1053
gelatine and the Eastman Kodak Company introduced
it’s own matt papers which it called ‘platino’ from 1894.
Matt papers displaced the more usual glossy papers for
commercial and artistic photography although glossy
papers were used in certain areas because of its greater
resolution of detail.
Automatic printing machines were also developed the
fi rst of which was patented in 1883 by Schlotterhoss in
Vienna. By the mid-1890s mass-production of photo-
graphic postcards using silver bromide papers was com-
monplace. Between 1895 and 1913 Arthur Schwartz’s
Neue Photographische Gesellschaft in Berlin had pro-
duced 40 million metres of photographic paper.
Silver chloride and silver bromide papers were not
the only photographic paper in use. Other photographic
printing papers using variants on the basic silver chlo-
ride and bromide formulae and new papers extended a
demand for papers and commercial manufacture.
Gelatine silver chloride positive paper was fi rst de-
scribed by Eder and Pizzighelli in 1881 and large scale
manufacture started from late 1882 by Dr. Just in Vienna.
Leon Warnerke in London started the production of
gelatine silver chloride paper in 1889 appreciating the
warm tones compared to the cold tones achieved with
silver bromide paper. Increased appreciation of gelatine
silver papers and the marketing of such papers by the
Eastman Kodak Company under the Velox tradename
led to the dominance of this type of paper in the twen-
tieth century.
Gelatine silver bromo-chloride emulsions for prints
were described in 1883 and a range of papers was mar-
keted in Britain under the Alpha tradename from the
later 1880s and by Ilford Ltd under the clorona name
and by other European manufacturers.
Self-toning papers which incorporated gold chloride
or platinum were manufactured from the 1890s to im-
prove the fi nal colour of the print from the typical red-
dish colour to a more acceptable sepia to brown prints.
Two new processes in the 1870s led to the development
of a new range of papers. William Willis’s (1841–1923)
platinotype process patented in 1873, 1878 and 1880 led
to the commercial introduction of a range of platinum
papers manufactured for the trade and amateur use
through his Platinotype Company. He also developed
the palladium process requiring palladiotype paper and
a silver-platinum paper, satista. These also saw com-
mercial success.
The other area that saw the commercial develop-
ment of new papers was the introduction of pigment
processes. Swan’s transfer process of 1864 was devel-
oped commercially by the Autotype Company which
manufactured and sold pigment papers exclusively.
The gum bichromate pigment process, popular from the
mid-1890s also allowed companies to produce special
papers and other transfer processes such as bromoil
moved paper away from a purely sensitised base.
The 1870s and 1880s saw a short-lived return to paper
being used as negative support in an effort to develop
smaller and more portable cameras suitable for amateur
use. Leon Warnerke in 1875 produced dry collodion
silver bromide fi lms on chalk coated paper which could
be stripped. This was not successful but the idea was
resurrected by George Eastman in 1884 who developed
a paper fi lm using a specially developed coating machine
which he patented in 1885. The sensitised paper roll was
used in an Eastman-Walker roll holder and attached to the
back of a camera. The grain of the paper was intrusive
and was replaced by a stripping fi lm where the paper
served as a temporary carrier for the emulsion layer
which was transferred to a glass plate after development.
The introduction of celluloid from 1888 as a carrier for
photographic emulsion in 1888 quickly superseded paper
roll fi lm, although glass remained the main support for
professional photographic emulsions until the 1960s.
The use of paper throughout the nineteenth century
saw a move away from the paper being critical to the
effectiveness of the process to one where the paper
was primarily a carrier for a silver halide photographic
emulsion and, later, non-silver emulsions and pigments,
leading manufacturers to develop increasingly specialist
surfaces and weights of photographic paper for increas-
ingly specialist or aesthetic ends.
Michael Pritchard
See also: Sutton, Thomas; Whatman, J. & Co.;
Talbot, William Henry Fox; Calotype and Talbotype;
Dry Plate Negatives: Non-Gelatine, Including Dry
Collodion; Le Gray, Gustave; Cameron, Henry
Herschel Hay; and Blanquart-Evrard, Louis-Désiré.Further Reading
Eder, J.M., The History of Photography, New York, Columbia
University Press, 1945.
Hercock, R.J., and Jones, G.A., Silver By the Ton. A History of
Ilford Lmited 1879–1979.PARKER, JOHN HENRY (1806–1884)
English publisher and photographer
John Henry Parker, publisher and bookseller from
Oxford became Director of the Ashmolean Museum,
Oxford, in 1870, published The Manual of Archeo-
logical Terminology (1836), and The Manual of Gothic
Architecture (1849). After he came to Rome in 1863,
he founded the British and American Archaeological
Society of Rome in 1865 and carried out several excava-
tions on behalf of the Pope. He became convinced that
photography was a more accurate method of recording