|
'Is the photograph what it is described to be?' This is an important question
especially when someone is spending a large amount of money on an early
photograph. Assuming that there
are no copyright infringements, there is nothing wrong with an
inexpensive reproduction, as long as the seller represents it as
such. However there are many
reproductions that are represented as originals. There are also originals which are
misrepresented. For example
tintypes are occasionally labeled Daguerreotypes, and albumen prints as
Calotypes. Misrepresentations
are often the result of dishonesty, but they are at least as often the
result of ignorance. The science
of photography is esoteric, and most people are ignorant to the
processes and styles. At a
garage sale or online auction, the seller's sincerity doesn't
necessarily equate with the photographs authenticity.
The best defense against
fraud is to be experienced with early photography. You should know how to identify
prints and styles, and know when and how they were used. You should know what is common and
what is rare. You should be able to determine if the pictured subject
is consistent with the photographic style and process used. This means should be familiar with
the period's clothes, poses, etc.
You should also be experienced with the genre in which you
collect, whether it's real photo postcards, cabinet cards or U.S. Presidential photos. The more you collect, the more
museums and auctions you attend, they more of an 'eye' you will
develop.
Many reproductions can
easily be detected. Most common
are reproductions using the modern copiers-- Xeroxes, laser printers,
etc. Close examination reveals
the tiny dots of the non-photographic process. Other reproductions use processes
that are inconsistent with the subject.
For example, an original gelatin-silver photograph of Abraham
Lincoln could not exist as Lincoln died decades before the
gelatin-silver process was invented.
Many reproductions use suspect print sizes or styles. For example, while albumen prints can
be larger than 8X10", these sizes are scarce. Always check the photographic
paper. For example, the albumen
paper was extremely thin and is no longer made. For early gelatin-silver prints, the
paper was a thin 'single weight' and has a paper texture to the sight
and touch. The thicker 'double
weight' paper wasn't introduced until about 1940. Today's commercial paper, such as
used for a Kodak snapshot or 8X10 glossy, is resin coated and has a plasticy, glossy feel. Some single weight, paper fiber
photographic paper is still made for artistic purposes, but the paper
has a slightly different feel than the vintage paper.
Some reproductions are
modern photographs of vintage photographs. Again, the paper stock, size, style and
process of the reproduction may not be consistent. The reproduced image may not be of
original clarity, and small details may give it away. For example, if the original photograph
had a scratch or small tear in the image, the reproduction will have a
picture of the scratch or tear, rather than the actual damage.
Luckily for the collector,
many early prints are difficult at best to duplicate. These include the solid photographs, Calotype, salted print and albumen print. Not only are these processes no
longer in use but they have distinct signs of aging that would be
difficult to duplicate.
The early gelatin-silver
prints are most susceptible to reproduction. The process itself is fairly modern
and is still is used today to some extent. Original negatives can be found and
used to make more prints.
Special care must be taken when looking at gelatin-silver
prints. Most reproductions are
of famous people, such as presidents.
|