Tagged: 1880s

Formats current at any point during the years 1880-1889

Cabinet card (1863 – early 1920s)

A cabinet card consists of an albumen print (although later cards used matte collodion, gelatin or gelatin bromide paper) mounted on a standard sized card backing of 4¼  by 6½ inches. Like the earlier carte de visite, the card displayed details of the the photographic studio that took the photograph, either below the below the photograph, on the back of the card, or both.

They were introduced in 1863 by a British photographic studio, Windsor & Bridge, and became widely used for portrait photography (initially, they were intended for landscape photography), superseding the smaller carte de visite. Cabinet cards were placed in albums like the carte de visite, although it was a few years before albums specifically for the larger size of cabinet cards became available, or could be placed on stands or in frames for display (often in parlour cabinets, hence the name). They reached a peak in their popularity in the 1880s.

The introduction of the simple and inexpensive Brownie camera by Kodak in 1900, meant home photography became much more affordable and the studio portrait less necessary, but cabinet cards continued to be produced as late as the early 1920s.

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Carte de visite (1854 – 1900s)

A carte de visite consists of a small albumen print photograph on paper mounted on cards of around 2½ by 4 inches. The size of the format was patented by a Parisian photographer, André-Adolphe-Eugène Disdéri in 1854, and soon spread to the UK and the US. The standard size meant people could exchange portraits or even buy celebrity portraits and place them in special carte de visite albums. Cartes de visite could also be sent easily in the post unlike the previous daguerreotype and ambrotype photographs.

Carte de visite photographs were created in a camera that had multiple lenses, allowing several images on a single large glass photographic plate to reduce the cost. Since the negative was on a glass plate (using the wet collodian process) any number of further copies could be made.

In England, carte de visite were very popular, with sales running into hundreds of millions annually, and they also became popular during the American Civil War as soldiers and their families posed for photos. Most images were taken in the studio, though there were some of landscapes.

Sales of cartes de visite reached a peak during the 1860s, but they remained popular until the early 20th century despite the introduction of the larger cabinet card in the 1860s. Earlier examples usually use thinner card and the card had square corners. Rounded corners on the mount were introduced in the 1870s.

The introduction of the simple and inexpensive Brownie camera by Kodak in 1900, meant home photography became much more affordable and the studio portrait less necessary.

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Ambrotype (early 1850s – 1880s)

ambrotypeAn ambrotype (also known as a collodian positive) was an image produced by a type of photographic process first used in the 1850s, succeeding the more expensive daguerreotype, with the image on glass (as opposed to film, paper or metal).

The resulting image is actually a negative, but when viewed against a dark backing (such as black velvet, or a layer of black varnish) or on dark reddish-coloured glass, appears as a positive. The collodian emulsion is usually protected by a layer of varnish and a glass cover (or sometimes put in the case emulsion-side down), and usually supplied in a presentation case, like the earlier daguerreotype. Ambrotype images were sometimes hand-tinted.

The term ‘ambrotype’ is a particular variant of the collodian positive process (patented by James Ambrose Cutting of Boston in 1854) where Canada balsam is used to seal the collodian plate to the cover glass, but the term is now used to describe all collodian positive photographs.

The ambrotype was popular only from around 1855-1865, and after that the process disappeared from high-street studios. It continued to be used by open-air photographers until the 1880s as the process took a short amount of time. It was superseded by the sturdier tintype process, and also by albumen prints on paper.

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Organ cobs (late 1880s – late 1920s)

Organ cobs or rollers were used in roller organs, and consisted of a cylinder of wood with pins in them that pressed on the keys in the organ to actuate them. Roller organs were a type of reed organ introduced in the late 1880s by the Autophone company of New York, and were an inexpensive and popular means of entertainment for the US market.

The smaller organ cobs could play 20-note roller organs (such as the cheapest Gem Roller Organ), but larger roller organ models (such as the Grand Roller Organ) were also available that could take larger cobs that could actuate 32 notes. Over 1,200 titles were produced on organ cobs.

Cobs were inserted into the roller organ and pinned in position. As the hand crank is turned, the bellows are operated and the cob is turned. As the cob turns, it shifts to the right, and goes through 3 revolutions, providing about a minute of music.

Roller organs were produced until the late 1920s.

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Tintype (1850s – 1930s)

Tintype (front)The tintype (also known as a ferrotype) was a type of photographic process invented in the 1850s that involved using a thin sheet of iron (not tin as the name suggests) as the backing for the image (as opposed  to film, paper, or glass).

Tintypes became popular in the 1860s and 1870s, but were used into the 21st century despite growing competition from prints on paper, and are currently enjoying a revival in interest. Tintypes could be taken outdoors provided the equipment needed to prepare and develop them was at hand. The process was often used at carnivals and fairs for taking inexpensive novelty photographs in a short amount of time, and a photographer could prepare, expose, develop and varnish a tintype plate in a few minutes. The resulting photograph was sturdy and did not require mounting.

Tintype photographs succeeded the ambrotype, which had some similarities. Ambrotypes also used the wet collodion process, but on a piece of glass that was dark in colour or painted with a black backing. The iron used in tintypes was also coloured black, and the resulting image was actually a negative that appeared positive.

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Graphophone / Dictaphone cylinder (1887 – early 1950s)

The Dictaphone was one of two competing wax cylinder phonograph systems for voice dictation, the other being Edison’s Ediphone system. The use of cylinders for voice recording pre-dated their use for music when, in 1887, Alexander Graham Bell, his cousin Chichester A. Bell, and Charles Sumner Tainter put into production a wax cylinder system for recording and reproducing speech (Edison then switched from tinfoil to wax cylinders in response in 1888).

Until 1907 the Dictaphone system was known as the Graphophone.

The main difference between the two rival systems was the recording method, with Edison using ‘hill and dale’ recording, while the Graphophone used lateral (side to side) recording. The cylinders could have a layer of wax shaved off, to enable re-use.

By the mid-1940s, new dictation technologies were rapidly being introduced such as Dictaphone’s own Dictabelt, Edison’s Voicewriter, the Gray Audograph and the SoundScriber, and both Edison and Dictaphone stopped supplying wax cylinders in the early 1950s.

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Stereoview (1850s – 1920s)

Stereoviews consist of two nearly-identical images, each taken a few inches to the side of the other. When viewed through two lenses set 2½-inches apart, approximately the space between the eyes, the result is the illusion of a three-dimensional image. They generally consist of two photographic images pasted onto a 3½-inch by 7-inch card, although earlier ones were sometimes images on glass.

They became popular first in Europe in the 1850s, followed by the US in the 1860s. Until the 1880s, most of the photographic images were created using wet plate negatives printed on albumen paper. From the 1890s, dry plate negatives printed on gelatin silver paper were produced by large companies, such as Underwood & Underwood in the US, or the London Stereoscope Company in the UK.

They faded in popularity in the 1920s, but the idea behind them was used in later formats like View-Master and Vistascreen.

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Ediphone (1888 – early 1950s)

The Ediphone was one of two competing wax cylinder phonograph systems for voice dictation, the other being the Dictaphone system. The use of cylinders for voice recording pre-dated their use for music, although it wasn’t until 1888 that Edison switched from tinfoil to wax cylinders in response to the rival Graphophone system introduced in 1887 (that later became the Dictaphone system).

The main difference between the two rival systems was the recording method, with Edison using ‘hill and dale’ recording, while the Graphophone used lateral (side to side) recording. The cylinders could have a layer of wax shaved off, to enable re-use.

By around 1910, the Edison system had adopted the name Ediphone, and technical refinements were introduced over time such as electric motors, foot control pedals, and eventually electrical recording in 1939.

By the mid-1940s, new dictation technologies were rapidly being introduced such as Dictaphone’s Dictabelt, Edison’s own Voicewriter, the Gray Audograph and the SoundScriber, and both Edison and Dictaphone stopped supplying wax cylinders in the early 1950s.

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Jacquard Loom card (1801 – 1990s)

The Jacquard Loom was a mechanical loom for cloth weaving, first demonstrated by Joseph Marie Jacquard in 1801. It used a chain of punched cards laced together to allow the loom to create complex patterns.

Any number of the cards could be chained together into a continuous sequence, with each card corresponding to one row of the design. Each position on the card corresponds to a ‘Bolus’ hook which can either be raised or stopped dependent on whether the hole is punched out of the position on the card or not. The hook raises or lowers the harness, which carries and guides the warp thread so that the weft will either lie above or below it.

Modern Jacquard looms are controlled by computers in place of the original punched cards, and can have thousands of hooks.

Charles Babbage was aware of Jacquard loom cards, and planned to use cards to store programs in his Analytical engine, first described in 1837. Later in the 19th Century, Herman Hollerith used the idea of storing information on cards to create the punched card tabulating machine which he used to input data for the 1890 US Census.

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Photographic plate (1851 – 1990s)

Photographic plates were used in still photography and consisted of a glass plate coated with a light-sensitive emulsion of silver salts.

Photographic plates ceased to be used by amateur photographers in the early 20th century, as they switched to photographic film, but glass plates continued to be used until the 1970s by some photographic businesses, and until the 1990s for astronomical surveys before these moved to digital imaging.

Glass plates were far superior to film for research-quality imaging because they were extremely stable and less likely to bend or distort, especially in large-format frames for wide-field imaging.

Glass photographic plates using the wet collodion process, which was invented in 1851, replaced the earlier Daguerreotype process that used a polished silver coated plate of tin or copper. The wet collodion process was inconvenient and required portable darkrooms for field photography. Gelatin dry plates were first invented in 1871 and in 1878, it was discovered that heating the plates made them more resistant to friction, and the emulsion more sensitive to light. During the 1880s dry plates largely replaced wet collodion plates, although wet collodion plates continued to be used for some special purposes.

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