Figure 1.--This is a Belgian salt print from the 1850s. A salt print photograph was printed using sodium chloride (salt) that is subsequently coated with silver nitrate. They are also referred to as a salted paper print. They appear to have been most popular in the period before the development of the albumen process. Salt prints were a negative-based process at a time when most photographs were daguerreotypes or ambrotypes--processes in which only one image could be produced (1840s-50s). This salt print has been beautifully colorized.

We note the same types of photographic images in Belgium that we see elsewhere in Europe. As in other European countries we note very few Dags and Ambros, especially the cased images that were so common in America. We have not yet found many of the early formats from Belgium. Belgium is a small country, but it was a reasonably prosperous country in the 19th century. Economic prosperirty is closely associated with the photographic industry and photographic record. So we hope to eventually find examples of the early formats. The first paper prints we notice are salt prints. A salt print photograph was printed using sodium chloride (salt) that is subsequently coated with silver nitrate. They are also referred to as a salted paper print. They appear to have been most popular in the period before the development of the albumen process. Salt prints were a negative-based process at a time when most photographs were daguerreotypes or ambrotypes--processes in which only one image could be produced (1840s-50s). The imahe here isa colorizded version of a salt print (figure 1). We believe that there were large numbers of CDVs and cabinet cards although we have found very few so far to archive. We do have quite a number of 20th century images both portraits and snapshots. Most 19th century photographs were portraits. After the turn-of-the 20th century we begin to see a lot more Belgian photographs. We see snapshots which became an important part of the photographic record. Most come from the post-World War I era beginning in the 1920s. We note snap shot prints done in different shapes, including the square print on the previous page from the 1950s. We also note a range of borders including smooth and ragged, serrated borders. Here we see the serrted edges in the 1950s. Some portraits were done on the same photogrphic paper used for snapshots. These various characteristics are useful in dating snapshots.

Early Formats

Dags and mbrosAs in other European countries we note very few Dags and Ambros, especially the cased images that were so common in America. We have not yet found many of the early formats from Belgium. Belgium is a small country, but it was a reasonably prosperous country in the 19th century. Economic prosperirty is closely associated with the photographic industry and photographic record. So we hope to eventually find examples of the early formats. The first paper prints we notice are salt prints. A salt print photograph was printed using sodium chloride (salt) that is subsequently coated with silver nitrate. They are also referred to as a salted paper print. They appear to have been most popular in the period before the development of the albumen process. Salt prints were a negative-based process at a time when most photographs were daguerreotypes or ambrotypes--processes in which only one image could be produced (1840s-50s). The imahe here isa colorizded version of a salt print (figure 1).

Albumen Prints

The albumen photographic process was developed in the 1850s , primarily in France. The first commercial format was the carte de visit (CDV). The card was a small format close to the size of a calling card. It was arevolution in photography, basically solving many of the problems of the early formats. The CDV was in expensice, could be conviently archived (albums), and beause it was a negative-based system, multiple copies could be made to send to family and friends. It was not, however, for some reason not an immediate sucess. Suddenly arounf 1860 this changed. A CDV portarit of French Emperor Napoleon III appears to have had a huge impact. Another factor in the popularity of the CDV was that you could purchase portraits of important people. And in an age before movies, tekevision, or even many images in newspaper and magazines, these images were very popular. Very early in the 1860s, the albumen CDV became the standard photographic format in Europe and America. This of course included Belgium. A few years later, the caninet card appeared which was basicakly just a large CDV (about 1866). Suddenly we have large numbers of CDVs and cabinet cards providing an unparalelled number of images, although we have found very few dated images to archive. Differences in the characteristics of the mounts help us to date the portaits. This is why we look fior dated images to archive here. Once we can date the various chracteristics, we can then date the many cards that are not dated. We notice some Belgian cards with caracteristics we have not noted before.

Snapshots

We do have quite a number of 20th century images both portraits and snapshots. Most 19th century photographs were portraits. After the turn-of-the 20th century we begin to see a lot more Belgian photographs. We see snapshots which became an important part of the photographic record. Most come from the post-World War I era beginning in the 1920s. We note snap shot prints done in different shapes, including the square print on the previous page from the 1950s. We also note a range of borders including smooth and ragged, serrated borders. Here we see the serrted edges in the 1950s. Some portraits were done on the same photogrphic paper used for snapshots. These various characteristics are useful in dating snapshots.

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Created: 11:44 PM 8/24/2016
Last updated: 6:09 PM 6/3/2019