Albert Levy Manufacturer. Dry Plates.Philadelphia Photographer May 1878 vol XV nº 173 • Article explaining the benefits of Albert Levy's dry plates, "Photography and the American Scene. A social history (1839-1889)"
LEVY'S FRENCH PHOTOGRAPHIC EMULSION.
A GOOD deal of interest prevails in the growth of the emulsion processes, and the practical photographer is waiting patiently until some one develops a method for working emulsion sufficiently certain, reliable, and speedy, to warrant its introduction into every-day practice, or, in common parlance, that will be " as good as wet." A number claim to have attained this great result, but we believe none have yet been found who have done so fully. There is one gentleman, however, Mr. Albert Levy, of New York, to whom much credit is due for having made great progress with emulsion, and who, so far as we know, more progress than any one else. He has simplified the manipulation so much that it is quite as easy as the "wet process;" he has reduced the time of exposure very greatly, and claims that his emulsion does not change readily, and that it works uniformly the same. With these assurances we have made a few experiments with Mr.Levy's emulsion, with plates wet and dry, both for portraiture and landscape work, and lantern transparencies.
These experiments being few, as we have said, we do not consider ourselves capable yet of passing full judgment. But this much we are prepared to say, namely, that we are impressed with the ease and simplicity of the process, on account of the very few manipulations required, of its certainty in every respect, and of the excellence of the results Of the quickness of the emulsion, we cannotsay that it is equal to the wet collodion process with the nitrate bath. It is slower.
As to this, we shall have more to say here-after. What we have said is to encourage others to make trial, and experiment with us to perfect a process that, when perfected, will be an endless source of convenience and comfort to every photographer, and that long hoped-for result will be accomplished, namely, the ability to make work without the nitrate bath, equal to that made with it,in the same time.
We append Mr. Levy's process, that all who desire may experiment as suggested, and will be glad to offer our services, and those of Sphynx, to aid them.
Shake up the emulsion well an half hour before using, and flow the plate slowly in the dark-room. As soon as set, immerse in water and let remain until no greasiness of surface is present, though a longer time doesno harm. The plate can be exposed in the camera at once. If so used, let dry for a few seconds, wipe the moisture (and mark of pneumatic holder, if used) from back, andplace in shield and expose in camera. If,on the other hand, the plate is intended forfuture use, place it, on removing it from thewater, in the preservative, and let it remain
there from three to five minutes. On removing it let it drain well ; wipe off theback, and stand on end on blotting-paper or drying-rack in the dark-closet until dry,when it can be put away in the negative box for use when wanted. Plates so pre-served will keep indefinitely.
On removing the shield from the camera, after exposing a plate (either wet, as first noticed, or dry, as it is termed when preserved), take it in the dark-room and immerse the plate in water for a few seconds if wet, longer if dry, and on removing flow over some developer mixed with pyrogallic acid, two or three grains to the ounce.
Carbonate of Soda, 1 ounce.
Bromide of Ammonium, . 80 grains.
Honey (teaspoonful), 1 drachm.
Water, .... 1 pint
The image will appear at once and gain full printing density, if the exposure has been right, without any further means, and with perfect freedom from fog.
If fearing overexposure, dilute the developer one-half with water, and proceed as before, and then, on finding such is not thecase, pour off and strengthen by adding more, or pour off" and use it without any dilution. This gradual development is by many much used (although not equally productive of intensity), for by it the choicest gradation of tone and perfection of negative may be secured.
The development finished, wash and fix,by immersing in hyposulphite of soda, one pound, water, two pints, and when all traces of the white or unaffected portions of the film have disappeared, wash well and thoroughly under tap and place on shelf to dry.
When dry, varnish, but better not to do so for twenty-four hours.
Dry plates, far more than wet, are disposed to loosen on the edges and lift from the glass. To obviate all possible danger of such an occurrence, the use of an edging, prepared and for sale by Mr. Levy, is recommended.
Plates prepared in the evening will be found all dry next morning and ready to be stored away in negative box, and must be carefully guarded from actinic light. Thedeveloper used is after the formula of Dr. J.J. Higgins.
We hope our readers will take up thismatter intelligently, and work it up to great success
A Letter from Mr. Levy.
A GREAT trouble with emulsions having always been found in their liability to lift partly or wholly from the plate, especially after the fixing, I manufactured an improved edging fluid, which is now largely used and pronounced invaluable. Blisters, however, often present themselves in centre of plates, the prevention or removal of which has hitherto in vain been attempted. I am now able to offer a cure for the same, as simple as it is perfect and complete, and would acknowledge my indebtedness for the
same to my friend, Dr. J. J. Higgins, of this city, who uses my plates largely and with so great success.
Cleaning and talcing the plate, I edge it before the flowing of the emulsion, and again after it is dried, if used for dry plates.
After exposure, developing, and fixing, I wash the plate thoroughly with water, not minding the blisters at all, as the film will not lift from the edges ; then laying my negative flat on the table, I cover the film with an ordinary sheet of writing-paper, somewhat larger than my plate, and holding it on one edge (so that it shall not slip), with the finger over the paper, I push all the blisters out through the opposite edge from where the paper is held. Although not indispensable, it is as well to make a few pinholes on the edge, to allow the water present under the film to come out the more easily. Instead of the finger a small roller may do it yet more evenly. Lifting then the paper up gently, the negative, without further washing, is set up to dry. In case of dust having settled on the film by carelessly using paper not previously dusted, it can be removed with a camel's-hair brush, after the film is dry, without danger.
Hoping the above may prove of benefit to some of your readers
I am, yours truly,
A. Levy,
77 University Place., N. Y.
P. S. — The run being now for rapidity, without laying any claim to " lightning," I am glad to be able to say that with my emulsion dry plates, as made by me or by others with my emulsion and preservative, well lighted views can be taken with an ordinary Darlot lens (portrait) in one-twelfth of a second, by using the developer usually directed by me, but of double strength, e.g.,
Bromide of Ammonium, . 160 grains.
Carbonate of Soda, . 2 ounces.
Honey, .... 2 drachms.
Water, .... 1 pint.
From
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Mr. Albert Levy, 77 University Place, N. Y.,
receives a very flattering testimonial to the qualities of his emulsion, from the British Journal, in which the editor says: "It fulfils satisfactorily the requirements of an emulsion. The two negatives we obtained through its agency possess all the features which we usually secure when making use of a good sample of washed emulsion."
The Philadelphia Photographer
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Editor’s table
Levy's Emulsion Dry-Plate Camera. —
Mr. Albert Levy, 77 University Place, New York, so well known in connection with his emulsion and emulsion plates, quick to see the needs of the fraternity, has already placed in the market a unique litt'e camera for dry plates, to serve the purpose of the '' Stereographe," described in our last number, and offers camera and lens for $12, for plates 4x5 inches. For this sum a halfdozen plates, developer, pyro, and hypo, are included, with full instructions for working the same. Mr. Lkvy has thus doubtless met a real wan
"Photography and the American Scene. A social history (1839-1889)"
"Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'He
(John Carbutt) was preceded in this effort, as far as I can
definitely ascertain, only by Albert Levy of New York, who began the
manufacture of gelatin dry plates in 1878'. Page 371.
(6) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'Mention
of the Levy dry plates and cameras can be found in Philadelphia
Photographer v.16, p. 95 (1879). As the notice appears early in 1879
and states that Levy is well known for his dry plates, it is quite
evident that he was making them as early as 1878 and possibly sooner.' Here is described where Taft found the reference. Page 503.
(7) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'In
fact the earliest manufacturers of dry plates (Levy and Carbutt)
sold their products rather largely to amateurs. Early in 1879, Levy
followed up his plates with a small camera designed for amateurs
trade. This was described as “a unique little camera for dry plates-
and he (Levy) offers camera and lens for $12.00 for plates 4x5
inches: For this sum a half a dozen plates, developer, pyro, and
hypo are included, with full instructions for working the same". The
following year T.H Blair of Chicago place on the market a camera
for “amateurs photographers, college boys and artists “ which became
well known.'. Page 375.
(8) - "Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964. 'The
Levy and Blair cameras brought in a host of others, and E. and H.
T. Anthony, and the Scovill Manufacturing Company, among the largest
or the American photographic houses, were quick to follow with
similar device.' Page 37