ARTIFICIAL LIGHT PHOTOGRAPHY.

By about 1860 South Australian photographers had almost completely replaced the daguerreotype image on silver-coated plates with photographs made by the collodion wet-plate process, which were either ambrotypes or paper photographs printed from a wet-plate negative.

At that time photographs at night were not a practical proposition because although the the wet-plate negative did react to the blue rays present in the white light of the sun, it did not not sensitive enough to produce images when exposed to the yellow rays emitted by the most common light sources in use at that time, candles and gas-light. Although the powerful limelight had been tried overseas its light had been found too harsh, resulting in chalk-white faces. A pyrotechnic (fireworks) compound burnt in a specially constructed lantern to give a bluish-white light (Bengal light) was also used overseas but does not appear to have been used in Australia.

In 1859 European researchers found that the brilliant white light of burning magnesium had very good photo-chemical properties, and a few years later the metal was being produced as a thin wire which assisted combustion. In February 1864 the first portrait made by magnesioum light was taken by a photographer named Alfred Brothers, and this was followed by other experimental photographs. In May 1865 the interior of the Great Pyramid in Egypt was photographed, but the burning magnesium produced so much smoke only one negative per day could be made.

On 8 May 1865 the Register published an article about the magnesium light which had been written by a London correspondent of the Argus. It described the physical properties of the metal and its value as a source of light for photography. ‘Magnesium wire may be lighted just as readily as the wick of a candle, and it then burns with a flame giving forth the purest and most brilliant artificial light yet known – a light in which even the most delicate shades of colour are seen quite as accurately as in the clearest daylight. Two ounces and a quarter of magnesium give out during combustion as much light as 20 lbs of the best stearine … magnesium has only to be produced cheaply enough to supersede all other means of artificial illumination… The most remarkable characteristic of the magnesium light is its extraordinary richness in "actinic" or chemical rays, those constituents of light upon which its photographic action depends. Light from burning magnesium contains almost twenty times a larger proportion of actinic rays than are contained in the light of the sun, and magnesium will therefore render photographers, strange to say, totally independent of that luminary. At one of the meetings of our Royal Institution, some few months ago, I saw taken by the magnesium light, after 10 o’clock at night, a photographic portrait of Mr Faraday, which was as perfect a specimen of photographic portraiture as has ever been produced. Since then, photographers throughout the country have been investigating the properties of the magnesium light, and their experiments have resulted in its being placed wholly beyond doubt that by means of the light of burning magnesium there may be taken in any weather, and at any hour of the day or night, as perfect photographs as in the ordinary way can be taken only under such a combination of favourable conditions as does not occur in this country oftener than two or three times a year. The present market price of magnesium wire is 3d. per foot, a price too high to admit of its being used for lighting our dwellings and workshops, but not so high as to place any appreciable obstacle in the way of the practice of photography without sunlight.’

In June 1865 a piece of magnesium wire from Melbourne was shown at Mount Gambier and a few days later the Register reported that magnesium the light had been exhibited at many places in Hobart Town. This was followed by a request for the ‘savants’ of Adelaide to arrange public exhibitions and explanations of the light which ‘has already been exhibited in private parties with great success… an exhibition at the Institute would be a tremendous sensation [and] everybody wants to know what it is and to see what it can do.’

Frazer Crawford, manager of the Adelaide Photographic Company, produced what was probably the first artificial light photograph made in Australia in July 1865. After giving a brief account of the relatively recent discovery of magnesium and describing the amazingly brilliant light it produced when burnt in the form of a ribbon or wire, but said that he did not believe that it would ever produce pictures as well as by sunlight. Crawford selected the beardless Mr Platts from a group of invited guests at the Company’s studio and made him the subject of his experiment. Using the light from a three-wire magnesium lamp he obtained a portrait negative of Mr Platts from which he made a positive transparency. Then using his camera as a projector, he showed his guests that the light from an ordinary kerosine lamp was not strong enough to project the picture on a screen. However, when the brilliant white light of burning magnesium was used, ‘the portrait came out full and distinct, and was pronounced by all present to be an admirable likeness.’ Crawford explained that ‘magnesium burns with a pure white light, and is (with the exception of the electric light) the only light that is colorless. Hence blue, green, and other colors so confounded by candle and lamp light, are as clearly distinguished by a magnesium light as by the light of the sun.’ A clockwork mechanism was used to feed the magnesium wire forward into the lamp at precisely the same speed as it was burnt.

Crawford was to have repeated his experiment at the first of the spring lectures at the Adelaide Institute in September, but was not able to do so because ‘the quantity of [magnesium] wire in the colony being extremely small, and the English mail not having arrived with a fresh supply.’

A public demonstration of the light took place one evening in October, outside Faulding & Co.’s shop. The wind extinguished the flame on several occasions but it was immediately re-lit and the buildings in the neighbourhood were brilliantly illuminated. A four-wire burner was used which consumed 48 feet of wire (four 12-foot strands) in 23 minutes. ‘The apparatus or lamp in which the wire is burnt is of simple construction. It consists of a circular reflector, having at the foot a receptacle for the residium of magnesium which is deposited during the process of combustion. The wire is paid out by means of clockwork, set in motion by a spring, acted upon from outside, and regulated as to speed by a pair of fanners. We believe that an attempt was made a short time ago to exhibit the magnesium light outside the Argus office in Melbourne, and failed; so that Mr Scammell has reason to congratulate himself upon the success of this trial here. The use of glass shades in the magnesium lamps is, we understand, becoming common, and without question they are altogether indispensable in outdoor experiments.’

In November 1865 Crawford repeated his portraiture experiment at a bazaar held in the Methodist New Connexion Church lecture room. He photographed Rev. James Maughan by magnesium light and, as before, made a positive transparency from the negative. ‘The likeness was an excellent one, and was afterwards exhibited as a transparency [on a screen of damp calico] to the apparent general approbation of those present.’

Charles Todd made preparations for an exhibition of both the electric and magnesium lights during the Royal Visit of the Duke of Edinburgh in September 1867. ‘They are to be exhibited from the top of the Telegraph Office, and will be so placed as to illuminate the greater part of King William street. The apparatus for exhibiting the electric light has been manufactured to Mr Todd’s order in Melbourne. It has a parabolic reflector, and by a simple means of adjustment the light can be thrown off either divergent, in parallel rays, or concentrated on a point. Mr Todd intends to bring a battery of from 80 to 100 cells to bear upon the apparatus, which it is expected will produce a most intensely brilliant light. The magnesium lamp is furnished with a self-adjusting apparatus of clockwork, by which the metallic ribbon is given out just as fast as it is consumed.’

From the wording of an article written in 1880 which describes the Naracoorte caves it seems magnesium light was used to illuminate the underground chambers and it is possible photographs were taken there. ‘In the larger caves there are few traces of the original beauty, stalactites and stalagmites having been broken down so ruthlessly that hardly any remain to grace the soot-begrimed walls and ceiling. But where the caves are smaller, and the means of ingress are more difficult, some of the walls and roofs still retain their snowy whiteness, and the pendant cones and rising stalagmites look so chaste and beautiful, especially when lighted up by a magnesium lamp, that a view of them is never likely to fade from the memory.’

The gelatine emulsion of the dry-plate process introduced in the early 1880s was ten times more sensitive than the wet-plate it replaced, and this, together with the faster lenses that had become available, made photography by artificial light a more practical proposition. Magnesium powder was blown through a naked flame with a rubber bulb or similar device, or a pyrotechnic mixture of powdered magnesium and other chemicals in a shallow trough was ignited to produce a brilliant flash of white light and a large cloud of smoke, smell and white ash. The more familiar flashbulb was not brought into use until the 1920s.

Many combinations of chemicals and devices to ignite them were tried. Magnesium powder blown into a naked flame was safe enough, but many ‘flashlight’ mixtures were highly explosive and had to be placed in a shallow trough and carefully ignited with a spark, match or candleflame. One manual suggested using a match on the end of a long stick, with the photographer turning his head away to avoid the blinding flash. Chemical compounds added to the magnesium powder included potassium chlorate, potassium nitrate and potassium perchlorate, their purpose being to speed up the rate of combustion and increase the actinic power of the light. Some of the so-called ‘safe’ powders were only safe until lit, and some gave off poisonous vapours and could not be used indoors. Aluminium powder was used to give less smoke, but it also gave less light.

As a rule the ‘open flash’ method was of exposure was used. For portraiture the camera was mounted on a tripod, the flame of a lamp or candle held in front of the face fofocussed on the ground glass screen, then the glass plate negative inserted in the camera. The lens cap could then be safely removed as the low level of pale yellow light normally present would have no effect on the film, the flash ignited and the lens cap replaced.

In June 1881 Adelaide photographer Charles Owen experimented with a device he called the ‘Pyrograph’, but it is not known if he was able to produce satisfactory portrait. The Observer reported: ‘Photography by the light of day has been brought to a wonderful state of perfection, and experimentalists have turned their attention to the idea of taking likenesses after set of sun with artificial light. Photographing in this way is no new thing at home or abroad, but the modes of making the light are various. Mr C.A. Owen, of Rundle Street, has been experimenting with a view to producing a suitable artificial light for photographic purposes, and believes that he has succeeded to some extent. After numerous trials he managed to fix upon a chemical light of great brilliance, and having the requisite actinic ray power, but when subdued for artistic effect it proved useless for practical purposes, as the diffusing screens weakened the actinic rays. By a happy accident in mixing some substance with the materials used in producing the light he gained what he required. It reduced the brilliancy of the light considerably, but absorbed the red and yellow rays without impairing the actinic rays. The appliance for the light is placed in a glazed cedar cabinet about forty inches square, and four large silvered reflectors are used at different angles to concentrate the rays. A semi-transparent screen is used to diffuse the light. Mr Owen claims for his ingenious adaptation the qualities of rapid action, certainty, and regularity of results; the production of photographic likenesses in any weather, and at any time. We had an opportunity of testing the appliance, and found that by its means photographs were taken with fair precision and clearness. There is room for improvement, of course, but judging from what he has already done Mr Owen will be able after a little more experimenting to turn out some creditable work by the appliance he has named the Pyrograph.’

Using a ‘new system of artificial lighting’ which he called the ‘Magno-Flash’, Mr Mitchell of the Instanto Photo Company made some ‘exceedingly beautiful photos’ of a tableau staged at night in the Laura Town Hall. The local paper said the light employed was estimated as equal to several thousand candlepower, and can only be compared to a lightning flash.’ The name of Mr Mitchell’s ‘invention’ suggests he used manesium flashpowder.

In its Science Notes column published on 17 September 1898 the Observer described the first Adelaide street scenes photographed by gaslight. The photographer was T.C. Cleave. ‘We have seen a series of photographs produced entirely by the aid of street gas lamps, showing most picturesque effects. These night pictures are obtained under great difficulties, and are the first produced in South Australia. No flashlight or electric light is used; therefore, considering the length of exposures, varying from 45 to 100 minutes, it is unnecessary to say that extraordinary patience on the part of the artist and much personal discomfort are involved. The pictures are the work of Mr T.C. Cleave, of Messrs Bond & Co., 91 Rundle-street. Some of them represent wet nights, and fine artistic results are obtained by the many reflected lights in the foreground. The University at night, with the many carriage lights, and the clear definition of the building, is a work of art in itself. One picture shows the Exhibition Building taken during a "Continental" held on Eight-hours Night. All the lights are clearly shown and although many hundreds of people were present, the moving crowd are not visible owing to the long exposure – the people on the terraces, however, who remained fairly still, are distinctly perceptible. A moonlight night on North-terrace is a wonderfully clear picture. This branch of photography opens up a new field for all interested in art, and Mr Cleave's success will undoubtedly be followed by further novelties in night effects. The pictures may be seen at the studio of Messrs Bond & Co., and Messrs Baker & Rouse, Rundle-street.’

From 1891 to 1895 H. Weston of Laura advertised ‘portraits taken by night’, and in May 1900 Gawler photographer A. Paynter advertised, ‘Photos taken by day and night. Those taken by night equally successful as by day.’ It is not known what type of illumination was used for these photographs, but it was most likely flashpowder.

In 1905 Henry Tilbrook, the retired proprietor of Clare’s Northern Argus newspaper, took some photographs in the Limestone Ridge Caves three miles west of Mumbannar in Victoria, using a combination of filtered natural light and burning magnesium ribbon.. He described the experience in his reminiscences.

‘My camera and stand had been let down one of the big holes with the aid of a rope. Whilst I was picking out spots to take photos from, Lester went into a darksome passage, exploring. But some distance in the roof had come down to the floor and, his matches giving out, or little bit of candle that he had, he became jammed, and was in a great fix, being in total darkness.  He called out at the top of his voice, but I did not hear him. I was at the time focussing the big chamber with my lens. That being done, and the exposure started, I was going to follow him up. But fortunately Olsen heard him calling and went to his rescue.

‘After my mates had had a look around they, with my approval, left me down in the Caves while they went back to dinner. Climbing up the rope they disappeared with Mr McKinnon. I took photos down in the lower regions during the rest of the day, but as some of the exposures required forty minutes and others twenty minutes I did not take many. I augmented the dull gloomy light by igniting magnesium ribbon and got some interesting photographs, although I found most of them overexposed.

‘The Caves must be very ancient, for some of the pillars formed by the dripping of the waters were two feet thick. Swallows flew down the openings from above and built their clay nests on the walls. The nests contained three eggs each. What stalactites there were, were very massive. All the more delicate stalactites had been broken off by vandals. I took five photos altogether during the day, two being stereoscopic. One of the whole plates turned out a failure owing to smoke caused by the burning of the magnesium ribbon, the smoke having been blown back on me and the exposure a long one.’ Henry's friends returned with a Dietz lantern and together they explored the Caves. ‘Having satisfied our curiousity we climbed to the surface, drove back to the tent, and thus ended the day’s adventures -- but not my work, for I had to change plates.’ See Photographers/Tilbrook H./1905 for the full story of his trip.)

Photographer Don Meller has described an incident involving his father, Gilbert Meller (q.v.), and flash powder. His father’s assignment was to photograph an official reception at the Adelaide Town Hall where 400 gentlemen dressed in ‘penguin suits’ were having dinner. To provide enough light for his large glass-plate camera Gilbert Meller had organised some workmen to set off magnesium flash powder in gutters specially arranged along the Town Hall balcony. After the photograph was taken he rushed back to his studio and returned to the dinner proudly bearing a contact print of the photograph, but was thrown out. ‘What he didn’t know,’ his son said,  ‘was that 4½ ounces of magnesium powder puts out about 9½ ounces of ash. All 400 gentlemen in the Town Hall were now wearing grey suits, and had inedible food.’

End.