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Overview
The photographic image on paper is the photography
which most of us are familiar.
It is still in popular use today, including in the form of Kodak
snapshots and wedding photos.
While
the first paper print, the Calotype, was made
using a negative made out of paper, most early paper photographs were
made using a glass negative. To
make the negative a light sensitive substance (usually silver-salts)
was attached to the glass plate with a sticky substance (usually collodin or gelatin), and the plate was exposed to
light until an image appeared.
This image that appeared was negative, both laterally (left to
right) and tonally (dark to light).
To make the photographic print using this negative, the light
sensitive chemical was attached to a piece of photographic paper, again
using a sticky substance. Light
was then shown through the glass negative until an image appeared on
the paper. This image on paper
was positive, or a negative of the negative.
The
great advantage of this process of photography over the solid-type
process was that many prints could be made from a single negative. A solid-type photograph is
unique. This means that if you
own a tintype, Daguerreotype or Ambrotype,
you own the only copy.
As
a process uses a unique combination of chemicals, substances and
techniques, the resulting print is different from prints made by other
processes. For example,
processes that used sunlight to develop the image (called 'printing
out') produce images with 'warm, fuzzy' colors, while processes that
used chemicals as the developer (called 'developing out') produced
cold, steely images. Processes
that used silver-salts tended to deteriorate with age, while some
processes that used other light sensitive chemicals lacked this aging processes. Processes that covered the image with
a protective film of gelatin hide the fibers of the paper from the
microscopic view, while the paper fibers of earlier prints can be
seen. These and many other
details in a print allow us to identify processes and prints.
The
vast majority of early paper photographic prints are either albumen
prints or the gelatin-silver prints.
They were the preferred processes of commercial
photographers. The albumen
process dominated the 19th century, while the gelatin-silver process
dominated most of the 20th century.
The other processes described here are relatively scarce. The Calotype
and salt prints are especially old processes. The platinum and carbon processes
were difficult and used only for special occasions.
It
must also be noted that there will be variations within a type of
print. Photographers were
individuals with unique tastes, notions and abilities. This means that examples of a
particular print may have slight variations in color and other
details. It is also possible to
come across a unique print that even a museum cannot identify. These unique examples are rarities,
usually made by a serious and highly experienced artist.
* * * *
In the following pages of this
chapter, the major paper processes are detailed in alphabetical order.
* * * *
ALBUMEN PRINTS
 Duration: 1850-1920. Popular use: 1860-1890
Availability: plentiful
Identification
Virtually all albumen prints are
on extremely thin paper and pasted to cardboard sheets, called mounts. Some can be found mounted in books or
albums. Unmounted
prints tended to roll tightly together and cannot be straightened out
without causing damage.
An
albumen print has a glossy, often too glossy, surface. The image color was usually purplish
brown but has aged and today consists of browns and yellows, sometimes
with subtle purples or reds. The
image is often described as sepia-colored or warm. This is unlike the cool black and
white tones of the gelatin-silver developing out prints which dominated
the 20th century. The shadows of
the albumen print are rarely pure black, and the whites are rarely pure
white.
Nearly all albumen prints exhibit
some aging. This can include
general or localized yellowing, especially noticeable in the white
areas. Fading of detail is often
noticeable. Small age spots,
known as foxing, often exist.
Many images have a minute web-like cracking in the image surface
which is noticeable under the microscope. Under the microscope, the viewer should be able
to see the fibers of the paper.
Many later processes added a protective layer of gelatin which
hides the fibers from view. The
microscope should also reveal that the albumen image appears to float
on the paper surface as opposed to appearing to be imbedded in the
fibers. The Calotype, platinum print, amongst
others, has an image that appears to be imbedded in the fibers.
Albumen
prints can range from 1" X 1" to more then 20" X
20," though albumen prints larger than 7" X 10" are
rare. Most albumen prints were
mounted as cabinet cards or cartes de visite (see styles).
Overview
The albumen process used albumen,
a sticky substance found in eggs.
The vast majority of 19th century photographs were albumen
prints. While the Calotype was the first paper photograph, the
Albumen was the first to be mass produced. By the mid 1890's it was replaced in
popular use by the Gelatin-silver printing out process.
* * * *
AUTOCHROME
Duration: 1907-1940. Popular use: 1910-30
Availability: below average
Identification
The Autochrome
was the first practical true color photograph. This was not a paper photograph, but
a transparent image on a pane of glass.
It was viewed by holding the photograph up to light or
projecting it like a slide. The
image is usually darker than color photographs. If unfaded,
it has rich, delicate and often pastel-like colors.
Under
magnified inspection, the image is made up of a mosaic pattern of red,
green and blue grains. If the
image is projected too large, this mosaic pattern is visible.
The
size ranges from about 2 inches square to 15" X 18"
Overview
The Autochrome
is significant as the first practical color photography, and as it
offers a lush image.
* * * *
Calotypes AND SALT PRINTs
Duration: 1841-1860. Popular use: 1851-1857
Availability: Rare
Identification
Salt Prints were made either with
a paper negative or a glass negative.
The print made from a paper negative is called a Calotype.
The Calotype images lack detail, and
the mottled, fuzzy quality was usually used for romantic or
architectural poses. The grain
of the paper negative often appears in the image. Salt prints made from a glass
negative made a much clearer image, and without the grain of the paper
negative.
The
image of the salt print is brownish-red, purple or
brownish-yellow. The images show
signs of age, including fading, especially at the edges, and
foxing. Often this deterioration
is severe. Many are not pasted
to a mount.
Under
the microscope, the fibers of the paper are visible. Unlike the albumen print, in which
the image seems to float on the paper surface, the salt print image is
imbedded in the fibers. The
magnified detail is similar to the platinum prints. The platinum prints, however, have
superior image detail and tonal range, and lack the fading and other
deterioration. Also, the
platinum print was used much later, which means the photographic
subjects are from a later era.
Overview
Introduced in 1841, the Calotype was the first paper photograph, appearing
just after the solid-type Daguerreotype. Much to the disappointment of its
inventor, William Talbot, the processes never matched the popularity of
the Daguerreotype. The Calotype and salted paper prints were used until
the early 1860's, with the peak of use in the mid 1850's. There was a brief revival in the
1890's.
These
prints are held in high esteem today as a rare and historically
significant process. Even poor
examples are expensive.
* * * *
CARBON PRINT
Duration: 1864-1930s Popular Duration: 1900-1920
Availability: Below average
Identification
Carbon prints are
well known for images superior to the contemporary and more widely used
albumen and gelatin-silver prints.
They can come in a variety of colors, and sometimes mimicked the
colors of the albumen print.
Carbon prints have a subtle relief effect on the image surface
which can be seen when held at a near 180 degree angle and under the
correct light. Parts of the
surface are slightly higher than other parts, as with a relief map. If
the carbon print is held at a certain angle to the light, the shadows
of the image should appear shinier than the highlights. If there is cracking in the surface,
large cracks appear in the dark areas only. The color tone is subtle and
continuous throughout the print.
The prints did not use silver salts, so are not susceptible to
the severity of deterioration of the silver prints (albumens,
gelatin-silvers, Calotypes, etc). In the 19th century especially, the
prints were usually mounted.
This means that the print was pasted to a heavy piece of
cardboard for support.
Under
the microscope, the fibers of the paper are visible. Tiny flecks of pigment are often
visible. The image should appear to lie on the surface of the paper,
instead of being imbedded in it.
The
carbon print is very difficult to distinguish from the non-photographic
Woodbury type (see process prints).
Overview
The carbon print was invented in
1864 and used until the 1930s.
The process is occasionally used today. Along with the platinum print, the
carbon print is considered by collectors and historians to be the
pinnacle of early paper photography, with an image of highest quality
and lacking the typical deterioration of age.
The
carbon process was often used to illustrate books or to make large photographs It
was also used by commercial studios to make portraits, including
cabinet cards.
* * * *
CYANOTYPE
Duration: 1840 to 1920. Popular use 1890-1920.
Availability: above average
Identification
There is no mistaking the cyanotype
or 'blueprint' processes, due to its brilliant blue color. As the paper
used was often rather substantial, it did not have to be mounted. It has a matte finish, and under the
microscope the fibers of the paper can be seen. The cyanotype was not so susceptible to fading or other deterioration as
the gelatin-silver and albumen prints.
Overview
The cyanotype was a cheap process
used most prominently to make scenic or architecture pictures. Some real photo post cards and early
Kodak snapshots used the cyanotype process
* * * *
GElAtin-silver
developiNg
out Prints
Duration: 1880s-Today. Popular use: 1905-1960
Availability: Plentiful.
Identification
The gelatin-silver developing out
process produced the first 'black and white' photographic image. Most earlier
photographs had a warm, soft, sepia color. As it was developed with chemicals,
the gelatin-silver developing out produced steely, cool colors. Actually, the image is not entirely
black and white. There often is
bluish, greenish, or even brownish tint, but usually the overall affect
is different from the earlier warm, fuzzy colors.
These
early prints had a tendency to 'silver,' especially at the edges. Silvering is when it appears as if
the silver has come to surface, and appears on the above
photograph. It is often more
noticeable when viewed at a specific angle to the light. The image often also suffers from
fading.
Under
magnification the fibers of the paper cannot be seen. A clear layer of gelatin was placed
over the image in part for protection.
This hides the fibers from view.
Gelatin-silver
prints could be printed on many
different papers. Most
photographic paper at the time was of paper fiber and 'single
weight.' Single weight was a
thin paper. Today's heavier
'double weight' wasn't introduced until about 1940. The gelatin-silver developing out
prints could be mounted or unmounted.
Unmounted studio photographs often had the studios stamp on the
back or front. These prints came
in a wide variety of sizes, including large sizes rarely made with
other processes. Popular styles
include the cabinet card and imperial cabinet cards. Most real photo postcards and black
and white snapshots used this process.
Overview
The gelatin-silver printing
process replaced the printing out process as the most popular form of
photography. It was popular from
1905 to about 1960, and is still sometimes used today. As it is the most modern process
discussed in this book, it is the easiest and most commonly
reproduced. New prints can be made
from vintage negatives. Early
prints can be difficult to authenticate as original. Most reproductions are photographs of
famous people or scenes. The
collector should look for typical wear and silvering, and see if the
photographic paper is vintage. While single-weight, paper-fiber
photographic paper is still available today, it doesn't have quite the
same 'feel.'
* * * *
Gelatin-silver Printing Out and
Collodin Printing Out Prints
Duration: 1880-1910. Popular Duration: 1895-1905
Availability: above average to plentifu
Identification
The above are two distinct
photographic processes. They
are, however, nearly indistinguishable from each other and were
produced during the same period, so they can be conveniently grouped
together.
Upon
first appearance, these photographs often look much like albumen
prints. They have similar 'warm'
colors of browns, yellows, purples and reds. They also exhibit similar deterioration,
with yellowing and foxing. As a
thin clear layer of gelatin was put over the image for protection, the
fibers of the paper cannot be seen under magnification. The paper fibers can be seen with the
albumin print. The paper is
thin, yet more substantial than the albumen paper, and did not have to
be mounted. Many were mounted,
including cabinet cards and imperial cabinet cards. Unlike with albumen prints,
enlargement was possible and many large sizes were made. Many early real photo postcards used
this process.
Overview
The gelatin-silver printing out
process replaced the albumen process as the popular form of
photography. Its popular use was
from 1895 to 1905, when it was replaced by the 'black and white'
gelatin-silver developing out process.
* * * *
GUM BICRHOMATE
Duration: late 1800s to 1920.
Popular use 1900-07
Availability: scarce
Identification
The gum bichromate
is related to the carbon print, though it differs in image. The gum bichromate
process was used for artistic purposes, and gave the photographer
unprecedented control over the image. Due to artistic manipulation, these
prints do not have the detail of most photographs and often resemble
charcoal or crayon drawings, or watercolors. Brush strokes can
sometimes be seen on the surface.
Many colors could be used, and, as silver was not involved, the
image lacks the aging problems of many other processes. The print did not have to be mounted.
Overview
Early gum bichromate
prints are highly desirable and usually expensive. The process had its detractors, some
who referred to the practitioners as 'muck rakers.' The process was replaced by the bromoil process.
.
* * * *
Platinum
Prints (Platinotype)
Duration: 1880 to 1930, Popular
Use: 1900-1917
Availability: below average
Identification
The platinum print, or platinotype, has a matte surface and a soft
grey-black or slightly bluish-black image color. A few may have browns. The platinum
print is known for its image quality, superior in detail to the more
popularly used albumen and gelatin-silver processes. The overall quality is
unsurpassed. The blacks are
usually pitch black and the greys are silvery.
The tones are soft and delicate.
In
part because it was made without silver-salts, the platinum usually did
not deteriorate like the albumen, gelatin-silver or salted paper
prints. It lacks fading, foxing
or other deterioration. It is possible to have some light discoloration
or embrittlement. A 'transfer image' may rub off on any
paper that has been in contact with the image over time.
Under
high magnification the paper fibers are visible, and the image appears
to be imbedded in the fibers.
The tones are subtle.
The
platinum print is sometimes mistaken for the Calotype. The Calotype,
however, is likely to be faded and damaged, and the subjects are from
an earlier era.
Overview
The Platinum Print was invented in
1873, and came into popular use around the turn of the 20th
century. Its use declined
following the first World War, though examples can be found dating to
about 1930. Along with the
carbon print, the platinum print is considered to the zenith of prints
of the era. It was an expensive
and difficult process, used for special occasions. It was used by professional
photographers, rather than amateurs.
Today's collectors consider this process superior to the
contemporary gelatin-silver process.
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