Silver nitrate

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Magnificent molecules
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In this issue: silver nitrate
| JUNE 2011
ISSUE 129
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By 2030,
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In the late 19th century, anyone
wanting to pursue the latest
photographic craze had to be
able to handle a bewildering array
of chemicals to prepare, fix and
develop photographic plates.
Often, each photographer would
mix their solutions to a unique
recipe, tweaked as their experience
grew. Whatever the recipe, what
was needed was a chemical that
changed colour on exposure to light.
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4
Silver halide salts are ideal – when
illuminated they rapidly turn black
as they decompose to silver metal.
The problem from a photographer’s point of view is
that they are insoluble, so they’re difficult to apply in
thin films to photographic plates; and too sensitive,
so can’t be stored easily for a long time. The answer?
Silver nitrate, AgNO3.
Silver nitrate itself is not light-sensitive enough
to be used directly in photography, but this is an
advantage when it comes to storage. However, it
is soluble and easily displaces other metals from
their salts, so the sensitive silver halides could be
produced just before being popped into the camera.
In the earlier ‘wet plate’ processes, solutions of
salts like potassium bromide were applied to glass
plates, which would then be dunked into a silver
nitrate bath to displace the potassium with silver
before exposing it in the camera. The whole process
needed to be done while the plate was still wet,
which was fiddly and meant that taking a camera on
holiday was a major undertaking.
All of that changed when an American called George
Eastman invented the Kodak process in 1880. Many
photographers of the time were experimenting with
dry glass plates, and Eastman
developed a particularly effective
way of immobilising silver salts on
plates using gelatine – the same
protein that gives jelly its wobbly
consistency. The same silver
chemistry was needed to make the
sensitive silver halide salts, but the
plates remained just as sensitive
to light once they dried – as long
as they were kept in the dark.
It was Eastman’s next
development that really brought
photography to the masses –
flexible photographic film. After
1888 this meant anyone could buy a camera, take a
series of pictures, then send it back to the company
to be developed.
As photographic film became more complex,
introducing different compounds to make colours
and ever faster and finer quality crystals to make
sharper images, still relied on silver salts. These
salts were almost invariably prepared from silver
nitrate – its solubility and lower sensitivity to light
making it ideal for the job.
The connection between silver nitrate and light
doesn’t end there. If you want to make a glass surface
into a shiny, reflective mirror, one way to do it is to
coat the back side with silver metal. But how do you
get the silver on there? If you dissolve silver nitrate
in water and add sodium hydroxide, you form silver
oxide. Adding ammonia then converts this into a
diammine-silver(I) complex – a silver ion bonded to
two ammonia molecules. Adding sugar to this mixture
reduces the silver to its lustrous metallic form, and
deposits it on the surface as a perfect, shiny mirror.
All this is reminiscent of the Tollen’s reagent test for an
aldehyde, often called the ‘silver mirror’ test which you
may have done at school. It can be used to distinguish
between ketones and aldehydes, since aldehydes
are much more easily oxidised to carboxylic acids.
The reagent is initially clear and colourless but add
an aldehyde and the inside of the test tube is quickly
coated in a layer of shiny silver metal.
Check out the podcasts from Chemistry World. Each
week a leading scientist or author tells the story
behind a different compound.
www.chemistryworld.org/compounds
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