Figure 1.--Here we see one of the last cabinet cards we have seen. Cabinet cards were standard in the late-19th and vert-earl-20th century. We do not see that many after World War I in the 1920s. This ine was Christmas 1933 portrait. The mount is done similar to paper frames and in a popular color for paperframes. The majior difference is a much smaller smaller actual print.

We see a wide range of English silver-nitrate photographs in the 20th century. Silver-nitrate prints began replacing albumen prints for both for amateur snapshots and studio portraits in the late-19th century. They involved the gelatin silver process. This was a process invented in England by Richard Leach Maddox (1871). Paper for the process began to be produced commecially (as early as 1874). Initially the quality was poor. Charles Harper Bennett made major improvements (1878). The dry-plate emulsion was coated onto the paper only as an afterthought. Coating machines for the production of continuous rolls of sensitized paper were developed (mid-1880s). Sigificamt adoption of the gelatin silver process and materials did not occur until the 1890s. Even so the Albumen process tended to dominate commercial photography (1890s). This meant both CDs and the increasingly popular cabinet cards. The earliest silver-nitate papers had no baryta layer. Only at the end of the century did the baryta coating become part pf the commercial process, first in Germany (1894) and then then America by Kodak (1900). It is at this time that silver-nitrate photography began to replace the albumen process (1900). We see this in postcard-back prints, studio potraits, and amateur photography. The baryta (barium sulphate coating) layer helped produce smooth, glossy prints. The baryta paper of the 1890s did not produce the lustrous or glossy print surface that became the standard for popular photography after the turn-of-the 20th century. Developments like matting agents, textured papers, and thin baryta layers that were not heavily calendering resulted in a low-gloss, textured look. The really high gloss papers began to become popular (1920s). One source describes thia as part of an overall transition from pictorialism into modernism, photojournalism, and 'straight' photography. We see studio portraits continued to be done as cabinet cards, albeit with silver nitrate orints. Cabinet cards continued to be produced in he early-20th century, but we some in the 1920s and 30s. By his time, however, we see studio portraits being done mostly in paper frames and fold-open portfolios, almost all silver nitrate prints. Snap shots were done in various sizes and shapes and differing border treatment. We see this unfolding in America, becuse of our huge archive. We have not archived many English examples yet because we are looking for dated examples anf hav a snallr archuve. We believe, however, that the timeline is basically siilar.

Historical Development (1870s80s)

We see a wide range of English silver-nitrate photographs in the 20th century. Silver-nitrate prints began replacing albumen prints for both for amateur snapshots and studio portraits in the late-19th century. They involved the gelatin silver process. This was a process invented in England by Richard Leach Maddox (1871). Paper for the process began to be produced commecially (as early as 1874). Initially the quality was poor. Charles Harper Bennett made major improvements (1878). The dry-plate emulsion was coated onto the paper only as an afterthought. Coating machines for the production of continuous rolls of sensitized paper were developed (mid-1880s).

Adoption (1890s1900s)

Photography in the late-19th century was dominated by the albumen process. This changed with the turn of the 20th century. Sigificamt adoption of the gelatin silver process and materials did not occur until the 1890s. Even so the Albumen process tended to dominate commercial photography (1890s). This meant both CDs and the increasingly popular cabinet cards. The earliest silver-nitate papers had no baryta layer. Only at the end of the century did the baryta coating become part pf the commercial process, first in Germany (1894) and then then America by Kodak (1900). It is at this time that silver-nitrate photography began to replace the albumen process (1900). In the new century we begin to see large numbers of silver-mitrate prints. They were done as postcard-back prints, studio potraits, and amateur photography, rapidly replacing albumen prints. .

Baryta Layer

The baryta (barium sulphate coating) layer helped produce smooth, glossy prints. The baryta paper of the 1890s did not produce the lustrous or glossy print surface that became the standard for popular photography after the turn-of-the 20th century.

Industry Standard (1900s--60s)

Developments like matting agents, textured papers, and thin baryta layers that were not heavily calendering resulted in a low-gloss, textured look. The really high gloss papers began to become popular (1920s). One source describes thia as part of an overall transition from pictorialism into modernism, photojournalism, and 'straight' photography. We see studio portraits continued to be done as cabinet cards, albeit with silver nitrate orints. Cabinet cards continued to be produced in he early-20th century, but we some in the 1920s and 30s. By his time, however, we see studio portraits being done mostly in paper frames and fold-open portfolios, almost all silver nitrate prints. Snasp shots were done in various sizes and shapes and differing border treatment. We see this unfolding n America, becuse of our huge archive. We have not archived many English examples yet because we are looking for dated examples anf hav a snallr archuve. We believe, however, that the timeline is basically similar. Silver nitrate photography became the industry standard until low--cost color photographybappeared (1970s)

Created: 12:23 PM 8/6/2018
Last updated: 6:50 AM 1/18/2020