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Some studios in the 1860s often offerd albumen prints and Daguerrotypes or Ambrotypes, but soon they were primarily albumen prunts. The shift from these formats to albumen prunts was very rapid--a textbook example of response of an industry to consumer demand. Albumen studios in contrast to the Dag and Ambro studios began offering a wide range of services. The CDV which appeared in Europe during the late-1850s and in America during the very early-1860s. The CDV was followed by the cabinet card (1866). The cabinet card is smply aarger albumen print on larger card stock. Big city studios also offered clients a much greater choice of backdrops. It was the services offered that really destinguised big city studios. The sticker here is a good example of the range of services offered by a Philadelphia studio (figure 1). They could copy Daguerrotypes or other old photograpgs. This was helpful because unlike albumen prints (CDVs and cabinent cards), there was no negative as part of the Daguerrotype process. Ambrotypes were more difficult to copy. Albumen prints could be made in a range of sizes. CDVs and cabinet cards were done in standard sizes, in part so they would fit into albums. Clients could, however, order enlargements in various sizes. Color could be added through tinting or by painting over the print (water color, oil, pastels, or ink). There were many other types of portraits such as ivorytypes or opalotype.
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