THE MAKING OF A DAGUERREOTYPE
Palmer and Longking Daguerreotype
Camera ca. 1854 on Iron Center Tripod
Copyright 2001 by Matthew R. Isenburg
Hadlyme CT
THE MAKING OF A DAGUERREOTYPE
Palmer and Longking Daguerreotype
Camera ca. 1854 on Iron Center Tripod
Copyright 2001 by Matthew R. Isenburg
Hadlyme CT 06439-0189
Technical Assistance by Michael Robinson
This brochure intends to serve two purposes:
1) Primarily, by guiding the reader through the process step by step, it may help the beginner develop an understanding of the complexities, pitfalls and mysteries of daguerreotypy. Warning: Do not use this brochure to actually attempt the making of a daguerreotype. The chemical procedure is far too dangerous for the incomplete information provided here. It deals with the physical manipulations and timing more than the chemistry of the process to give the reader a general feeling rather than a highly technical demonstration. Through review, using pieces only contemporary to the period, the advanced observer may develop a better understanding of how the craft affected the art. Thus, this pictorial instruction manual is offered for step by step making of a daguerreotype, utilizing only the finest examples of vintage equipment from the 1840s and the 1850s.
2) Through the photographs and information presented in this brochure, the reader will be able to identify and perhaps even rescue early equipment that might otherwise have been lost or forgotten. The very tools used for creating daguerreotypes are sculptural art in themselves and should be preserved and cherished along with the fascinating images they helped create.
It can be divided into many steps. In the interest of simplicity, both in this brochure and for display purposes, we chose to use five basic steps.
STEP I: PREPARING THE PLATE (20 to 25 minutes)
By far the most time consuming and labor intensive of the five-step process.
1) Remove a plate from the plate box (a).
2) If not pre-crimped in manufacture, use plate bender (b) to turn down edges. This takes less than a minute. Perfectly flat plates (c) were produced in the early years. Later, they were pre-bent at the edges (d) to aid insertion in a plate vice (i).
3) Remove buffing stick (e) from storage or warming box (f). Only one shown in this illustration, but each polishing agent gets its own buffer.
4) Vigorously scour the crimped plate (d) with powdered rotten stone (not illustrated) to remove surface imperfections.
5) Rub chalk rouge (g) on deerskin side of buffing stick (e).
6) Much more common was powdered rouge (h). Sprinkle on buffing stick and rub powder into surface of the hide (e).
7) Install plate in Benedictís plate holder (i), one of many gadgets sold commercially for securing the plate while buffing.
8) The entire assembly is clamped onto a wooden table vise (j). The vise is fastened to the table or bench. Now polish or buff the plate (always in the horizontal direction of what will be the finished image) for about 20 minutes to get a perfect mirror finish. The use of a treadle driven buffing wheel could measurably shorted the time of this step.
9) Lime from these bottles (k) is used to bed or cradle the bromine in the bottom of the glass tray which is inside the second coating box (n).
10) Insert buffed plate (m), face down in the sliding cover which is double the length of the box, and slide the plate into position over box containing iodine (l). When the plate turns light yellow, (usually about 15 to 25 seconds) remove from this box. The iodine stays good for years when kept in its sealed coating box so it is always ready to be used.
11) Move the plate (m) to the bromine box (n) and slide into position for approximately 5 to 10 seconds till the plate turns rose colored. When this takes over 15 seconds, the bromine (or quick stuff) has weakened and a pinch more should be added to freshen up the existing chemical. It will then stay potent for months.
12) Now in darkness, return plate to the iodine box (l) for a few seconds. This completes the coating, and you now have a properly sensitized plate.
13) Insert polished and sensitized plate in a plateholder (o) and close dark-slide, (shown partially open in this illustration).
14) All polishing except for the quick final buff of the plate with lampblack (not illustrated) is done in advance so the sitter can enter the studio and receive a finished likeness in less than thirty minutes!
STEP II: TAKING THE EXPOSURE (2 to 8 minutes)
1) Place the camera (a) on a tripod, (see Illustration Page 1).
2) Open trap doors (b) and (c) on top of camera.
3) Remove lens cap (d) from front of lens (e).
4) Insert the ground viewing glass (f) in open slot on camera top.
5) Focus lens (e) and compose your subject in its frame until you are satisfied. This usually takes more time than the actual exposure. Lightly replace lens cap (d).
6) Remove the viewing glass (f) from camera (a) and replace with the loaded plateholder (g) with dark-s