Figure 1.--Photograph in the 19th century was dominated by studio photography. The great majority of photographs were taken in studios. Photography at the time was too complicated for amateurs. Over time we begin to see photographs being taken outside the studio, but not very many. And only men with some technical skill and a little money could engage in amateur photography, even at the end of the century. The problem working outside the studio was the bulky cameras and all the chemicals needed. Here we see a tin-type taken in the early-1860s.

The early research on photography was done in Europe. Americans while they did not participate in the initial research, took to the European developments and the potential for a new industry with a vengeance. And Americans also began doing their own research. Processes developed in Europe appeared in America within months. The first commercial process was the Daguerreotype (1839). Almost immediately Daguerreotype studios appeared in America and by the mid-1840s there were more studios in America than all of Europe combined. Developers in Europe were able with varying degrees of success to enforce patents. American photographers, however, paid no attention to patents in the early stages of the industry. And European inventors were unable to enforce their patents in the United States. We note large numbers of cased Dags in America from the 1840s and 50s. We find far fewer dags, especially cased Dags in Europe, even France where the process was developed. We are not sure just why this is. It may reflected a greater reluctance of European dealers, including France, to sell their items over the internet rather than an actual difference in the number of portraits made. But we think there were probably far more Dags made in America. An American Reverend Hill claims to have create the first color process (about 1850s). New processes appeared in the 1850s. The most important as the Ambrotype developed by English photographer, Frederick Scott Archer, although others were involved which it is what it is not named the Archertype. It was much less expensive than the a Dag ton produce. American Prof. Hamilton L. Smith in America developed the tintype or ferrotype process (1856). He patented the process. The albumen process used for CDVs and cabinets cards was developed in Europe and quickly adopted in America (early-1860s). The albumen process involved negatives, a huge advantage as copies could be made to sent to family and friends. It also was a simpler process and gradually began to be used outside the studio, although throughout the 19th century, the vast number of photographs were studio portraits taken in a studio. The cabinet card appeared only a few years after the CDV (1866). And unlike Europe quickly became the standard type of studio portrait. The cabinet cards had mounts done in a classic style. Both CDVs and cabinet cards had standardized sizes because people had albums for them. The tintype was an almost instant process, ideal for both small-scale local and itinerant street photographers. We see far more photographs outside the studios (1890s), however, they were still a small fraction of the photographs taken. And many of those photographs taken outside the studio were group portraits taken by studio photographers. This was the case because amateur photography was just too expensive and complicated for the average person. This would change fundamentally at the turn-of-the century when Kodak introduced the Brownie box camera (1900).

Early-19th Century

The early research on photography was done in Europe. Americans while they did not participate in the initial research, took to the European developments and the potential for a new industry with a vengeance. And Americans also began doing their own research.

The 1830s

Processes developed in Europe appeared in America within months. The first commercial process was the Daguerreotype (1839). Almost immediately Daguerreotype studios appeared in America.

The 1840s

By the mid-1840s there were more studios in America than all of Europe combined. Patent law was a factor. Developers in Europe were able with varying degrees of success to enforce patents. American photographers, however, paid no attention to patents in the early stages of the industry. And European inventors were unable to enforce their patents in the United States. We note large numbers of cased Dags in America from the 1840s. We find far fewer dags, especially cased Dags in Europe, even France where the process was developed. We are not sure just why this is. It may reflected a greater reluctance of European dealers, including France, to sell their items over the internet rather than an actual difference in the number of portraits made. But we think there were probably far more Dags made in America.

The 1850s

The number of photographs being taken continued to increase in the 1850s, far more than in the case in Europe. Two factors were involved here. First two new photographic formats appeared at mid-decade: 1) Ambrotypes and 2) tintypes/ferrotypes. Both of these formats were less expensive than Dag, increasing demand. Both were produced as cased portraits. Second the United States was rapidly growing as the industrial base was beginning to become important. This meant increased earnings which also expanded demand. An American Reverend Hill claims to have create the first color process (about 1850s). New processes appeared in the 1850s. The most important as the Ambrotype developed by English photographer, Frederick Scott Archer, although others were involved which is why it is not named the Archertype. It was much less expensive than the a Dag to produce. American Prof. Hamilton L. Smith in America developed the tintype or ferrotype process (1856). He patented the process. The albumen process used for carte de viste (CDV) was developed in France, but was for same reason not an immediate commercial success.

The 1860s

Information on fashion increased enormously in the mid-19th century. Photography had become commercially viable by the 1840s with the Daguerotype. This was a major development because while still expensive, was much less expensive than a painting. Dags and the ambros which followed them could, however, not be duplicated. They provide styling, but not color details, although thrre were efforts at colorizagion. Furthur advances had made photography much less expensive by the 1860s creating ever increasing numbers of images. The major development was the carte-de-visite in France (late-1850s). At first the Ambrotype was the dominant process (1860). Dags and tin-types were also made, for the most part all done as cased portraits. At the same time the CDV using the albumen process took off. It did not catch on at first, but in 1860 became an enormous hit. Suddenly there is an explosion in the numbers of photographic images. The CDV was quickly embraced in America (early-1860s). The albumen process involved negatives, a huge advantage as copies could then be made at low cost and sent to family and friends. It also was a simpler process and gradually began to be used outside the studio, most notably to create a photographic record of the Civil War. It also created a whole new photographic type--stereo view cards. It turns out that the public had a great interest in imagery. Most immediately on the Civil War. But people wanted to see people places and things such as flora and fauna. People until the1860s were starved for imagery. People may have heard about giraffes and elephants, but image a thrill of actually seeing one and at low cost. No middle-class family and now even working-class families could afford a stereo viewer and a collection of cards. Although throughout the 19th century, the vast number of photographs were studio portraits using he albumen process. The cabinet card appeared only a few years after the CDV (1866). And unlike Europe quickly became the standard type of studio portrait. The cabinet cards had mounts done in a classic style. Both CDVs and cabinet cards had standardized sizes because people had albums for them. The tintype was an almost instant process, ideal for both small-scale local and itinerant street photographers. The concept of the fashion magazine arrived in America during this period. While circulation was still limited, fashion information was arriving at the American home as never before. There are numerous American 1860s images posted on HBC. We plan to eventually link them here. One image is a painted photographic portrait.

The 1870s

The 1880s

The 1890s

Studio photography continued We see far more photographs outside the studios (1890s). There was, however, a small and increasing fraction of the photographs being taken outside the studio. And many of those photographs taken outside the studio were group portraits taken by studio photographers. This was the case because amateur photography was just too expensive and complicated for the average person. This would change fundamentally until the turn-of-the century when Kodak introduced the Brownie box camera (1900).

Created: 11:02 AM 3/18/2023
Last updated: 1:44 AM 9/1/2025