WAX PROCESS FOR ALBUMEN PRINTS

In South Australia the wax process appears to have been practised almost exclusively by leading landscape photographer Captain Samuel White Sweet (q.v.). In November 1866 Gibson & Sweet advertised their ‘wax process’ for photographs of Gentlemen’s Residences, and in January 1868 S.W. Sweet was engaged by Walter Duffield M.P. to take several views of his home Para Para by ‘his new wax process.’

Some of the photographs in the collection of views sent to the London Exhibition in 1873, and presumably taken by Captain Sweet, were subjected to the wax process. ‘There are views of Torrens Park and Birksgate, the residence of Mr W.W. Hughes and Mr T. Elder, which have been submitted to what is known as the waxing process, by means of which a solution of collodion is applied to the surface of the picture, where it is allowed to harden, the result being to render the picture as glossy as though a plate of glass were placed before it.’

In 1875 the Captain advertised that he had been awarded a prize for his ‘waxed views of houses and landscapes’, and the following year he produced some ‘very fine waxed photographs’ which he had taken on the estate of the Hon. J. Crozier of Oaklands.

A year later the Advertiser reported that J.R. Dobson & Co. of the Temple of Light (q.v.) had ‘recently adapted Captain Sweet's plan of waxing photographs to their excellent cartes de visite, and other portraits. The effect is very good indeed, quite equal to that of varnish on an oil painting, and at the same time it helps to preserve the pictures. We have seen some beautiful photographs prepared in this way, one especially good, of the late Mr. C. Balk. Messrs Dobson & Co. have made an arrangement with Captain Sweet for the exclusive right to use this process.’ The Observer was also shown ‘a number of admirably-executed cartes de visite and larger portraits, to which they [Dobson & Co.] have successfully adapted Captain Sweet’s waxing process. This has the effect of heightening the lights and shadows, and gives the photographs the appearance of having been highly varnished or glazed.’

In September 1877 the the Observer reported, ‘We have been shown by Captain Sweet, who has long since gained a high character for the beauty and finish of his photographic views, a number of specimens of the art which are intended for exhibition at Paris. They comprise a view of the Adelaide Bridge from the west, in which the foliage of the trees, the banks, masonry, and distant hills are brought out in a most striking manner. The effect of this view is enhanced by a warm tint like that produced by sepia being imparted by a process of Captain Sweet’s own invention. Some exquisite views of portions of the Botanical Gardens, the exterior of the new palm house and its interior from several standpoints, the new Model School at Norwood, and a delightful rural scene in the newly laid out suburb of Upper Kensington complete the set. All are finished in excellent style, the glazing process, which is most thoroughly effective, being also an invention of the artist. These latest productions of Captain Sweet’s are bound to command attention wherever they are shown.’

Captain Sweet continued advertising wax portraits and landscapes in the late 1870s, but by 1882 he had changed to ‘enamelled’ photographs (q.v.).

End.