Albert Levy. References. The Philadelphia photographer.Emulsion dry plates."Photography and the American Scene. A social history (1839-1889)" by Robert Taft. New York, Dover, 1964.
Levy's activity in the United States can be documented in one of the most prestigious magazines about photography in the XIX century:
The Philadelphia Photographer
An illustrated monthy journal
Devoted to photography
Edited by Edward L. Wilson Publisher and propietor
Nos 912&914 Chestnut Street
We can read, in several publications of this magazine, the participation of Albert Levy in the Centennial Exhibition of Philadelphia in 1876, adversitements for selling pictures, and, more important, serveral articles about the French Emulsion, the Dry plates. As said before, Levy was an early competitor of Eastman for the comercialization of the dry plates. This invention helped much in the development and expansion of photography.
It should be noted, previously, that this information is mentioned in
"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.
"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.
"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.
"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 375.
Reference 1
- Philadelphia Photographer August 1876 vol XIII nº 152
- There are comments on the photographers that participated in The Centennial International Exhibition of 1876, held in Philadelphia.
- ....Photography in the Great Exhibition.
Photographic Hall as it becomes more and more complete, grows in beauty
and atractiveness..........
....The second exhibit on this screen is a collection of architecturial views by Mr Albert Levy,77 University Place, New York, two frames being marked as "United States" and the third "Europe"
- Philadelphia Photographer May 1878 vol XV nº 173
- There is a long article explaining the benefits of Albert Levy's dry plates, at least one year before George Eastman's patent (1879 - Eastman invented an emulsion-coating machine which enabled him to mass-produce photographic dry plates. (Kodak)).
-
Levy's French Photographic emulsion
A great deal of interest prevails in the growth ot the emulsion process, and the practical photographer is waiting patiently until some one develops a method for working emulsion sufficiently certain reliable and speedy, to warrants its introduction into every day practice, or, in common parlance, that will be "as good as wet"
A number claim to have yet been found have done so fully.
There is one gentlemean, 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 everyone else.
He has simplified the manipulation so much as easy as the "wet process"
... 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 occurrance, the use of an ending prepared and for sale by Mr. Levy is recommended.
- The Philadelphia Photographer Vol XV November 1878 nº 179
- Publicity of the Dry Plates in a letter form. Dated 14th June, 1878. The text praising Levy's dry plates is signed by H.W. Wickham, which residence is in New York.
- ..........I purchased of Mr. Albert Levy one dozen of his Dry Plates on trial and the result so much exceeded my expectations that I really began to think that I was a photographer
Reference 4:
- The Philadelphia Photograph Vol XV December 1878 nº 180
- Advertisement of the French Emulsion where Levy indicates that he is the sole propietor and that the plate carries his signature.
- Unequalled for rapidity ( fully equal to the
both plate) intensity to any degree on simple developement without
silver or other intensifier and absolutely permanent and without
change.
Albert Levy sole propietor
Preservative for dry plates ( more rapid than wet). Also prepared Dry Plates ready for use and photographic chemicals at lowest market prices always on hand.
Price list on application
N.B. All dry plates made with my emulsion bear my signature
Reference 5
- The Philadelphia Photographer Vol XV August 1878 nº 176
- In a long letter by Albert Levy he gives intructions on how to work with his product.
- Levy’s emulsion plates
A letter from
Mr.Levy
......A great trouble with emulsions having always been found in their liability to lift partly or fully from the plate,especially after the fixing , I manufactured an improved edging fluid, which is now largely used and pronounced invaluable
..........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....
Reference 6
- An advertisement of his views of architecture.
- For sale very cheap. A splendic collection of about twelve hundred negatives of architectural views from Europe and the United States Size 8x10. Adress : A. Levy 4 Bond Street New York
- The Philadelphia Photographer Vol XVI October 1879 nº 190
- A long article about cyanotipes titled "Printing in blue".
- .....Mr. Albert Levy of New York, Mr T.H. McCollin ,of this city, and in fact all dealers, we believe, supply the paper already sensitized, and for experiment, perhaps, that is the best way to get it....
- The Philadelphia Photogapher Vol. XVI February 1879 nº 182
- Mr. Albert Levy 77 University Place New York receives a very flattering testimonial to the qualities of his emulsion from the British Journal, in wich the editor says it futfils satisfactorily the requirements of an emulsion . The two negatives we obtained through its agency posses all the features wich we usually secure when makin use of a good sample of washed emulsion
- A curious advertisement of Levy looking for an assistant.
- Wanted
An operator with a steady hand to flow emulsion on dry plates. Adress A. Levy 77 University Place. N. Y.
- The Philadelphia Photographer Vol XV July 1878 nº 175
- We have just received of Mr. Albert Levy of 77 University Place New York a four page circular containing full particulars as to the use of his emulsion and dry plates. He also describes a number of other useful articles which his manufactures has for sale
- Philadelphia Photographer Vol XV nº179 Noviembre 1978
- Editor’s table
Pictures received.....From Mr. Albert Levy New York, some instantaneous marine views from his emulsion plates. Really surprising they are.
- The Philadelphia Photographer Vol XV August 1878 nº 176
- Editors Table
....From Mr. Albert Levy nº 77 University Place, New York, some instantaneous views made with his improved rapid working emulsion , views of animals steamboats on their rapid course and yachts flying before the breeze. This is a wonderful advance in photography, for not only is the general character the view secured, but even the smallest details are brought out with perfect distinctness , the ripples of the water, the white foam dashed up by the wheel of the steamer , and the reflection of the boat in the glittering waves..
- The Philadelphia Photographer March 1879 nº 183
- Editor’s table
Levy’s Emulsion Dry Plate Camera
Mr. Albert Levy 77 University Place New York so well kown in connection with with his emulsion and emulsion plates quick to see the needs of the fraternity , has already placed in the market a unique litte 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 half of dozen plates, developer, pyro, and hypo, are included, with full instructions for working the same. Mr. Levy has thus doubtless met a real want
PHOTOGKAPHING AT THE CHICAGO EXHIBITION.
To the Editor.
Sir, — Yonr always valuable and welcome Jocrnai, came to hand, and as you are always trying to keep your readers well posted, you should add a P.S. to Mr. S. A. Crawford's letter (p. 78) to the effect that Mr. Official Photographer, C. D. Arnold by name (very glad to take pictures, Ac, against pay, Ac), does not even answer my inquiry to effect.
Personally I have written three times to him without being able to obtain an answer, my first letter dating November 12 last. The above may prove interesting to other parties who may be tempted to ask Mr.
C. D. A. for any reference or negatives.
By the way, Mr. Editor, what do you say to the American generosity towards allowing photographers on the Exhibition grounds ? You were at tiie time very hard against French meanness in 1889. Let me remind you of the rules that existed then. Twenty francs, or 10»., for one day's work, and no restriction to sizes or cameras — permission renewed if weather unfavourable, or 300 francs {121.) for the whole time the Exhibition was open. — I am, yours, &c., Albert Levy.
4, Avenue I'inel, Asnieres, Seine.
P.S. — Is there any practical and easy way to wash film negatives after hypo, say, one dozen at a time, same as glass plates ?
Y esta otra sobre fotografía y arte
Letter abour art and photography
AET IN PHOTOGEAPHY.
To the Editor.
SiK,— Referring to your note signed " F. B.," page 269, 1 should have thought that you would have long ago discarded the idea of mixing oil with water. Art in photography is about as vexatious as amateurs and professionals.
The first one (artist) will not admit in his exclusiveness that any art is at all possible without him, and the second one (amateur) that any improvement is possible without liim also. The only difference is that the artist is educated to the art, while the amateur is born so ; that is, at least, the reasons given to the lower class of mortals that do not understand what they so well try to impress upon the few or many un- initiated. From all the articles on art in photography as against art in paiiiting that have been published I have gleaned the following :— An artist, however poor in art he may be, will never turn out anything but there will and must be in it some artistical merit. Bad design, bad colours, bad posing, bad everything, yet artistic. Now, a photographer, however well chosen the subject, well lighted and well finished the result, is never artistic— at least, from an educated artist's views. Why not let this matter rest a while now ? I, for one, would rather (uneducated as I am) have a fine photograph than a poor painting. I may be wrong, but I am pretty sure that, however educated an artist may be, he mil not average in taking photographs more than one real fine view out of a dozen, and ditto the artistic photographer. Of course, they may not admit this readily ; but, nevertheless, they will sliow you always very few of the results of their work, carefully omitting mistakes and failmes.
It is human nature only, after all. They all do it.
I have tried several makes of films lately, and, as you object generally to giving names, I do not think that the results obtained would be very interesting to your readers. With one English firm I have always very fine results, while with the others I have uneven ones, such as frilling, no intensity, and disagreeable lifting of the gelatine whUe printing.
I have also tried lately some American films, which have a rough or ground back to them. Having given what I think a correct exposure, I found the picture come up pretty quick ; but the film (developed with pyro) was fearfully stained yellow, and the back of it same way, so that it takes a whole day in full sun, and with this fair weather, to get one print. I tt wish you could tell me how to get rid of this yellow stain, if possible.
41, T^?*^ ^?" ^""^ """^ *^° '° regard to the Exhibition at Chicago, and the failure I met witli in regard to obtaining an answer from the head of
► the photographing department. Do you know of any one that has met
J with better success ? and if so, please let me know how he managed it, so
» 1 may do the same.— I am, yours, <tc.,
Asniires, Seiiu, May 1, 1893.
Spa
Al Editor.
SiK,— Refiriéndome a su nota firmada "F. B.", página 269, debería haber pensado que hace tiempo habría descartado la idea de mezclar aceite con agua.
El arte en la fotografía es tan fastidioso como los aficionados y los profesionales.
El primero (el artista) no admitirá, en su exclusividad, que cualquier arte sea posible sin él, y el segundo (el aficionado) que cualquier mejora sea posible sin él. La única diferencia es que el artista se educa en el arte, mientras que el aficionado nace así; esas son, al menos, las razones que se dan a la clase baja de mortales que no comprenden lo que tan bien intentan inculcar a los pocos o muchos no iniciados.
De todos los artículos publicados sobre el arte en la fotografía en comparación con el arte en la pintura, he deducido lo siguiente: Un artista, por muy pobre que sea en arte, nunca creará nada que no tenga, y debe tener, mérito artístico. Mal diseño, malos colores, malas poses, todo malo, pero artístico.
Ahora bien, un fotógrafo, por muy bien elegido el tema, bien iluminado y bien acabado el resultado, nunca es artístico, al menos desde la perspectiva de un artista culto. ¿Por qué no dejar este asunto en paz por un momento? Yo, por mi parte, preferiría (sin educación como soy) tener una buena fotografía que una mala pintura. Puede que me equivoque, pero estoy bastante seguro de que, por muy culto que sea un artista, no suele fotografiar más de una vista realmente buena entre doce, y lo mismo ocurre con el fotógrafo artístico. Por supuesto, puede que no lo admitan fácilmente; pero, sin embargo, siempre mostrarán muy pocos resultados de su trabajo, omitiendo cuidadosamente errores y fallos. Al fin y al cabo, es pura naturaleza humana. Todos lo hacen.
Últimamente he probado varias marcas de película y, como generalmente se opone a dar nombres, no creo que los resultados obtenidos sean muy interesantes para sus lectores. Con una marca inglesa siempre obtengo resultados muy buenos, mientras que con las demás los obtengo irregulares, con ondulaciones, falta de intensidad y un desagradable levantamiento de la gelatina durante la impresión.
También he probado últimamente algunas películas americanas, que tienen un reverso rugoso o esmerilado. Tras una exposición que considero correcta, la imagen salió bastante rápido; pero la película (revelada con pirograbado) estaba terriblemente amarillenta, y el reverso también, por lo que se necesita un día entero a pleno sol, y con este buen tiempo, para obtener una copia.
Me gustaría que me dijera cómo eliminar esta mancha amarilla, si es posible. 41, T^?*^ ^?" ^""^ """^ *^° '° con respecto a la Exposición de Chicago y el fracaso que tuve al intentar obtener una respuesta del jefe del departamento de fotografía. ¿Conoce a alguien que haya tenido más éxito? Y, de ser así, por favor, dígame cómo lo logró, para que yo pueda hacer lo mismo.
Atentamente, <tc., Asniires, Seiiu, 1 de mayo de 1893.