who prioritize novelty over safety.
E. detached scientific curiosity, prioritizing empirical testing over anecdotal warnings.

Question 2

The phrase "the quick made from it will not repay the risk to the health in using it" primarily functions to:

A. underscore the economic inefficiency of fluoric acid compared to more cost-effective sensitizers.
B. frame the decision to use hazardous chemicals as a calculus of tangible benefit versus irreversible harm.
C. imply that the artistic quality of images produced with fluoric acid is inherently inferior.
D. suggest that the time required to handle fluoric acid safely negates any potential advantages.
E. evoke a sense of moral duty to protect less experienced practitioners from self-endangerment.

Question 3

The passage’s repeated emphasis on "care" and "caution" (e.g., in examining the plate, withdrawing the dark slide, and uncovering the lens) serves to:

A. construct a narrative of photography as a discipline governed by meticulous ritual rather than spontaneous creativity.
B. critique the overconfidence of amateur practitioners who disregard procedural precision.
C. highlight the contrast between the mechanical reproducibility of photography and the irreproducibility of human error.
D. argue that the Daguerreotype’s value lies in its technical difficulty, not its aesthetic outcomes.
E. reflect a broader 19th-century anxiety about the unpredictability of industrialized processes.

Question 4

The assertion that "experience alone must guide the operator as to the time the plate should be exposed" implies that Snelling regards photographic expertise as:

A. a codified set of rules that can be systematically taught to novices.
B. an intuitive synthesis of empirical observation and adaptive judgment.
C. a secondary concern to the chemical and optical properties of the materials used.
D. a form of tacit knowledge that resists verbal articulation or instruction.
E. a privilege reserved for those with access to specialized equipment like hygrometers.

Question 5

The passage’s structure—moving from chemical warnings to plate handling to exposure instructions—most closely mirrors the rhetorical strategy of:

A. a polemic, systematically dismantling flawed practices before proposing superior alternatives.
B. a cautionary tale, escalating from abstract dangers to concrete pitfalls to reinforce vigilance.
C. a scientific treatise, isolating variables to test their individual effects on the final product.
D. a didactic allegory, using the Daguerreotype process as a metaphor for broader life lessons.
E. a technical manual, prioritizing sequential clarity over thematic or argumentative cohesion.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: Snelling’s dismissal of fluoric acid is rooted in a cost-benefit analysis that weighs its marginal sensitizing benefits against its demonstrable health risks ("dangerous poison") and lack of compensatory advantage ("will not repay the risk"). His tone is pragmatic and authoritative, not moralistic (D) or resigned (A). He doesn’t condemn experimentation outright but questions its justification when safer, equally effective alternatives exist. The phrase "any of the above compounds are better" reinforces this utilitarian skepticism.