 |
Register Subscribe Login |
| 1. |  | Unidentified photographer / artist n.d. Chase's Daguerreotype Rooms Broadside Archives of Modern Conflict OR National Gallery of Canada |
| 2. |  | Chase's Daguerreotype Rooms (Boston) n.d. Chase's Dauerreotype Rooms, 257 Washington Street, Boston Archives of Modern Conflict OR National Gallery of Canada |
| 3. |  | Unidentified photographer / artist n.d. A Daguerreian photographic studio. Bottle label Archives of Modern Conflict OR National Gallery of Canada This original label for a bottle of "Rotten Stone" provides many details about a photographic studio in the Daguerreian era. Note the:
|
| 4. |  | Unidentified photographer / artist n.d. An original bottle of "rotten stone" from the Daguerreian era. Bottle Archives of Modern Conflict OR National Gallery of Canada Note that on the label it specifically says that the contents are for "Daguerrean Purposes". Rotten stone, or rottenstone, is soft material resulting from the decomposition of siliceous limestone and was used to scour and polish the surface of a plate to remove surface imperfections prior to taking the exposure. Other materials used for polishing were rouge and chimney black (soot). |
| 5. |  | Unidentified photographer / artist n.d. An anonymous early photographer Archives of Modern Conflict OR National Gallery of Canada |
| 6. |  | Unidentified photographer / artist n.d. An anonymous early photographer Archives of Modern Conflict OR National Gallery of Canada |
| 7. |  | Unidentified photographer / artist n.d. An anonymous early photographer Archives of Modern Conflict OR National Gallery of Canada |
| 8. |  | T.H. M'Bride n.d. Advertising card for T.H. M'Bride, Photographic Artist Advertising card Archives of Modern Conflict OR National Gallery of Canada Note the range of services offered: Pictures from Minature to Life Size. Photographs Colored in Oil. Visiting Card Pictures, Stereoscopes, &c. |
| 9. |  | Richard Beard 1843, 19 August The photographic process at Mr. Beard's establishment, Parliament-street, Westminster Magazine illustration The Courtauld Institute of Art Copyright: Illustrated London News Ltd. All rights reserved, Gale Document Number: HN3100007572 Miss Elizabeth Sheridan Carey "Lines Written on Seeing a Daguerreotype Portrait of a Lady" Illustrated London News (London, England), Saturday, August 19, 1843; pg. 125; Issue 68 |
| 10. |  | O.H. Willard 1855 (ca) Séance de pose chez un photographe Aquarelle, papier calque [Water colour, on translucent paper] Musée d'Orsay (C) RMN (Musée d'Orsay) / Jean-Gilles Berizzi, Europeana Identifier: RMNDO000000451496 ; PHO1996-8-10 |
| 11. |  | Unidentified photographer 1865 (ca) Display of Photographic Studio Equipment Tintype, 1/4 plate, hand-coloured Cornell University Library Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University Portrait photographs in the 1850s and 1860s required subjects to sit motionless for exposures often lasting twenty to sixty seconds. To aid in this formidable task, head clamps and sit-still apparatus, as depicted in this tintype, were common to early photographic studios. "The public dreaded going to the gallery almost as much as to the dentist." One observer wrote, "Glare, bareness, screens, iron instruments of torture, and a smell as of a drug and chemical… a photographer's operating room is always something between a barn, a green-room, and a laboratory." The source of the quotation is: Richard Grant White, "A Morning at Sarony's" in Galaxy, March 1870, p. 409 |
| 12. |  | Robert Cornelius 1864 (publication) Fig. 8 (the use of reflectors by Robert Cornelius in Philadelphia) Engraving Google Books Published in "The Camera and the Pencil; or the Heliographic Art" by M.A. Root (Philadelphia: M.A. Root, Philadelphia: J.B. Lippincott, New York: D. Appleton, 1864), p.358-359. The first Philadelphian who produced portraits, was Robert Cornelius. Importing his lenses, he himself manufactured the cameras, plates, and mats, he employed. For coating the plates, he used dry iodine exclusively; and by several large reflectors, set at different angles, both within doors and without, he was enabled, in strong sunshine, to concentrate upon his sitter light enough to obtain through a side-window facing south, an impression within from one to five minutes. (See Fig. 8.) Mr. Cornelius obtained much of his knowledge of the proper mode of proceeding, e. g. the arrangement of lights and shadows, the use of reflectors, &c., from a visit to the rooms of Wolcott & Johnson, corner of Chambers Street and Broadway, New York. These gentlemen were taking portraits at the date of this visit, which (Mr. Johnson thinks) was early in April, 1840, and theirs were the first rooms open for portraiture in the United States. Meanwhile Dr. Goddard, privately experimenting for the discovery of an accelerator, had, with bromine, gotten views, and even portraits, in the open air instantaneously. Subsequent to this discovery of his, Mr. Cornelius, with bromide of iodine, procured fair impressions, even without reflectors, in from ten to sixty seconds and this too within doors. |
| 13. |  | Unidentified photographer / artist 1853 [A studio arrangement] Book illustration Google Books Published in "Part III - Practice of Photography" in "A Manual of Photography" (Third edition) by Robert Hunt (London: John Joseph Griffin & Co., 1853), a part of the "Encyclopeadia Metropolitana: or, System of Universal Knowledge". P.187 |
| 14. |  | Unidentified photographer / artist n.d. An early display of photographic equipment Archives of Modern Conflict OR National Gallery of Canada |
| 15. |  | Unidentified photographer / artist n.d. An early display of photographic equipment (Detail showing photographer in the lens) Archives of Modern Conflict OR National Gallery of Canada |
| 16. |  | Unidentified photographer / artist 1853 (publication) The Daguerreotypist Engraving Google Books The engraving is included in "Sketches of life and character" by Timothy Shay Arthur (Boston, L.P. Crown & Co., 1853), p.120-128 THE DAGUERREOTYPIST. If our children and children's children to the third and fourth generations are not in possession of portraits of their ancestors, it will be no fault of the Daguerreotypists of the present day; for, verily, they are limning faces at a rate that promises soon to make every man's house a Daguerrean Gallery. From little Bess, the baby, up to great-grandpa', all must now have their likenesses; and even the sober Friend, who heretofore rejected all the vanities of portrait-taking, is tempted to sit in the operator's chair, and quick as thought, his features are caught and fixed by a sunbeam. In our great cities, a Daguerreotypist is to be found in almost every square; and there is scarcely a county in any state that has not one or more of these industrious individuals busy at work in catching " the shadow" ere the " substance fade." A few years ago it was not every man who could afford a likeness of himself, his wife or his children; these were luxuries known to those only who had money to spare; now it is hard to find the man who has not gone through the " operator's" hands from one to half-a-dozen times, or who has not the shadowy faces of his wife and children done up in purple morocco and velvet, together or singly, among his household treasures. Truly, the sunbeam art is a most wonderful one, and the public feel it is a great benefit! If a painter's studio is a place in which to get glimpses of human nature, how much more so the Daguerreotypist's operating-room, where dozens come daily, and are finished off in a sitting of half a minute. Scenes ludicrous, amusing or pathetic, are constantly occurring. People come for their portraits who have never seen the operation, and who have not the most distant conception of how the thing is done. Some, in taking their places in the chair, get so nervous that they tremble like aspens; and others, in the vain attempt to keep their features composed, distort them so much that they are frightened at their own image when it is placed in their hands. Some months ago, a -well-conditioned farmer from the interior of the state, arrived in Philadelphia, and after selling his produce and making sundry purchases, recollected that he had promised, on leaving home, that he would bring back his Daguerreotype. It was all a piece of nonsense, he had argued; but his argument was of no avail, for wife and daughters said that he must do as they wished, and so he had yielded an easy compliance. On inquiry, he was told that Root was the man for him; so one bright morning he took his way down Chestnut street to the gallery of the far-famed Daguerreotypist. Mr. Root was at home, of course, and ready to accommodate the farmer, who, after looking at sundry portraits, asking prices and making his own remarks on all he saw, was invited to walk up into the operating-room. " Where ?" inquired the farmer, looking curious. " Into the operating-room," replied Mr. Root, as he moved towards the door. The farmer was not yet sure that he had heard correctly, but he did not like to ask again, so he followed on; but it sounded in his ears very much as if Mr. Root had said " operating"room, and the only idea he had of " operations" was the cutting off of legs and arms. However, up stairs he went, with his dog close behind him, and was soon introduced into a room in the third story. " Now, sir," said Mr. Root smiling, as the farmer thought, a little strangely " we will see what we can do for you. Take a seat in that chair." The farmer sat down, feeling a little uneasy, for he did not much like the appearance of things. Besides Mr. Root, there was another man in the room, and he felt that if any unfair play were attempted, they would prove too much for him. This idea, as it clearly presented itself, seemed so ridiculous that he tried to thrust it away, but he could not. There was a mysterious ticking in the room, for which he could not account. It was like the sound of a clock, and yet not like it. He glanced around, but could not perceive the source from whence it came. At one moment it seemed to be under the floor near his feet, then in tl. Ceiling, and next in a far corner of the room. As he took his place in the chair that had been pointed out, Mr. Root drew a singular-looking apparatus into the middle of the floor, and directed towards him the muzzle of what seemed a small brass cannon. At the same time, the other man placed his hand upon his he.ad and drew it back into an iron clamp, the cold touch of which made the blood in his veins curdle to his very heart. The farmer was a man who both took and read the newspapers, and through these he had become acquainted with many cases of " mysterious disappearance." Men with a few hundred dollars in their pockets such was then his own case had been inveigled among robbers and murderers, and he might now be in one of their dens of iniquity. This fear once excited, every movement of the two men, who were acting in concert, but confirmed his suspicions. Their mysterious signs, their evident preparation to act together at a particular moment, all helped to excite still further his alarm. It was more than human nature at least the farmer's human nature could stand; for, springing suddenly from the chair, he caught up his hat, and, escaping from the room, dashed down stairs as if a legion of evil spirits were after him, to the no small amusement of the two " operators," who, though they lost a customer, had a good joke to laugh over for a month. The different impressions made upon sitters is curious enough. The most common is the illusion that the instrument exercises a kind of magnetic attraction, and many good ladies actually feel their eyes " drawn" towards the lens while the operation is in progress ! Others perceive an impression as if a draft of cold air were blowing on their faces, and a few are affected with a pricking sensation, while the perspiration starts from every pore. A sense of suffocation is a common feeling among persons of delicate nerves and lively fancies, who find it next to impossible to sit still; and on leaving the chair they catch their breath and pant as if they had been in a vacuum. No wonder so many Daguerreotypes have a strange, surprised look, or an air as if the original were ill at ease in his or her mind. Of course, these various impressions are all the result of an excited imagination and an effort to sit perfectly still and look composed. Forced ease is actual constraint and must appear so. In Daguerreotype portraits this is particularly apparent. Among Friends, it is well known that there has existed a prejudice against having portraits taken. To some extent this is wearing off, and very many prominent members of this Society have, of late years, consented to sit for their likenesses, and in Daguerrean Galleries a goodly number of plain coats and caps may be seen among the specimens. But large numbers still hold out, and will not be tempted to enter a painter's studio or a Daguerreotypist's room. Some, firm enough in their resolution not to sit themselves, are at times induced to go with friends or children who intend having Daguerreotypes taken, and are, through a little stratagem, brought within range of the lens, when, before they dream of danger, their faces are caught and fixed ! Not long ago, a young lady, whose father was a Friend, induced him to go with her to Root's. For a long time, while there, she urged him to have his likeness taken, but the old man was as immovable as a rock. No inducement she could olTer had the least effect. When her turn came to go up into the operating-room, the old gentleman went along. The iron headrest troubled the young lady. " Can't you take me without this machine ?" said she. " Oh, yes," replied the operator; " but you will not be able to sit perfectly still, and the least movement will cause the picture to be defective." There was a bright thought in the little lady's head, which was the real cause of its feeling so unpleasant about the innocent rest. She leaned it back once more, but ere the camera could be opened, she was in motion again, and said that it was no use, she couldn't sit in that way; it made her feel so nervous. " I wish, father," said she, " you would stand at the back of my chair, and let me lean my head against you; I can sit much better." " Certainly," replied the old gentleman, doing as he was desired . "Oh, that will do exactly!" .cried the daughter, with illconcealed delight, giving the operator, as she spoke, a look so full of meaning that it was instantly comprehended. In half a minute the work was done, and the old man and his daughter went down stairs to wait in the gallery until the finished picture should be brought to them. The surprise of the former may well be imagined when, on receiving the Daguerreotype, he saw, not only the face and form of his daughter, but the likeness of himself standing up behind her! On another occasion a member of the Society of Friends accompanied an acquaintance to the rooms of one of our Daguerreotypists, where they were politely shown the operator's instrument, and had the whole process explained to them. The Friend was one of those who had steadily refused to sit for a likeness, and this the Daguerreotypist knew very well; so, slipping a prepared plate into the instrument, he asked the Quaker's friend to sit down in a chair, look steadily at the lens, and mark the curious effect produced. The friend could see nothing. " Let me look," said the Quaker, and down he sat in the chair; but, like his friend, he could see nothing worthy of notice. On the next day, however, he saw his own likeness, in a handsome morocco case, which he received with the compliments of the dexterous operator. Not long since, a very beautiful young lady was rather surprised to learn that a certain gentleman, a professed admirer, had her Daguerreotype. The discovery was accidentally made, and puzzled her a good deal. She had never had her likeness taken but once, and then only a single picture was produced, which was in her own possession. The Daguerreotypist had taken two sittings, but in the first sitting, from some unknown cause, as was alleged, the impression on the plate proved to be bad, and was rejected. It was shown to her, but so very imperfect was it that only a part of the drapery could be seen. Had this rejected picture been even a tolerable one, the lady would have at once supposed that the Daguerreotypist had framed the plate as a specimen of his art, and thus brought it in the way of her admirer; but not a feature of the face being visible, this supposition was not entertained. The fact that the young man was so much enamored of the lady as to secure her picture, operated favorably upon her mind. The mystery of the thing, too, had its effect. How had he obtained it ? That was the ever-recurring question. When next she met the gentleman, she felt a new interest in him. He was particularly attentive and looked at her in such a way as to make her feel some rather indescribable sensations about the heart. But the mystery of the Daguerreotype was not explained until after she had given him her hand. One day, soon after this event, she said to him " You've got my Daguerreotype." " Me!" The young husband looked surprised. " Yes, you. And what is more, you've had it these six months." The gentleman seemed a little confused at this unexpected accusation, but owned to the fact, and forthwith produced a very handsome picture of the lady, who looked at it for/some moments. That it was not the rejected portrait was plainly enough to be seen, for it was even a more perfect picture than the one she already possessed. " How did you get this ?" interrogated the lady. " You wouldn't guess for a month," replied the husband; " so I suppose I must tell you. I learned by accident that you were going to a certain well-known Daguerreotypist to sit for your picture- Happening to know the gentleman very well, I told him to secure a likeness for me at the same time, which he did. That's the simple explanation of the whole mystery." " He didn't take but two, and one of them he spoiled," said the lady. " One of them you thought was spoiled, but in that you were deceived. The plate shown to you had never received an impression from your form or features. The real plate was dextrously laid aside." The bride declared that the whole thing was an outrage; but while her pretty lips uttered the harsh word, a hearty forgiveness of all parties concerned in the matter beamed from her loving eyes. Not a few likenesses of gentlemen as well as ladies have been secured in this way. Incidents more pathetic and painful in their character than those which are here related, are of frequent occurrence. Not a great while ago, one of our Daguerreotypists observed in his rooms an old lady in deep mourning. She was a stranger, and was looking with evident eagerness along the walls at the various portraits that were exhibited as specimens of the art. All at once she uttered a low exclamation, and then sunk, half fainting, upon a sofa. Water was brought to her, and after a little while she was restored to self-possession. She then stated, that news of the death of her only daughter, a resident in the west, had been received by her a few days before. Remembering that a likeness had been taken a short time previous to her going to the west, the faint hope had crossed her mind that there might òbe a duplicate in the rooms of the Daguerreotypist. She had found it, and gazed once more into the almost speaking face of her child! Another incident, quite as touching, occurred at the same establishment. A mother came with her first and only child, a bright little boy of four years, to sit for her likeness. The father was along, and, at his instance, the child was placed on the mother's lap. The image of the little boy was beautiful, but the mother's picture was not good. It was then decided that the mother should sit alone, and that they would have the child taken when he was a few years older. As they 'were going away, the operator tried to persuade them to take the other picture also, the likeness of the child being such an admirable on^ They hesitated, but finally concluded not to do so, saying that after he was a little older they would get his portrait taken; and so they went away. Three months afterwards the mother came again. She was in deep mourning. Her boy was dead ! She had come, hopeing that the picture of the child might still be in existence. But alas! It was not so. Search was made among old and rejected plates in the hope that it might not have been rubbed out, but after looking for a day or two, the mother coming frequently during the time, the search was abandoned as fruitless. The shadow, fixed in a wonderful and mysterious manner by a ray of light, had faded also, and the only image of the child that remained for the mother was on the tablet of her memory. It is often a matter of surprise to some that two portraits of the same person by different Daguerreotypists should appear so unlike, it being supposed, at first thought, that nothing more than mechanical skill was required in the individual managing the instrument, and that it was only necessary for the image of the face to enter the lens and impress itself upon the chemicallyprepared plate, to have a correct likeness; but this is an error. Unless the Daguerreotypist be an artist, or have the educated eye of an artist, he cannot take good pictures, except by the merest accident; for, unless the sitter be so placed as to throw the shadows on his face in a certain relation to his prominent features, a distortion will appear, and the picture therefore, fail to give satisfaction. The painter can soften the shadows on the face of his sitter, so as to make tliem only serve the purpose for which he uses them, but the Daguerreotype exercises no discrimination, and reflects the sitter just as he presents himself. It was owing to bad positions and bad management of light that the earlier Daguerreotypists made such strange-looking pictures of faces, one side of which would be a dark shadow and the other a white surface, in which features were scarcely distinguishable. But great improvements have taken place, and some establishments are turning out pictures of remarkable beauty and excellence. In order to obtain a good picture, it is necessary to go to a Daguerreotypist who has the eye and taste of an artist, or who employs such a person m his establishment; and it is also necessary to dress in colors that do not reflect too much light. For a lady, a good dress is of some dark or figured material. White, pink, or light blue must be avoided. Lace work, or a scarf or shawl, sometimes adds much to the beauty of the picture. A gentleman should wear a dark vest and cravat. For children, a plaid or dark-striped or figured dress is preferred by most Daguerreotypists. Light dresses are in all cases to be avoided. The strong shadows that appear in Daguerreotype portraits are a sad annoyance to many who, like Queen Elizabeth, see no such blemish on their faces when they consult their mirrors. "Can't you take me a likeness without these dark places?" a*3ks a lady who sees, with surprise, a dirty mark under her nose, around her eyes, under her chin, or on the side of her cheek. " There is nothing like this on my face." " Why is my neck so black?" asks another; while another would like her picture well enough if the face were " not so smutty." A lady with a fair skin, upon which the sun has left some minute brown marks, which are almost hidden by the warm flush of health, is startled to find them faithfully recorded in her picture, and made so dark as to appear like serious blemishes. " What are these ? There is nothing like them on my face?" she inquires, with" a look of disappointment. The artist cannot tell her that her face is " freckled," and so makes some evasive excuse, and tries the experiment again; but with no better success, for the all discovering light will make no discrimination the little black specks are still there, and the lady goes away with a poor conceit of the Daguerreotypist, who, though he could make the light work for him, coujd not force it to record any thing but the truth. It is curious to hear the various little suggestions, by way of improvement that certain persons will make when about sitting for a likeness. A stout, fat lady would like to be made a little smaller, as she is more " fleshy than common;" while a lean one, with a low-necked dress and bare arms, desires a full, handsome bust and round plump arms, as she is just now rather " thinner than common." Delicate hands are particularly desired, and these the artist who attends the instrument can give, by placing them so as to receive the light in a certain way. And, in fact, nearly all peculiarities of person that tend towards deformity may be modified by a skillful artist in ihe arrangement of his sitter though he cannot help cross eyes nor make a homely person beautiful while one who does not understand his business will, in all probability, distort and render them more unpleasant to look upon. This wonderful art is yet in its infancy, and those engaged in it are so busily employed as to have little leisure for experiment and improvement; but ere long we shall, doubtless, have a higher and more perfect order of pictures than have yet been given. The art of preparing the plates, which is by depositing' silver by galvanism on a thin copper plate and then polishing it so exquisitely as to look almost like a mirror, has attained great perfection; but even here there is room for improvmenfcs that will be made. Still more artistic skill is needed by thdse who manage the instrument and arrange the sitter's position, for no matter how good the plate may be, nor how perfect all the manipulations, if the sitter be placed in a bad relation to the light, the picture cannot be good. All this is now understood by our best Daguerreotypists; and those who give mosl attention to the improvement of their art will, in the end, reap the richest reward. |
| 17. |  | Unidentified photographer / artist 1854 (entered according to Act of Congress) Two Daguerreotypes Magazine page Google Books Published in "In Doors and Out; or, Views From the Chimney Corner" by Oliver Optic (Boston: Higgins and Bradley) |
| 18. |  | Unidentified photographer / artist n.d. Untitled image showing two men at a studio portraiture sitting Stereocard, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tue, Dec 12, 2006 & Thu, Dec 14, 2006, # 06-4, Lot 78) Some markings on back have the date 1860. Though the pen looks early, I think it is not Period, as I believe the view with its apparently original round corners on the mount is at least five years later than that. (John Saddy) |
| 19. |  | Mathew B. Brady 1854 (ca) [Brady's Daguerrean Gallery] Daguerreotype, 1/2 plate Library of Congress, Prints and Photographs Division DAG no. 030, LC-USZ62-109858 DLC (b&w film copy neg. post-1992) An interior view of reception gallery, showing ladies and gentlemen in groups, conversing and looking at work of studio, which is displayed on walls. In distant background, seen through entrance to another room, is operator standing beside camera. Apparently from original drawing by unknown artist, reproduced as woodcut in Brady's advertisements in Norton's Literary Gazette for 1854 and elsewhere. |
| 20. |  | Mathew B. Brady 1853, 11 June Brady's New Daguerreotype Saloon ("Illustrated News", New York: June 11, 1853) Magazine page Cornell University Library Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University In Brady's lavishly appointed New York gallery, visitors not only sat for their own portraits, but also saw Brady's portraits of the great men and women of the day. Soon after this article appeared, the invention of albumen paper and the cartes de visite permitted Brady to sell copies of his portraits to the public. Brady was poised to take full advantage of the technology that would soon revolutionize photography. |
| 21. |  | Mathew B. Brady 1853, 11 June Brady's New Daguerreotype Saloon ("Illustrated News", New York: June 11, 1853) Magazine page Cornell University Library Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University In Brady's lavishly appointed New York gallery, visitors not only sat for their own portraits, but also saw Brady's portraits of the great men and women of the day. Soon after this article appeared, the invention of albumen paper and the cartes de visite permitted Brady to sell copies of his portraits to the public. Brady was poised to take full advantage of the technology that would soon revolutionize photography. |
| 22. |  | Mathew B. Brady 1860 (ca) Mathew Brady Sample Book Sample book Cornell University Library The photograph in this sample book are by Mathew Brady and his assistants. Curational comment from "Dawn's Early Light: The First 50 Years of American Photography", October 20, 2011 - May 4, 2012, Hirshland Exhibition Gallery in Carl A. Kroch Library, Cornell University Brady's National Photographic Gallery in Washington used this unique album for its own reference and possibly as a source book from which the public could select and order cartes de visite. The volume contains 480 photographs including Abraham Lincoln and his wife, Jefferson Davis, Stonewall Jackson, Millard Fillmore, Commodore Perry, P.T. Barnum, James Fenimore Cooper, Abner General Doubleday, U. S. Grant, and many other statesmen, generals, authors, and entertainers. |
| 23. |  | Jeremiah Gurney 1854 Daguerrean Sketches in New York [Interior of J. Gurney's daguerreian gallery at 349 Broadway, New York] Engraving Daguerreian Society Courtesy of the Daguerreian Society (www.daguerre.org) |
| 24. |  | Meade Brothers Studio 1853, 5 February Interior view of Meade Brothers' Daguerreotype Gallery, Broadway, New York Magazine illustration Archive Farms Gleason's Pictorial Drawing Room Companion, Feb. 5, 1853. |
| 25. |  | n.d. Advertisement for L.H. Griffin's Ambrotype and Photograph Rooms, 268 Washington St. Boston. Advert Archives of Modern Conflict OR National Gallery of Canada L.H. Griffin's Ambrotype Rooms Warranted Pictures in any weather, for 25 cents and upwards. A good assortment of cases, cheap. Likenesses set in Lockets, Pins, and Finger Rings. Copying carefully executed Up only one flight of stairs. 268 Washington St., Boston |
| 26. |  | Eugène Trutat 1860 (ca) Ego [Eugène Trutat], atelier Vidal [Toulouse] Glass negative Bibliothèque de Toulouse Cote: TRU C 1172 |
| 27. |  | Unidentified photographer 1870 (ca) Photographer with his equipment and work Carte de visite Interencheres - La Gallerie de Chartes Collection Henry Koilski (Galerie de Chartres, Auction, 8 October 2011, Lot: 53) |
| 28. |  | Olds n.d. Mr. Olds - an eccentric self portrait Carte de visite Archives of Modern Conflict OR National Gallery of Canada |
| 29. |  | C.W. Applegreen n.d. C.W. Applegreen creates a composite photograph for a CDV Carte de visite Archives of Modern Conflict OR National Gallery of Canada This very instructive pair of CDVs graphically show how multiple or composite images were created in the small format of the CDV, 2 1/2" wide by 4" high. The photographer started with a blank board with the same proportions of a CDV, but much larger. The photographer then positioned the images to his satisfaction, finally glueing them to the board and then re-photographing the board to create a composite CDV. The first of these images shows the photographer, a Mr. C. W. Applegreen more than half way through setting the images on the board. In the detail, he has just finished the first four rows of images and has not yet assembled the fifth row. The second image shows the actual CDV that resulted from his labors. The close-up is a detail of his activity. In it, he shows his wet-plate sliding box camera on the table with some of his chemical bottles and a a scale to weigh the chemicals he will use in the process development and printing process. This solves the mystery of how so many quality images could be printed in such a small amount of space. [Courtesy of Matthew R. Isenburg] |
| 30. |  | Unidentified photographer / artist 1860 The Sitting Book plate Google Books Published in "Stories of Rainbow and Lucky" by Jacob Abbott (New York: Harper & Brothers, 1860) p. |
| 31. |  | Oscar Gustave Rejlander 1869, 18 June Mr. Rejlander's New Studio Magazine illustration Google Books Published in "The Illustrated Photographer: Scientific and Art Journal" (London: 1869), Volume 2, June 18th, 1869, p.289 We have already given, in articles written by Mr. Sutton and the Gossiping Photographer, a very full and complete description of Mr. Rejlander's new studio, but to render these complete we now append an engraving from a photograph of the room which will make these descriptions still more clear and understandable. In illustration of the uses of such a room, we may mention that on a recent occasion the members of the Solar Club dined in it, and while some sat on either side of a long dining table and others at the top of it, one figure some feet beyond it and another figure a greater distance in front of it in all sixteen figures -Mr. Rejlander took a photograph, in which without any striking effect of exaggerated perspective or out-of-focus blurring, a faithful and striking portrait of every person present was duly secured. The distance from the farther to the nearer sitter must have been considerably over twenty feet, probably nearly thirty. The portion of the room not represented in our engraving is that end of it which is formed by the solid sheet of plate glass, which descending through the floor enables you to walk out into a balcony beyond it. In connexion with this huge window, Mr. Rejlander pointed out a very curious and amusing optical effect of which he had availed himself photographically by producing the portrait of a lady, who sitting alone, was astonished to find that the photograph represented her with a gentleman in singularly close proximity to her. The explanation is that the figures were both on a line with each other, and at an equal distance from the plate-glass window which stood at a right angle between them. The lens saw the one figure through the glass and the other on the glass, and so both appeared on the plate as if they had been taken together, although the one might not have been aware even of the other's presence. |
| 32. |  | F. Carlier 1870 (ca) Camera, chemicals and equipment Carte de visite Interencheres - La Gallerie de Chartes Collection Henry Koilski (Galerie de Chartres, Auction, 8 October 2011, Lot: 53) |
| 33. |  | Unidentified photographer / artist n.d. An anonymous early photographer Carte de visite Archives of Modern Conflict OR National Gallery of Canada |
| 34. |  | Unidentified photographer / artist 1864 (published) Fig. 23. Le laboraitoire de M. Niépce de Saint-Victor Engraving Google Books Source: "Les merveilles de la science: ou Description populaire des inventions modernes" By Louis Figuier (Paris, Furne, Jouvet et Cie, Editeurs, 1864). This engraving is in the section on "La Photographie" p. 65 |
| 35. |  | Unidentified photographer / artist 1864 (published) Fig. 53. Atelier de pose pour la photographie Engraving Google Books Source: "Les merveilles de la science: ou Description populaire des inventions modernes" By Louis Figuier (Paris, Furne, Jouvet et Cie, Editeurs, 1864). This engraving is in the section on "La Photographie" p. 97 |
| 36. |  | Unidentified photographer / artist 1868 Portraits Book illustration Google Books In "A manual of photographic manipulation: treating of the practice of the art; and its Various Applications to Nature (Second edition)" by Lake Price (London, John Churchill & Sons, 1868), p.157 |
| 37. |  | Unidentified photographer / artist 1868 Portraits Book illustration Google Books In "A manual of photographic manipulation: treating of the practice of the art; and its Various Applications to Nature (Second edition)" by Lake Price (London, John Churchill & Sons, 1868), p.158 |
| 38. |  | Camille Silvy 1862 (ca) Camille Silvy's photographic studio, 38 Porchester Terrace [London, GB] Albumen print 3 3/8 x 2 3/4 ins Creative Commons - Wikipedia National Portrait Gallery, London: NPG Ax58962 |
| 39. |  | Camille Silvy 1862 (ca) Camille Silvy's photographic studio, 38 Porchester Terrace [London, GB] Albumen print 3 3/8 x 4 1/8 ins Creative Commons - Wikipedia National Portrait Gallery, London: NPG Ax58964 |
| 40. |  | D.A. Woodward n.d. Woodward Improved Enlarger Cyanotype Archives of Modern Conflict OR National Gallery of Canada Dec 1885, The Philadelphia photographer, p. 407: Mr. E. Long, Quincy, 111., has sent us a photograph of his model solar-printing establishment. Seven direct printers stand with their one eye solemnly directed to the heavens while they workand it does take Long to fill orders. It is a clean, comfortable-looking place.Craig's Daguerrian Registry has the following entry for Enoch Long: He studied daguerreotyping with Robert Cornelius in Philadelphia, Pa. and began his career in 1842. In 1844 he was listed in Boston, Mass., at 96 Washington Street, in business as Long Brothers, with Horatio H. Long. He then operated as a daguerreian in Illinois before going to St. Louis, Mo. in 1848. That year he was listed in partnership with H. Long at the southeast corner of Third and Market Streets, upstairs, with the entrance on Third Street. The firm also sold apparatus and offered instruction. The partnership may have continued until 1852, when E. Long was listed alone at the northeast corner of Fourth and Market Streets, upstairs, over Francis and Walton's Drug Store. From 1853 to 1860 he was listed at the southeast corner of Third and Market Streets, probably the same as 100 Market Street. He authored Pastel Portraits on Solar Enlargements and Crayon Portraits on Solar Enlargements. Embossed on the velvet liner of a case, "E. Long/St. Louis, Mo." He died January, 1898 on the streets of Quincy, Ill., his home town. |
| 41. |  | D.A. Woodward n.d. Schtucket, showing a solar enlarger Stereoview, half, detail Archives of Modern Conflict OR National Gallery of Canada |
| 42. |  | D.A. Woodward n.d. Woodward Improved Enlarger Illustration Archives of Modern Conflict OR National Gallery of Canada |
| 43. |  | Unidentified photographer / artist 1863 Fig. 86. - Coupe de l'atelier vitré Book illustration Google Books Published in "Traité Général De Photographie" by D.V. Monckhoven (Paris: Librairie de Victor Masson et Fils, 1863) |
| 44. |  | Unidentified photographer / artist 1863 Fig. 87. - Atelier vitré dans l'hypothÞse de la figure 84 Book illustration Google Books Published in "Traité Général De Photographie" by D.V. Monckhoven (Paris: Librairie de Victor Masson et Fils, 1863) |
| 45. |  | Unidentified photographer / artist 1863 Fig. 88. - Atelier vitré de petite dimension Book illustration Google Books Published in "Traité Général De Photographie" by D.V. Monckhoven (Paris: Librairie de Victor Masson et Fils, 1863) |
| 46. |  | E.H. Train 1870-1875 Untitled (Studio of E.H. Train) Stereoview Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Note all the equipment in this stereoview. The stand for holding a background, the different cameras, glass roof, head-rests and the lady presumably tinting or retouching photographs. (Aardwolf Hitchin, 22 January 2020) The child is Adah Train, the women is Phebe Train and the man is Edgar H. Train, I suppose the photo was taken by Oliver C. Bundy. |
| 47. |  | E.H. Train 1870-1875 Untitled (Studio of E.H. Train) Stereoview, detail Stereoviews: Stereoviews and Fine 19th & 20th Century Antique Photographs Note all the equipment in this stereoview. The stand for holding a background, the different cameras, glass roof, head-rests and the lady presumably tinting or retouching photographs. |
| 48. |  | Unidentified photographer / artist 1871 Studio interior Book illustration Google Books Published in "Handbook of the Practice and Art of Photography" by Dr. Hermann Vogel, translated by Edward Moelling (Philadelphia: Benerman & Wilson, 1871), p.40, fig.15. |
| 49. |  | Unidentified photographer / artist 1871 Studio interior Book illustration Google Books Published in "Handbook of the Practice and Art of Photography" by Dr. Hermann Vogel, translated by Edward Moelling (Philadelphia: Benerman & Wilson, 1871), p.305, fig.123. |
| 50. |  | Alphonse J. Liébert 1878 [Studio illustration with example portraits] Book illustration Musée français de la Photographie Inventory no: 90.7781.1 Alphonse J. Liébert Photographie en Amérique : Traité complet de photographie pratique contenant les découvertes les plus récentes. (Paris: A. Liébert, 1878) |
| 51. |  | Alphonse J. Liébert 1878 [Studio illustration with example portraits] Book illustration Musée français de la Photographie Inventory no: 90.7781.1 Alphonse J. Liébert Photographie en Amérique : Traité complet de photographie pratique contenant les découvertes les plus récentes. (Paris: A. Liébert, 1878) |
| 52. |  | Alphonse J. Liébert 1878 [Studio illustrations] Book illustration Musée français de la Photographie Inventory no: 90.7781.1 Alphonse J. Liébert Photographie en Amérique : Traité complet de photographie pratique contenant les découvertes les plus récentes. (Paris: A. Liébert, 1878) |
| 53. |  | Pascal Adolphe Dagnan-Bouveret (artist, 1852-1929) 1878-1879 Wedding Party at the Photographer's Studio [Une Noce chez le Photograohe] Oil on canvas 85 x 122 cm Museum of Fine Arts / Musée des beaux-arts, Lyon Inventory no: H 715, Joconde: 000PE027838 This painting was exhibited at the Exposition Universelle, Paris, 1878, Paris Salon (Salon des artistes français, Paris), 1879. An engraving of this painting was made by Auguste-Louis Lepère from a photograph by Maison Goupil and it was published in: Le Monde illustré, no. 1193, February 7, 1880, pg 88-89 The engraving has been included in further publications including: Michel F. Braive, 1966, The Photograph, A Social History, (New York: McGraw-Hill Book Company) p. 175 Michel F. Braive & Ruth Henry, 1965, Das Zeitalter der Photographie: von Niépce bis heute, (Munchen: Verlag Georg. D.W. Callwey), p. 175 |
| 54. |  | Unidentified photographer / artist 1888, 17 August "Inside Swinging Blinds for the Skylight" by Frank Robbins Magazine page Google Books Published in "The Photographic News", Volume 32, No.1563, p.523 |
| 55. |  | Unidentified photographer / artist 1883 Photography studio with Electric Light Book illustration Google Books In the section "Artificial Light and its Application to Photography", Fig.10 is on p.115 of "The Progress of Photography since the Year 1879" by Dr. H.W. Vogel (Philadelphia, Edward L. Wilson, 1883) |
| 56. |  | Unidentified photographer / artist 1883 Photography studio with Artificial Light Book illustration Google Books In the section "Artificial Light and its Application to Photography", Fig.13 is on p.122 of "The Progress of Photography since the Year 1879" by Dr. H.W. Vogel (Philadelphia, Edward L. Wilson, 1883) |
| 57. |  | H. Osterhout n.d. Photographer with large camera on tripod holding lens cap, plates and case at his feet. Cabinet card Jeffrey Kraus Antique Photographics Courtesy of Jeffrey Kraus H. Osterhout (Middletown, NY) PHCC3. H. Osterhout, Middletown, NY. Cabinet Card of Photographer with large camera on tripod holding lens cap, plates and case at his feet. VG. $350 |
| 58. |  | Unidentified photographer / artist 1884 Portrait studio set-up Book illustration Google Books Published in "La Photographie en Amerique" (Quatrieme Edition) by A. Liebert (Paris: B. Tignol, 1884) |
| 59. |  | Unidentified photographer / artist 1880 Fig.96 - Maniere de se servir de l'obturateur Cadett Book illustration Google Books Published in "Traité Général De Photographie" (SeptiÞme Edition) by D.V. Monckhoven (Paris: G. Masson, 1880) |
| 60. |  | Unidentified photographer / artist n.d. Interior of a photographic studio Photograph Internet - Original source ill-defined Posted by Arnaud Pierre Botel to FB, 12 March 2015 |
| 61. |  | Unidentified photographer / artist 1887 American Model Glass-house Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.77, fig. 69. The same illustration is used in "Handbook of the Practice and Art of Photography" by Dr. Hermann Vogel, translated by Edward Moelling (Philadelphia: Benerman & Wilson, 1871), p.24, Fig.7. |
| 62. |  | Unidentified photographer / artist 1887 A modified Model Glass-house Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.78, fig.70. |
| 63. |  | Unidentified photographer / artist 1887 J.H. Kent's Glass-house Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.79, fig.71. |
| 64. |  | Unidentified photographer / artist 1887 James Landy's Glass-house Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.80, fig.72. |
| 65. |  | Unidentified photographer / artist 1887 p.82 A Canadian Glass-house Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.82, fig.76. |
| 66. |  | Charles Reutlinger 1887 Charles Reutlinger's studio (Paris) Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.85, fig.79. 26. In Europe one finds much less attention paid to skylight construction than in America. One of the reasons for this is because of the crowded quarters with which the photographer must be content in many localities. Many studios are in the form of an annex to some great structure a hotel, for example, and on the roof. One of the best models is that of Mr. Charles Reutlinger, the veteran Parisian photographer. It will be gathered from the description that it has many disadvantages. (Fig. 79.) The studio is exposed to the north, is quite plain, and is 30 feet long by 15 feet wide; but of the length only 16 feet are of glass; the balance is a small room, which was added to give it more length. The glass side is 9 feet high, and is divided into three parts. 1st. The lower part G, is a wall 1 1/2 feet high, 2s. The middle part, F, 4 feet high, is of stained glass. 3d. The top, E, 4 1/2 feet, is of common white glass. The whole roof of this is made of stained glass. To guard against the strong rays of the sun in summer, a blind over the whole length of the roof is used which has a height of about 5 feet, and is managed by a crank inside of the studio. Besides, there are inside six different screens or curtains of blue calico, to shade the light from the top, and also to guard against the reflection of the sun from the houses opposite. There is only one side where one can sit the model; and it is only when they sit for small vignettes that one can place them on the other side, on account of the shortness of the studio. This accounts for all Mr. Reutlinger's productions being lighted from the same side, which is very troublesome with a great many subjects. Another inconvenience is the small width. For this reason, he is unable to have his backgrounds on frames, as is usually the practice. He uses rollers, which are let up and down, with balustrades, chimneys, columns, etc., as auxiliaries. We see by this, that the greatest caution and order in the small remaining space is necessary for the posing of persons, and many outsiders are astonished that so many pictures are made in such a small, insignificant room. |
| 67. |  | Unidentified photographer / artist 1887 P.A. Mottu's Glass-house (Amsterdam) Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.87, fig.83. |
| 68. |  | E.J. Foss 1887 Mr. E.J. Foss (Boston) Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.115, fig.127. 43. Sometimes when a skylight is found uncontrollable, use has been made of a sub-studio, so to speak, constructed inside the larger one. Such a plan was suggested some time ago by Mr. E.J. Foss, Boston. It was contrived as described, and is illustrated below. (Fig. 127.) It is called a "shadow chamber," and is a conglomeration of sliding curtains which can be moved quickly, securing an endless number of effects. Mr, Foss's studio has a side light, thirteen feet wide and ten high, connecting with the skylight, which is thirteen feet square; the glass is all ground; the angle of the skylight is thirty-five degrees; there is a space from the side and skylights to the back wall of nine feet; in the ceiling of this space is a window some three feet wide, which extends clear across the room; this light is used for the purpose of lighting up the backgrounds, of which there are several on rollers, fastened to the ceiling; the three-feet light does not reach the sitters, they being in the shadow chamber. It is said to work very satisfactorily. |
| 69. |  | E.J. Foss 1887 Mr. E.J. Foss (Boston) Book illustration Google Books Published in "Wilson's Quarter Century in Photography. A Collection of Hints on Practical Photography which form A Complete Text-Book of the Art" by Edward L. Wilson (New York: Edward L. Wilson, 1887), p.115, fig.127. 43. Sometimes when a skylight is found uncontrollable, use has been made of a sub-studio, so to speak, constructed inside the larger one. Such a plan was suggested some time ago by Mr. E.J. Foss, Boston. It was contrived as described, and is illustrated below. (Fig. 127.) It is called a "shadow chamber," and is a conglomeration of sliding curtains which can be moved quickly, securing an endless number of effects. Mr, Foss's studio has a side light, thirteen feet wide and ten high, connecting with the skylight, which is thirteen feet square; the glass is all ground; the angle of the skylight is thirty-five degrees; there is a space from the side and skylights to the back wall of nine feet; in the ceiling of this space is a window some three feet wide, which extends clear across the room; this light is used for the purpose of lighting up the backgrounds, of which there are several on rollers, fastened to the ceiling; the three-feet light does not reach the sitters, they being in the shadow chamber. It is said to work very satisfactorily. |
| 70. |  | Unidentified artist 1881 Photography with electric light (Original title in Dutch: "Photographie bij Electrisch Licht") Periodical illustration Private collection of Jan Weijers (Servatius) From the Dutch periodical Katholieke Illustratie (1881) |
| 71. |  | Lewis H. Bissell 1895 (ca) Photographer's Studio Cabinet card Carl Mautz Vintage Photographs Courtesy of Carl Mautz Bissell (Effingham, Illinois) |
| 72. |  | Frances Benjamin Johnston 1900 (ca) Interior of Frances Benjamin Johnston's studio at 1332 V St. NW, Washington, D.C., showing a large camera and props arranged for a portrait Cyanotype Library of Congress, Prints and Photographs Division Reproduction Number: LC-DIG-ppmsc-04831 (digital file from original) LC-USZ62-83155 (b&w film copy neg.) |
| 73. |  | Philipp Ritter Von Schoeller 1894, September Atelier: Des Herrn Philipp Ritter Von Schoeller [Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien] Halftone 15.00 x 11.4 cm Photoseed Photograph courtesy PhotoSeed.com Included in: "Wiener Photographische Blätter: Herausgegeben Vom Camera-Club In Wien: 1894" Lichtdruck von J. Lowy, Wien. (Halftone) Frontis illustration for September, 1894: the lead text article is titled: "Muster-Ateliers" and makes reference to Schoeller's studio and darkroom facilities. It is very possible that the gentleman in bottom photograph is Von Schoeller himself. |
| 74. |  | Marks Lewison 1908, 20 July (taken) Untitled [Marks Lewison, photographer, taking photograph in studio] Cabinet card, detail 17 x 11 cm DeGolyer Library, South Methodist University - SMU Southern Methodist University, Central University Libraries, DeGolyer Library, Call number: Ag2008.0005 Verso: inscribed in pencil Clarence B. Sweeney, Marks Lewison, Monday July 20, 1908, Llano. Stamped Lewison Llano |
| 75. |  | Ignác echtl or Josef Jindrich echtl (uncertain) 1907 Interior of the echtl and Vosecek studio Contact print possibly from 30 x 40 negative 38 x 28 cm Sechtl & Vosecek Museum of Photography At the time the studio was marketed as the largest in South Bohemia or the largest outside Prague. The studio was demolished in the 1970s. |
| 76. |  | Wheeler (Berlin, Wis.) 1893 (ca) [A photographer appears to be photographing himself in a photographic studio] Photographic print, on card Library of Congress, Prints and Photographs Division Reproduction Number: LC-USZ62-19393 (b&w film copy neg.) A composite photograph showing a photographic studio interior. One man is seated on a stool near an adjustable clamp to hold his head steady during a long portrait exposure. The second man, standing next to a large view camera, looks like the person being photographed. |
| 77. |  | Arnold Genthe 1906-1911 Interior of Arnold Genthe's studio on Clay Street in San Francisco Autochrome 5 x 7 ins Library of Congress, Prints and Photographs Division Reproduction Number: LC-G41-CT-0031 (dup. color transparency) |
| 78. |  | James L. Breese 1890s (ca) The Carbon Studio of James L. Breese Photograph Internet - Original source ill-defined Leon J. Podles blog - http://www.podles.org/ (Posted: 4 July 2015) With thanks to Mark Sink for bringing this to my attention (5 August 2015) |
| 79. |  | James L. Breese 1890s (ca) A room in the Carbon Studio of James L. Breese Printed illustration Internet - Original source ill-defined Leon J. Podles blog - http://www.podles.org/ (Posted: 4 July 2015) With thanks to Mark Sink for bringing this to my attention (5 August 2015) |
| 80. |  | Library of Congress (photographer) 1954, 6 August Interior of L.C. Handy Studio, 494 Maryland Ave., SW, Washington, D.C., with glass negatives dating back to Mathew Brady in crumbling jackets stored in wood cubby holes Photograph Library of Congress, Prints and Photographs Division Reproduction Number: LC-DIG-ppmsca-03440 (digital file from original photo) |
| 81. |  | Unidentified photographer / artist n.d. Fig. 9 Cabinet noir [Photographic darkroom] Engraving Google Books Information of the original publication is requested. |
| 82. |  | Unidentified photographer / artist 1864 (published) Fig. 43 Cabinet noir du photographe, éclairé par des carreaux jaunes [Photographic darkroom] Engraving Google Books Source: "Les merveilles de la science: ou Description populaire des inventions modernes" By Louis Figuier (Paris, Furne, Jouvet et Cie, Editeurs, 1864). This engraving is in the section on "La Photographie" p. 87 |
| 83. |  | Unidentified photographer / artist 1882 Messrs. A. & G. Taylor enlarging room at Forrest Hill, London Book illustration Google Books In "The Photographic Studios of Europe" by H. Baden Pritchard, F.C.S. (London: Piper & Carter, 1882) p.38 |
| 84. |  | Unidentified photographer / artist 1882 A City Phototype Establishment Book illustration Google Books In "The Photographic Studios of Europe" by H. Baden Pritchard, F.C.S. (London: Piper & Carter, 1882) p.112 |
| 85. |  | Unidentified photographer / artist 1882 Messrs. Valentine and Sons glass room Book illustration Google Books In "The Photographic Studios of Europe" by H. Baden Pritchard, F.C.S. (London: Piper & Carter, 1882) p.193 |
| 86. |  | Unidentified photographer / artist 1878 The Dark Room Book illustration Google Books Published in W. de Wiveleslie Abney, F.R.S. "A Treatise on Photography" (London, Longmans, Green and Co. 1878), p.226 |
| 87. |  | Heinemann (Chicago, Illinois) n.d. Heinemann, Photographer - with exterior and interior of the studio Cabinet card, back Private collection of Ken Burkhart |
| 88. |  | Heinemann (Chicago, Illinois) n.d. Heinemann, Photographer - Studio interior Cabinet card, back, detail Private collection of Ken Burkhart |
| 89. |  | D. Appleton 1858-1860 (ca) Untitled image inside the Appleton Store, showing customers, staff, views, viewers, signs advertising views and viewers. Stereocard Jefferson Stereoptics Courtesy of John Saddy (Auction, Tue, Dec 12, 2006 & Thu, Dec 14, 2006, # 06-4, Lot 364) Appleton, New York Stereoscopic Company |
| 90. |  | D. Appleton 1858-1860 (ca) Untitled image inside the Appleton Store, showing customers, staff, views, viewers, signs advertising views and viewers. Stereocard, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tue, Dec 12, 2006 & Thu, Dec 14, 2006, # 06-4, Lot 364) |
| 91. |  | Unidentified photographer / artist n.d. Untitled image showing a display case in a photo-studio business, a Holmes-Bates style scope seen on the case Stereocard, detail Jefferson Stereoptics Courtesy of John Saddy (Auction, Tue, Dec 12, 2006 & Thu, Dec 14, 2006, # 06-4, Lot 70) |