Riepma Eppe Bosch Nathan Huegel Jeremy Rowe Helen M. These postcards, wildly popular from the mid-1900s to 1920, were the social media of the era. Actual developed photographs do not have dots. No commercial paper was needed, though eventually manufactured, as card stock could be photosensitized at home and printed out. Such art dominated the U. Publishers, such as Mike Roberts, Dexter Press, Curt Teich, and Plastichrome, began producing cards that had very beautiful chrome colors and were very appealing to collectors. Bromide also started being added to American made silver chloride prints to increase speed but not on a consistent basis.
This could go on for generations, and it is not uncommon to find the same photograph attributed to three different artists. They only needed to be fixed to preserve the exposed image. The first cards printed with this process were introduced by the Union Oil Company in their Western service stations in 1939. While these stencils could be purchased in stores and came in various designs, many forgoed the expense and made their own. Rotograph and Kodak both manufactured bromide paper. Collodion emulsions produced prints with a very fine tonal range and sharp details.
These captions were marked or scratched into the negative. Social, political, and economic factors all played important roles in postcard imagery. This silver chloride paper had a collodion emulsion that could be washed out with water after exposure. All cards during this era had undivided backs and only the address was to appear on the back. The message, therefore, had to be written on the front picture side of the card. Real Photo Postcards were just regular pictures developed on pre-printed postcard stock. There are a few tricks in identifying them.
See to help identify postcard ages. Real photo postcards of the early 1900s are highly rated by both dealers. Real photo postcards may or may not have a white border, or a divided back, or other features of postcards, depending on the paper the photographer used. They still maintain a continuous tone and their colors may provide some clarification. He is the author of many books including Exposing the Wilderness: Early Twentieth-Century Adirondack Postcard Photographers and Adirondack Vernacular: The Photography of Henry M. The emultion on these papers were generally applied to paper with Baryta sizing, which was only available from Germany until Kodak began to manufacture it in 1906. Photochrome cards feature colorful photographic images, but should not be confused with.
In this section we will attempt to bring many of the hidden aspects of postcards into clearer focus through a series of guides as well as providing general information. Toshach Susan Toomey Frost Skip Peters Robert Whelan Bob Gurske John David Phillips, Sr Jim Whipple Derek Gee John F. In more modern time, both full bleed and white borders were made, but the white borders almost always date mid 1910s and after. A caption was often written on the negative which was often glass. Father Siles Tice, Mother Mary A Tice.
Quick Reference Real Photo Old Postcard Dating Guide This chart is not as complete as the detailed information available in the Stamp Box links above. As World War I drew near, the renamed lake and its community were a fixture on the regional map. There was as much text as there were photographs. The brownish tones are common to these postcards. Typical clues for dating postcards such as stamps, stamp boxes, and card format are illustrated with fine images from the PhotoTree. Stratton - These cards were produced with a real photo back but the image is printed with an obvious halftone screen. MetroPostcard Guides to Postcards Postcard Guides W hile one can enjoy postcards for nothing more than the pretty pictures they provide, many find that a deeper understanding of their nature enhances the experience of them.
If that image were proved to be one-of-a-kind, or at least at most one of a few hundred, the value rises even more. That would exclude postcards in poor condition, a caution for collectors expanding their holdings. The terminus of the first overland immigrant pack train destined for California was John Marshs adobe, Brentwood. Ron Millard, long-time owner of , and Mary L. Real Photo Postcards - The Social Media of the Turn of the Century The only guide to identifying and dating Photo Postcards. While many amateur photographers numbered their cards this was most often done by larger studios. There were fewer greetings postcards during this period, but scenics, events, and other types of cards remained popular.
It's completely solid as a scholarly work, but also interesting and useful for anyone who's into real-photo postcards. But even collotypes will exhibit a discernible grain when magnified. To make a standard sized postcard from negatives that needed to be contact printed the image always had to be cropped. The outward simplicity of postcards can be very deceiving. Though most of us today are familiar with the concept of photo grain, this is mostly because we have experienced very large prints made from small 35mm negatives.
On the backside of a postcard, one will find marks made in the stamp corner by the maker of the photograph paper. Valuation: Determining the value of any postcard can often be a very subjective. The thin paper was also easy to cut and paste and pieces of these photos were commonly collaged into scrapbooks and sometimes pasted onto postcards. Robert Bogdan and Todd Weseloh draw on extensive research and observation to address all aspects of the photo postcard from its history, origin, and cultural significance to practical matters like dating, purchasing, condition, and preservation. Illustrated with over 350 exceptional photo postcards taken from archives and private collections across the country, the scope of the Real Photo Postcard Guide spans technical considerations of production, characteristics of superior images, collecting categories, and methods of research for dating postcards and investigating their photographers. Rounds family Photographer's lawn sign in above photograph. In an age without radio or television, picture postcards offered an inexpensive and accessible view of the world.
However there was no demand for mass production until real photo postcards became popular. They were so familiar to the public eye that albumen became synonymous with photography. Real photo cards continued to be hand colored even after color prints were introduced. This article originally appeared in Antique Trader magazine. Up to this point, most postcards had come from Germany. First to go were the crowded steamboats and excursion trains.