| An Outline Describing the Types of Photographic Images Found Within the Site Including Styles, Sizes, Dating, etc., etc. |
While the scope of this site deals primarily with photographic images taken during the second half of the 19th Century it is felt
that a basic course in the general methods and terminology used in the production of the before said images. It is not intended
that a complete and detailed account of photographic history be presented here but simply enough information to provide the
viewer a working knowledge with many of the terms used withing this site.
that a basic course in the general methods and terminology used in the production of the before said images. It is not intended
that a complete and detailed account of photographic history be presented here but simply enough information to provide the
viewer a working knowledge with many of the terms used withing this site.
Tintype of Ferrotype: Popular between about 1860 and 1890 these images are actually negative images developed on
thin sheet iron plates, a thin black Japan varnish undercoating allows the image to be viewed as positive. Since the image
is in reality a negative the image always appears reversed. Tintypes were far more popular in the United States than in
Britain (where they were known as Ferrotypes) making British military subjects of this type somewhat rare. They come in
a variety of sizes with the largest being a "full plate" measuring 6 1/2 inches by 8 1/2 inches (approximately 16.5 x 21.5
cm) on down incrementally to the 1/16 plate measuring 1 3/8 inches by 1 5/8 inches (approximately 3.5 x 4.2 cm) with
so-called Gemtypes being even smaller.
thin sheet iron plates, a thin black Japan varnish undercoating allows the image to be viewed as positive. Since the image
is in reality a negative the image always appears reversed. Tintypes were far more popular in the United States than in
Britain (where they were known as Ferrotypes) making British military subjects of this type somewhat rare. They come in
a variety of sizes with the largest being a "full plate" measuring 6 1/2 inches by 8 1/2 inches (approximately 16.5 x 21.5
cm) on down incrementally to the 1/16 plate measuring 1 3/8 inches by 1 5/8 inches (approximately 3.5 x 4.2 cm) with
so-called Gemtypes being even smaller.
Carte de Visite: French for 'visiting card" this popular type of image was invented by Andre-Adolphe-Eugene Disdere
in 1855 and remained in use until the very early 1900's was still seen in central and eastern Europe up and until the
World War one-era. The Carte generally measures about 2 1/2 inches by 3 1/2 inches (approximately 6.5 x 10.5 cm). The
earliest Cartes tend to have very thin and plain mounts with the only ornamentation being the photographer's cartouche
on the reverse. Late Cartes can have colored mounts, gold edging and ornate gold stamping on the front of the mount.
in 1855 and remained in use until the very early 1900's was still seen in central and eastern Europe up and until the
World War one-era. The Carte generally measures about 2 1/2 inches by 3 1/2 inches (approximately 6.5 x 10.5 cm). The
earliest Cartes tend to have very thin and plain mounts with the only ornamentation being the photographer's cartouche
on the reverse. Late Cartes can have colored mounts, gold edging and ornate gold stamping on the front of the mount.
Cabinet Photographs: These larger brother to the Carte de Visite were produced from the mid 1860's until about 1920
but most commonly from the 1870's until about 1900. They seem to have persisted in Eastern Europe much longer than
elsewhere. Like the Carte de Visite the thinner and plainer the Cabinet Photograph's mount the earlier its year of
production the more ornate being of late 1880's or 1890's. Cabinet Photographs generally measure 4 1/2 inches by 6 1/2
inches (approximately 11 x 16.5 cm).
but most commonly from the 1870's until about 1900. They seem to have persisted in Eastern Europe much longer than
elsewhere. Like the Carte de Visite the thinner and plainer the Cabinet Photograph's mount the earlier its year of
production the more ornate being of late 1880's or 1890's. Cabinet Photographs generally measure 4 1/2 inches by 6 1/2
inches (approximately 11 x 16.5 cm).
Mounted Photographs: A generic catchall term that will be used to describe the plethora of Cabinet or Carte style
photographs that due to their size do not quite fit into either category. These can include mini Cartes sometimes called
the Trilby that measure 2 inches by 2 1/2 inches (approximately 5 x 6.5 cm) up to the huge Imperial Cabinet Cards that
measure up to 10 inches (25.5 cm). Also included is any photograph various sizes and thicknesses of paper or card stock
backing material.
photographs that due to their size do not quite fit into either category. These can include mini Cartes sometimes called
the Trilby that measure 2 inches by 2 1/2 inches (approximately 5 x 6.5 cm) up to the huge Imperial Cabinet Cards that
measure up to 10 inches (25.5 cm). Also included is any photograph various sizes and thicknesses of paper or card stock
backing material.
Stereo Views: Generally these cards measure 7 inches by 3 1/2 inches (approx. 18cm x 9cm) and consist of a stiff card
mount with two side by side photographic images taken with a unique twin lensed camera. The resulting images when
viewed through a special viewer produces and three dimensional effect. Popular from the middle of the 19th Century
until the 1920's.
mount with two side by side photographic images taken with a unique twin lensed camera. The resulting images when
viewed through a special viewer produces and three dimensional effect. Popular from the middle of the 19th Century
until the 1920's.
Real Photo Post Cards: Dating from generally after 1900, these are exactly as their name describes - post cards
with a real photograph from a negative on the obverse with the usual post card reverse. They also tend to be the same
size as modern post cards 2 1/2 inches by 5 1/2 inches (9cm x 14cm).
with a real photograph from a negative on the obverse with the usual post card reverse. They also tend to be the same
size as modern post cards 2 1/2 inches by 5 1/2 inches (9cm x 14cm).
Unmounted Photographs: A general term for any paper based photographic image of any size or time period not
mounted on a card backing or other substrate.
mounted on a card backing or other substrate.
Glass Plate Images: The earliest popular photographic images of the 19th Century, Daguerreotypes and Ambrotypes
are not represented in this collection and therefore will not be described. There are several glass plate negatives in the
Soldiers of the Queen collection and positive reproduction of those negatives will be included in the gallery directly related
to their content.
are not represented in this collection and therefore will not be described. There are several glass plate negatives in the
Soldiers of the Queen collection and positive reproduction of those negatives will be included in the gallery directly related
to their content.
A certain measure of protection must be given to antique photographic images if they are to be preserved for future
generations. The biggest enemy of vintage photographs is light. Images should never be stored or displayed in direct light be
it sun light or that from bright artificial sources. Under no circumstances should photographs be allowed to be exposed to
fluorescent light. Fluorescent lights give off vast amounts of ultraviolet light which quickly causes permanent damage to
any photographic images. The best form of protection is to store photographs in protective archival plastic sleeves which in
turn should be stored in acid free binders. I add an additional layer of protection by storing said binders in acid free slip
cases which keep out the light as well as dust.
When handling antique images always hold the image or card by its edges and never touch the image emulsion itself with
your finger since finger prints can be next to impossible to remove with out further damaging the image itself. If possible
use white cotton archivists gloves when you decide to handle to images
Personally I never display original images on the wall. If there is an image which I would like to display I will scan it into
my computer then preform any editing in Adobe Photoshop. I will then print out a copy using a high resolution ink jet
printer. The most current ink jet printers using light fast inks are capable of producing images of outstanding sharpness
and clarity which will not begin to fade for an excess of 75 years. An added benefit of this process is the ability of correcting
any defects without actually altering the historic original should this be desired.
The books listed below offer excellent in depth information on the identification, preservation and care of antique
photographic images of all types.
generations. The biggest enemy of vintage photographs is light. Images should never be stored or displayed in direct light be
it sun light or that from bright artificial sources. Under no circumstances should photographs be allowed to be exposed to
fluorescent light. Fluorescent lights give off vast amounts of ultraviolet light which quickly causes permanent damage to
any photographic images. The best form of protection is to store photographs in protective archival plastic sleeves which in
turn should be stored in acid free binders. I add an additional layer of protection by storing said binders in acid free slip
cases which keep out the light as well as dust.
When handling antique images always hold the image or card by its edges and never touch the image emulsion itself with
your finger since finger prints can be next to impossible to remove with out further damaging the image itself. If possible
use white cotton archivists gloves when you decide to handle to images
Personally I never display original images on the wall. If there is an image which I would like to display I will scan it into
my computer then preform any editing in Adobe Photoshop. I will then print out a copy using a high resolution ink jet
printer. The most current ink jet printers using light fast inks are capable of producing images of outstanding sharpness
and clarity which will not begin to fade for an excess of 75 years. An added benefit of this process is the ability of correcting
any defects without actually altering the historic original should this be desired.
The books listed below offer excellent in depth information on the identification, preservation and care of antique
photographic images of all types.
| Photo Salvage with Adobe Photoshop by Jack & Sue Drafahl |
| Conservation of Photographs Kodak Publication No. F-40 by George Eaton |
| Collectors Guide to Early Photographs by O. Henry Mace |
| Dating Old Photographs 1849 -1920 by Halvor Moorshead |
| An Once of Preservation by Craig A. Tuttle |
I have decided after much thought not to include information regarding the specific process used in the production of each
individual photograph. While knowing what technical method was used to produce a given image can be helpful in dating it,
the identification of that process - Albumen, Gelatin-Silver, Salt, Carbon, Woodburry etc. - almost aways requires the close
examination of the actual photograph and often under high magnification. In addition many types of processes produced
prints that are almost impossible to tell apart such as Carbon prints and Woodbury prints. This problem is exacerbated by
the inability to convey these differences on a computer monitor. I could describe them but the viewer would not be able to
tell the difference. For these reasons I have decided not to delve into this aspect photographic history.
individual photograph. While knowing what technical method was used to produce a given image can be helpful in dating it,
the identification of that process - Albumen, Gelatin-Silver, Salt, Carbon, Woodburry etc. - almost aways requires the close
examination of the actual photograph and often under high magnification. In addition many types of processes produced
prints that are almost impossible to tell apart such as Carbon prints and Woodbury prints. This problem is exacerbated by
the inability to convey these differences on a computer monitor. I could describe them but the viewer would not be able to
tell the difference. For these reasons I have decided not to delve into this aspect photographic history.
