1851
Maio
DAGUERREIAN JOURNAL

JEREMIAH GURNEY

"A LETTER"

Gentlemen,--It gives me much pleasure to perceive the issue of the first number of the second volume of the Daguerreian Journal, proposed to be carried out under the auspicious addition of Mr. Hill's name as co-editor. The value of this addition to the oldest periodical devoted to the art in this or any other country in the world, cannot perhaps be over estimated. Looking over the pages of the first volume now brought to a close, I find in it an immense amount of information with regard both to the theory and practice of our profession, which was hitherto locked up in the archives of scientific journals, and unattainable to the actively employed in business. They were hidden from the class most requiring them, and I have looked upon it always as a most excellent feature in the Journal, that of bringing the older discoveries (for such may we term those of ten years back) of Daguerreotyping forward for the study and information of the artist of the present day. These were no common experiments, nor every day operators: they were men of the first intellect in France, England and this country; and without a due knowledge of what the extent of their labors have been, we cannot make a single step in advance of the right direction. To the publication of these papers in the first volume, the co-editorship of Mr. Hill becomes opportune, as presenting to the world the surest guarantee of sound doctrine and the most improved practice in photography being advanced in the pages of the Journal.

While we cannot but feel proud of the progress which our art has made in this country, and the advances position which American artists occupy all over the civilized world--proud, also, of being the first to start a periodical devoted to the elevation of our art, and having associated with it one whose discovery will rank side by side with Daguerre, I am for my own part not blind to the fact that there has been a great and imperative necessity for such a means of elevation. We have a greater number of operators than any other nation in the world, and a greater number who are completely new to the business. Practice makes perfect, no doubt; but competition kills out the artist before he has acquired his meed of practice. A journal, therefore, devoted as yours has been to affording so many valuable hints in the operative department to the new artist, is a most invaluable aid; and I am glad to see that its merits have been tested by its support....

For my own part, I have the general good of the profession at heart. I have felt all I have endeavored to express. I believe we are on the right track now. We have at once in our power the means of union and advancement. We have a medium through which, no matter how distant we may be placed, we may intercommunicate and establish that good fellowship which should exist between all exercising a common calling. The age has long since gone by when success was thought to be dependent on secresy, when the more a matter was shrouded in mystery the more abstruse was it deemed. In our day, the veil of ignorance is rent from the temple of science, and true discovery seeks the light. The only hopes of raising our calling is in publication and communication; the opportunity is within our grasp; and I trust when the coming volume terminates its career, and that we shall have been weighed in the balance, we shall not be found wanting. Whatever opportunity the spare moments of my otherwise fully occupied time will admit, shall be devoted to the benefit of our profession, and an occasional note of contribution may perhaps be received from--

Yours, respectfully,

J. Gurney

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1851
15 de Agosto
DAGUERREIAN JOURNAL

"IMPORTANT EXPERIMENT. DAGUERREOTYPE OF THE SUN"

One of the most interesting and valuable experiments was performed in Cambridge on the 28th ult., at the time of the eclipse of the sun. W. C. Bond, Director of the Cambridge Observatory, R. T. Paine and Mr. Tuttle, Assistants, Mr. S. C. Walker, of the Coast Survey, and J. A. Whipple, Daguerreotypist of Boston, were present at the Observatory. While the other gentlemen were engaged with different instruments, Mr. Whipple was prepared with a number of Daguerreotype plates to secure, if possible, the appearance of the sun at different times, as it was more or less obscured from view. We take the liberty of making a few extracts from a letter to us, written by Mr. Whipple.

"I have just been engaged in a very interesting experiment-taking Daguerreotypes of the sun. Although, at first thought, it appears so easy, yet, upon trial, I found it a very difficult matter to accomplish to my own, as well as to the satisfaction of others. One great difficulty was the excess of light which was in some way to be disposed of. In order to meet this difficulty, my first plan was to reduce the aperture; I found, however, that this could not be caused to the desired extent, and produce good results, on account of interference and inflection of the light destroying the definition of the image. When the aperture was large enough not to produce sensible inflection, the quickest possible motion of the hand was too long, although I did not use the most sensitive coating for the plate."

Mr. W. next resorted to mechanical means, but found even the same trouble, only in less degree-the impressions were little more marked; still the slide that passed over the opening of the lens caused a blur on one side; the opposite side was much better defined-thus, showing, conclusively, that this plan would not produce the desired result. The most flattering results were obtained by reducing the aperture as small as possible, and at the same time allowing a free and distinct image on the ground glass, also using the least sensitive coating. By these means, the Daguerreotypes taken answered Prof. Bond's purpose for measurement, &c.

The instrument used for producing these images was an object lens three inches in diameter; focal length, three feet four inches; eye piece, four inches; combined focal length, nine feet, giving an image of the sun, about four inches in diameter.

Mr. W. says-"We made ten impressions at different times, from its first appearance to the time of its greatest obscuration. It is to be regretted that gathering of clouds prevented any further attempts."

By knowing the exact instant of time these Daguerreotypes were taken there, and close measurement, important results can be arrived at with certainty. In speaking of the appearance on the ground glass, Mr. W. says-"The sun's image on the ground glass was most beautiful; its round disk floating majestically in the air, with a slight tremulous motion occasioned by the different strata of air, as he holds his onward course-a slight indentation on one edge-it increases, gradually assuming a circular form with rounded edges-(the elevation and depressions on the moon's surface,) still increasing, until nearly one-third of the surface had disappeared. Alas! like things of earth, much to our disappointment, clouds prohibit further observation."

1851
Agosto
DAGUERREIAN JOURNAL

THE TRUE ARTIST

Finally, when the plate has been prepared, it is in readiness for the artist, who finishes the work. His skill, or want of skill, and judgement is to be seen in the picture. The composition, arrangement, &c., afford him but little room for imagination, but demands the exercise of his talent and good judgement in producing not only a satisactory likeness, but a picture, which may be looked upon with pleasure as a work of Art.

The Daguerreian Artist should possess quick perceptive powers; an eye for the beautiful, which will enable him at a glance to decide on expression and position. He will promptly, yet judiciously, select the view of the face most favorable for the just disposition of lights and shadows,-having placed the seat and chosen the most graceful and becoming position for the body, draperies, &c.

These, with the easy natural position, and the artistical arrangement of all the accessories, make up the perfect picture; and should be decided upon without apparent reflection or hesitation; since doubt or hesitancy may decompose the natural or peculiar expression of the countenance, which is most desirable to secure.

The picture should express feeling, thought and intelligence. An embarrassed, affected or constrained expression will always insure dissatisfaction, and should be sedulously avoided; since it is the "every day," "home" expression, which renders the picture an object of admiration in the familiar circle where it is to be, if at all, appreciated. The artist will find great difficulty in pleasing every one. However faultless his picture may be in a mechanical, chemical, and artistical point of view,-without a cheerful, life-like and intelligent expression-his task is by no means an easy one, either in affording satisfaction to his patrons or winning credit for himself.

To succeed, please, and secure the admiration of his patrons, he must adapt himself at once, pleasantly, to the various characters and dispositions of those whom he is about to wait upon. He must aim to be cheerful and pleasant under all circumstances, and especially patient and playful with the children. Some persons, (and the most difficult to please,) will take the seat for a picture, (which they will insist must be good, or they cannot take it,) with a wearied, anxious or thoughtless expression of countenance. Here is trouble for the operator; with such persons, the judicious artist will now call into requisition his tact. He will, when his arrangements are completed, his camera adjusted, the lights and shadows properly disposed, and his plate in the camera box ready to be exposed to the image, engage his sitter's attention, and direct his thoughts by a pleasant conversation; or by timely suggestion, arouse up a cheerful and lively expression. Let him call to mind "happy thoughts," if possible-and when the countenance is thus "lighted up," the artist will request the sitter to let the eyes rest upon one object only, "wink" or move the eye-lid, if necessary,-but retain the same expression of the features desired, during the "operation," or exposure of the plate to the image. If managed with a little tact on the artist's part, the expressive life-like character of his picture, and the gratification of the original, will richly compensate him for his effort to please.

On the other extreme, avoid a "smirk" or the "simple smile of affectation";-allow the features to settle or become composed, before the slide is removed and the plate is exposed. Avoid stiffness-allow the drapery to fall loosely and gracefully- a gentleman's cravat and collar should be so adjusted as to give the head perfect freedom,-a little inclination of the person to the right or left, (towards the table, if one is introduced,) and an easy and spirited posture of the head should be deemed of the greatest importance. The hands (if brought into the picture,) should be placed in the focus, or a little back of it. Many little and apparently trifling details, help to make up the perfect picture. All should be thought of, and attended to, in a moment's time-and as has already been observed, apparently without study or reflection, for time is precious, especially if the plates are ready coated and standing.

Be careful, we repeat, to take the most favorable view of the face-generally a "three-quarter" or "two-thirds" view is best. Seldom or never a direct "front face." Many faces, especially those who have well proportioned and regular features, look well in "profile," but the outline of the face should be turned from the light, or placed in shadow. The arrangement of the "lights and shadows," as a general thing with Daguerreians has received but little attention;-all would profit by studying the works or productions of the most eminent artists.

An hour passed in the gallery of fine arts, where painting and statuary afford opportunities for observing the due effect of lights and shadows, is an invaluable addition to the accustomed study of every day life, as presented in the Daguerreian Attiller.

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