The albumen process: examples by Thomas J. Nevin ca. 1874

Eggbeater, Narryna Museum, Battery Point Tasmania
Photo Copyright © KLW NFC 2014 ARR

Tasmanian photographer Thomas J. Nevin began his professional career in the 1860s within a cohort of amateur and commercial photographers who produced enduring images using the latest contemporary equipment, papers, and printing processes. Their sources of information were journals such as The Photographic News 1863 imported from British and intercolonial photographers' societies. The albumen process was commonly used by T. J. Nevin in vignetted and upper torso studio portraiture in the 1870s for both his private clientele, and for his government commission to supply prisoner identification photographs (mugshots) to the Municipal Police Office, Hobart Town Hall.

Preparation with egg whites

ON OBTAINING PURE WHITES ON ALBUMINIZED PAPER.
MR. TUNNY has, in answer to an enquiry in Photographic Notes, given one of the best accounts of the preparation of albuminized paper that we have seen. He says, "I always prepare my albuminized paper with the pure white of eggs, which I believe to be preferable to all the cheaper compounds that have been substituted for it. Take any quantity of albumen with double the quantity of water, adding eight grains of chloride of ammonium to each ounce of the mixture. Whip up with a bunch of quills into a froth. The albumen will subside in an hour or two, then filter through a piece of fine linen cloth that has been previously slightly singed over a spirit lamp. Pour the albumen into a flat dish and float the paper for about three or four minutes, having previously folded back one of the corners of the sheet in order to keep it from coming into contact with the albumen. If the paper is pinned up by this unalbuminized corner, it will dry without the least streak or imperfection, but if the albumen conies into contact with the pin. a drip will begin which will end in innumerable streaks. By this precaution much paper may be saved.
"The albumen containing the above amount of chloride requires about sixty-five or seventy grains of silver to render it sensitive. I print in the usual way, a little deeper than the finished print.
"The print when taken from the printing frame is thoroughly washed from all free nitrate of silver. Make certain of this, to make the fixing process as economical as possible,, which should not be expensive if carefully done: The washed print is put into a chloride of gold bath, two grains to five ounces of water. In this bath the picture will readily change colour and slightly lower in tone. After it is reduced to the required tone it is passed through water, then placed into a new hypo-bath--four ounces to ten ounces of water. The print will be perfectly fixed in fifteen minutes. Taken from this bath it is repeatedly washed with cold water, then thoroughly with boiling water. The French and German papers get from fifteen to twenty waters, the English papers part more readily with the size, and consequently fewer washings are necessary to fix the prints on it.
"In order to secure perfect whiteness it is essential not to use the hypo bath when above a day old. The whole secret of retaining the clearness of the whites, being in always using a new strong pure hypo bath. By the above process I never fail in obtaining the whites pure.
"I may mention a curious circumstance of hyposulphite of soda. In some I got lately every picture that I fixed possessed that yellow old cheese-like appearance that has been so often complained of, while another sample of hypo gave me prints of absolute whiteness. In testing the solvent powers of these two I found that the first possessed only the half of the solvent power of the latter, viz.; it took double the quantity to dissolve twenty grains of chloride of silver in a given quantity of water. Whether the soda possessed other impurities I have been unable to detect."

Source: THE LIVERPOOL AND MANCHESTER PHOTOGRAPHIC JOURNAL. Vol. 1, 1857, p.213:

Video: albumen photo process
This beautifully animated silent exposition of the albumen photo process (s.XIX) is from the Museu del Cinema (Spain) with subtitles.

Albumen is one of the earliest photographic processes that allowed to make prints from a negative, usually, on glass. This type of photography comes from the discoveries of Abel Niépce de Saint Victor and Louis Désiré Blanquart-Evrard and was used throughout the second half of the nineteenth century. This albumen method is the photographic procedure on paper most characteristic of the nineteenth century.

Albumen portraits by Thomas J. Nevin 1870s

Carte-de-visite of Elizabeth Rachel Nevin nee Day, ca. 1870-71.
Married July 12, 1871 to photographer Thomas J. Nevin.
Copyright © KLW NFC 2010 Private Collection ARR

Laura McVilly (left) and Dick McVilly (centre), and unidentified toddler on right
Children of William Thomas McVilly, albumen, cdvs by T. J. Nevin ca. 18 December 1874.
Courtesy of the National Library of New Zealand

Nevin, Thomas J, 1842-1923. Nevin, T J (Hobart) fl 1867-1875
Portrait of Laura Blanche McVilly. McVilly, Richard William, 1862?-1949 :
Photograph albums and a group portrait.
Ref: PA2-1198. Alexander Turnbull Library, Wellington, New Zealand.
Link: https://beta.natlib.govt.nz/records/22801544

Read more in this article: T.J. Nevin's portraits of the McVilly children 1874

These albumen photographs of Tasmanian prisoners, taken and printed by Thomas J. Nevin on cdv mounts, 9.1 x 5.7 cm. are held in the National Library of Australia collection

Right: John F. Morris was originally transported to Tasmania before 1853 on the ship the P. Bomanjee 3. He was convicted at the Supreme Court , Hobart, on the 9th April 1861 for murder and sentenced to life imprisonment. He was photographed by T. J. Nevin on discharge from the Hobart Gaol, 28th April, 1875, residue of sentence remitted.

Left: George Fisher was photographed by T. J. Nevin on discharge, 15th April 1874 at the Municipal Police, Hobart Town Hall, when Fisher was "enlarged" with a ticket-of-leave. On 2nd December 1874, he was arraigned and sentenced to 12 years for forgery and uttering at the Supreme Court, Hobart

Read more about these two photographs in this article: "In a New Light": NLA Exhibition with Boyd misattribution

Flat-irons, Narryna Museum, Battery Point Tasmania
Photo copyright © KLW NFC Private Collection 2014 ARR

Flat-irons were used in several printing processes, from simple flattening of paper to radiating heat onto prints for faster drying. Flat-irons were also used to deepen the tones on albumen and salt paper prints and to render a high bright varnish quality to dry plates prints finished with tannin or gelatine.

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Updated 19 April 2024

IN HIS OWN WORDS...

"T. J. NEVIN
PHOTOGRAPHIC ARTIST,
Returns his sincere thanks to his friends and the public for past favours, and having made a considerable Reduction in his Prices to suit the times, he solicits a continuance of their patronage, and invites attention to his circulars, showing particulars of the small cost for a first-class faithful Likeness.
140 ELIZABETH-STREET"
Hobart Mercury, 1st February 1873

“I hope that you have not got it in your mind that I am implicated with the ghost“.
Hobart Mercury, 4 December 1880

"Defendant said that he was the father of a large number of children, and did not know which one was referred to. (Laughter.)"
Hobart Mercury, 11 August 1886

"Mr. Thos Nevin was under the impression that the police should be under stricter supervision."
Hobart Mercury, 19 July 1888.

BIOGRAPHY: professional photographer Thomas James Nevin snr (1842-1923) produced large numbers of stereographs and cartes-de-visite within his commercial practice, and prisoner identification photographs on government contract. His career spanned nearly three decades, from the early 1860s to the late 1880s. He was one of the first photographers to work with the police in Australia, along with Charles Nettleton (Victoria) and Frazer Crawford (South Australia). His Tasmanian prisoner mugshots are among the earliest to survive in public collections, viz. the Queen Victoria Museum and Art Gallery, Launceston; the Tasmanian Museum and Art Gallery, Hobart; the Tasmanian Heritage and Archives Office, Hobart; the Port Arthur Historic Site, Tasman Peninsula; the National Library of Australia, Canberra; and the Mitchell Library, State Library of NSW, Sydney. Thomas J. Nevin's stereographs and portraits are held in public and private collections in Australia, New Zealand, the USA, the United Kingdom, the Netherlands, Denmark, France and Switzerland.

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Important Notices

INDIGENOUS NOTICE:
lutruwita/Tasmania/Van Diemen's Land (loo-tru-wee-ta) always was, always will be Aboriginal land.

This weblog pays respect to the ancestors and elders past, present, and emerging of the first Australian peoples and acknowledges their continued connection to land, sea and culture as the traditional custodians of this country.

Irish-born Thomas J. Nevin would have been keenly aware that the residence and photographic studio he occupied at No's 138-140 Elizabeth St. Hobart in the 1870s were built on the traditional lands, nipaluna of the palawa people. It is no small irony that today, the very same property, which is renumbered as No. 198 Elizabeth St. Hobart and is occupied by the Tasmanian Aboriginal Centre, has returned to its traditional owners.

Looking east from the corner of Patrick St., the Royal Standard Hotel, 142 Elizabeth St. then T. J. Nevin’s studio and residence, 140-138 Elizabeth St. Hobart, 1870s

We also acknowledge the Gadigal people of the Eora nation as the traditional custodians of the City of Sydney, and the Ngunnawal and Ngambri peoples, the traditional custodians of the Kamberri/Canberra region on whose lands this site is maintained.

PLEASE NOTE: images on this weblog represent deceased people, including Aboriginal and Torres Strait Islander people. Viewing such images may cause sadness and distress.

DISCLAIMER: We have not voluntarily contributed to any publication which supports the misattribution of T. J. Nevin's prisoner/convict photographs (300+ extant) to the non-photographer A. H. Boyd, nor do we condone any attempts by public institutions or private individuals to co-opt the work on these Thomas J. Nevin weblogs and associated sites to apply the misattribution.

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Anthony Trollope at Port Arthur

Thomas Nevin's VIP commission 1872

VISIT TO PORT ARTHUR.- Mr. Trollope and the Hon. Howard Spensly, Esq., Solicitor-General of Victoria, accompanied the Hon. the Premier, J.M. Wilson, Esq., and the Hon. the Attorney-General, W.R. Giblin, Esq., embarked in the Government schooner late last night, some time after Mr. Trollope had concluded his lecture on "Modern Fiction, as a recreation for young people," and left for Port Arthur. Their visit to the Peninsula will be a very hurried one, and will afford them only scant opportunity of inspecting the penal establishment, it being the intention of Messrs. Trollope and Spensly to leave Hobart Town for the North, en route for Victoria in a few days ...

Source: The Mercury 2 February 1872