As the morning advanced, the fog cleared away a little, which enabled us to see dimly through the mist the top of a bank of yellow sand. This sight settled the doubt as to our whereabouts, and the captain immediately gave the order "Prepare to abandon the ship." The long boat was at once got ready, and lowered with considerable difficulty, for the ship was then more among the breakers. After a good deal of delay and danger, we all succeeded in leaving the ship and clearing the breakers. We were exposed in the open boats all that day and night, and about ten o'clock next morning we effected a landing on the lee side of the island, which we ascertained to be Sable Island, a bald crown of one of the banks of Newfoundland. Here we received help, shelter, and provisions, all provided by the Home and Colonial Governments, for the relief of shipwrecked people, for this island was one of the places where ships were both accidentally and wilfully wrecked. We were obliged to stay there sixteen days before we could get a vessel to take us to Halifax, Nova Scotia, the nearest port, and would possibly have had to remain on the island much longer, but for a mutiny among the crew. I could describe some strange and startling incidents in connection with the wreck and mutiny, but I will not allow myself to be tempted further into the vale of divergence, as the chief object I have in view is my reminiscence of photography.
On leaving Sable Island I was taken to Halifax, where I waited the arrival of the Cunard steamer _Niagara_, to take me on to Boston; thence I proceeded by rail and steamer to New York, where I arrived about the end of June, 1853.
On landing in New York I only knew one individual, and not knowing how far I should have to go to find him I put up at an hotel on Broadway, but soon found that too expensive for my means, and went to a private boarding house as soon as I could.
Visiting all the leading Daguerreotypists on Broadway, I was somewhat astonished at their splendid reception rooms, and the vast number of large and excellent specimens exhibited. Their plain Daguerreotypes were all of fine quality, and free from the "buff lines" so noticeable in English work at that period; but all their attempts at colouring were miserable failures, and when I showed one of my coloured specimens to Mr. Gurney, he said, "Well, if you can colour one of my pictures like that I'll believe you;" which I soon did, and very much to his astonishment. In those days I prepared my own colours, and Mr. Gurney bought a box immediately. The principal Daguerreotypists in New York at that time were Messrs. Brady, Gurney, Kent, Lawrence, Mead Brothers, and Samuel Root, and I called upon them all before I entered into any business arrangements, finally engaging myself to Messrs. Mead Brothers as a colourist and teacher of colouring for six months, and while fulfilling that engagement I gave lessons to several "Daguerreans," and made the acquaintance of men from all parts of the Union, for I soon obtained some notoriety throughout the States in consequence of a man named Humphrey attacking me and my colouring process in a photographic journal which bore his name, as well as in the _New York Tribune_. I replied to his attack in the columns of the _Tribune_, but I saw that he had a friend on the staff, and I did not feel inclined to continue the controversy. Mr. Humphrey knew nothing about my process, but began and continued the discussion on his knowledge of what was known as the "Isinglass Process," which was not mine. After completing my engagements with Messrs. Mead Brothers, I made arrangements to supply the stock dealers with my prepared colours, and travel the States myself to introduce them to all the Daguerreans residing in the towns and cities I should visit.