A Photography Collector’s Reference Guide

The most common photographic processes include albumen, gelatin silver, and chromogenic prints. In the mid-19th century, photographs began to be largely produced on paper surfaces. Gelatin silver and chromogenic prints are still widely made today.

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CONVENTIONAL PHOTOGRAPHIC PROCESSES

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  RICHARD AVEDON, 'DOVIMA WITH ELEPHANTS, EVENING DRESS BY DIOR, CIRQUE D'HIVER' , 1955.

  Gelatin silver prints

  Since the 1900s, the gelatin silver process has been the most commonly used method for making black and white photographs. The commercially manufactured paper is coated with a gelatin emulsion that contains light-sensitive silver salts. These prints can be glossy or matte and have smooth or textured surfaces. The majority of 20th century black and white photographs are gelatin silver prints.
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  JULIA MARGARET CAMERON, MRS. HERBERT DUCKWORTH (JULIA JACKSON) , 1867.

  Albumen prints

  Invented in 1847, the albumen process ushered in the era of the paper print and steadily gained popularity from the 1850s through the 1890s. The paper was coated with the soluble protein found in egg whites to serve as a binder for the salt and silver particles which produced the image. Albumen prints are celebrated for their deep darks, long tonal range and high detail. Because albumen paper is very thin, it was typically mounted on card stock to lend support to the photograph. Many albumen prints are available in the market. Since the saturation can fade with age, albumen prints in excellent condition are rare finds, particularly those that retain their deep, chocolate brown or eggplant purple tones.
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  STEPHEN SHORE, 'HOLDEN STREET, NORTH ADAMS, MASSACHUSETTS', 1976.

  Chromogenic or Type-C prints

  Chromogenic prints, commonly referred to as “C-prints,” comprise a majority of 20th century color photographs. They have been used for everything from fashion photography to personal snapshots. This type of print was introduced around 1930, but only gained widespread use from the 1970s onward. Chromogenic prints are made on paper that holds three layers of silver salts, which are sensitive to red, blue, or green values. When combined, this trio of primary hues produces color images.

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Before it became common to print on paper, photographers created durable images on the surface of metal and glass in the form of daguerreotypes, ambrotypes, and tintypes. Photographs supported by wood, ivory, or leather also exist, but they are extremely rare.

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PRECURSOR TO PAPER: METAL & GLASS

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  JOSEPH PHILIBERT GIRAULT DE PRANGEY, PORTRAIT D’UNE JEUNE FEMME, FLEUR À LA MAIN, VERS 1842.

  Daguerreotype

  Presented to the public in 1843, the first patented photographic process was named for its French inventor, Louis Jacques Mandé Daguerre. From 1840 to 1860 it quickly attracted practitioners worldwide, many of whom used it for portraiture. Each daguerreotype is unique, the image fixed directly on a highly polished silver-plated copper sheet. The result is an extraordinarily detailed image with a distinct steely-gray tone and a mirror-like reflection when viewed from certain angles. Contemporary artists such as Adam Fuss and Chuck Close have revitalized this process in the last few decades. Nineteenth-century daguerreotypes in excellent condition are rare since the plates are vulnerable to scratching and image erasure if they are not properly stored. Daguerreotypes are usually cased in leather or thermoplastic, although one might encounter an extraordinary example in a handsome wall frame. Original cases with unusual design can add to the overall value of a daguerreotype.
  
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  ANONYMOUS AMERICAN PHOTOGRAPHER, MYSTICAL HEALING, 1850s-60s.

  Ambrotype

  The ambrotype offered a faster, less expensive photographic process than the daguerreotype. It achieved great popularity from 1850 to 1860, particularly for portraiture. Each ambrotype is unique, the image fixed directly on glass with a dark backing. At first glance, ambrotypes might be mistaken for daguerreotypes; the important distinction is that an ambrotype can be seen from all angles. A three-dimensional effect may often be perceived since shadows and highlights reflect off the glass. Like daguerreotypes, ambrotypes are found in folding cases.
  
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  ANONYMOUS AMERICAN PHOTOGRAPHER, BANJO AND FIDDLE PLAYERS, CIRCA 1860s-70s.

  Tintype

  In contrast to daguerreotypes and ambrotypes, the tintype process offered a faster, less expensive method for making photographs. Instead of a copper or glass plate, a tintype is printed on an affordable, durable sheet of blackened iron. This popular type of photograph was ideal for tourists or itinerant customers because they could be make quickly and carried easily. They were often inserted into decorative paper holders, adding an element of style or color to the black-and-white image.
  

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In addition to the above methods of photography, other processes have also been adopted by photographers throughout the medium’s history in order to produce dramatically different effects. Some were only used at a specific historical moment, whereas other printing processes (platinum and cyanotypes, for instance) are still being utilized by contemporary photographers.

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ALTERNATIVE PROCESSES

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  WILLIAM HENRY FOX TALBOT, THE PENCIL OF NATURE, CIRCA 1846.

  Salted Paper Prints

  Salted paper prints were the first photographs printed on paper. This popular method was utilized from 1840 to 1860 and enjoyed a brief resurgence at the end of the 19th century. Opportunities to acquire salted paper prints are rare.
  
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  ANNA ATKINS, ‘BRITISH ALGAE VOL. III', 1843-1853.

  Cyanotype

  This efficient method of creating and reproducing images is best known by its colloquial name—the blueprint. Its intense cyan blue coloration never allowed it to achieve widespread popularity in the photographic realm, but it was used by select practitioners in the 19th century, reaching its height around 1900.
  
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  ROBERT MAPPLETHORPE, LISA MARIE, 1987.

  Platinum

  The platinum process was popular from the late 19th century through the first part of the 20th century, but it is still in use by a select group of photographers today. Beloved for their matte, monochrome appearance and wide tonal scale, platinum prints have always been less common as the expensive materials limit its widespread use.
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  IRVING PENN, COTTAGE TULIP: SORBET, NEW YORK, 1967.

  Dye Transfer

  This time consuming, multistep printing process produces some of the most durable color photographs. Demanding great skill from its printer, a dye transfer print is made by using three color separations that record red, green, and blue values. Since the chemicals used in dye transfer prints no longer exist, these photographs today are rare. Many collectors feel that dye transfer prints represent the richest expression of color photography.
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  SANDY SKOGLUND, THE GREEN HOUSE, 1990.

  Cibachrome

  The Cibachrome process developed out of the mid-century demand to turn color slides into photographic prints. This method creates high quality photographs with vibrant colors that are imbued with depth. Cibachromes have a shiny, nearly wet looking surface. Cibachromes are less common than chromogenic prints.
  
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  NOBUYOSHI ARAKI, SELECTED IMAGES FROM POLA EROS, 1999-2000.

  Polaroid

  In 1947 the Polaroid Corporation developed and manufactured the first instant-developing camera. This revolutionary chemical process cut out the need for darkroom processing and offered laymen and artists alike instant gratification by completing the development process in a matter of minutes. Polaroids were particularly popular between 1960 to 1980, and again in the early 2000s. Like the 19th century daguerreotype, each Polaroid print is a unique work, without a negative that would allow for duplication. The wildly popular SX-70 camera was introduced in 1972 and remains the best-known model in the Polaroid family.
  

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OTHER PRINT CONSIDERATIONS

Vintage. The value of a photograph is often affected by both its print date as well the printer. In the context of photography, ‘vintage’ means that a photograph was printed soon after the negative was made. When a photograph is designated as ‘printed later,’ it indicates that a longer span of time elapsed between the image date and the print date.

Limited Edition. A ‘limited edition’ photograph indicates that an artist only made a specific number of prints in a particular size and format. An ‘open edition’ allows for an unlimited number of prints of a specific image to be made.

Stamps, Signatures, and other Markings. Photographs may be signed, numbered, or titled by the artist on the front or back. Photographers may use pen, pencil, or stamps to make these notations. The reverse of a print may reveal estate stamps, copyright notices, printing notations, inventory numbers, or additional clues about dating. For certain photographers, the markings are as important as print cues for verifying the authenticity of a work.

Provenance. Provenance is the ownership history of an object. Works that come from an artist’s descendent or associate, or that were owned by a well-known individual, may have interesting stories attached to them.

Condition. As with paintings, prints, and sculptures, understanding the condition of a photograph is important. In general, heat, humidity, and light exposure adversely affect the condition of a print. Signs of age and wear can be quite normal, but collectors should be attuned to cracking or yellowing, scratches or creases, as well as fading or silvering.

Department

Photographs