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routes. The very nature of early unreliable or inconsis-
tent chemistry and supplies made this perilously obvi-
ous—not to mention potential pilfering or outright theft
of stock in distant centres. No less important: weighty
supplies carried either by horse or donkey or pulled on
spring-wagons were prone to accidents—thus the need
for an all-encompassing secure method of supply and
transport. The results refl ected the photographer’s initia-
tive to provide functional practicality due to prevailing
geographic and economic concerns—and the success
of their vocation.
Depending on their situation, some peddled their
bicycles across the land carting assorted ingeniously
collapsible darkrooms, and slept in tents; others had
private railway cars.
Possibly the most ingenious portable self-contained
photography darkroom was the “fi tted” or “collapsible
dark tent.” This was literally a slightly oversized suit-
case that, sequentially unfolded and set up, formed a
table with insert trays, chemistry holders and shelves,
and provided for equipment storage. It was covered
over and fastened with a light-tight rubberized fabric
bag or “tent” allowing the photographer to hide under
while they performed the necessary tasks of prepar-
ing wet collodion plates like inserting glass negatives
into dark slide holders, developing and fi xing images
or endless other tasks that required total darkness. To
prevent insects or dust from spoiling any particular task,
the tapered bag fi t over the operator and often tightened
around the waist. While this was an amazing bit of
technology, one had to be hardy and profi cient—espe-
cially on hot days as temperatures under the tent often
became intolerable. Itinerants quickly learned to trust
their sense of touch and smell to monitor their progres-
sion during the preparation of chemicals or subsequent
developing stage.
Certainly during the formative years many itinerants
used compact, very portable horse drawn wagons. Ex-
ceptionally there were those on sleighs or on riverboats.
From the proliferation of images extant we know that
itinerant photographers used several ingenious versions
of drawn or train-ferried studio-darkrooms. Many in-
cluded the basics: light-free storage area for chemicals
and supplies; special windows glassed to provide pre-
and post-development needs as required; and repair and
equipment storage area. Considerably fancier vehicles
included a studio complete with skylight and indoor
props. Purportedly there existed American wagons that
could be transferred from track to wheels where and
when required. Mid range studios might photograph
patrons outside but had collapsible chairs or benches
for those waiting.
Presence probably awed the potential customer but
only the fi nal photographic results conveyed the truerichness of their talents. Indeed, not all itinerant pho-
tographers were successful at their trade. Early prairie
newspapers mentioned itinerant photographers were not
above bartering for wheat, fl our, wood or other method
of payment for “likenesses.” Many had secondary em-
ployment as well. The 1850s directories suggested that
“photographists” and “ambrotypists” fell back on other
professions including civil engineering and draughts-
menship. One was even known as a hypnotist. This level
of ‘confi dence’ was more or less consistent in directo-
ries published thirty years later. Some photographers
plied their trade and sold pianos in the same ad. Some
sold real estate and others were insurance salesmen. In
North America there were several interesting examples
of photographers becoming fur trappers. A Methodist
priest-turned-photographer plied his itinerant trade for
only two years before his “conversion” to blacksmith.
Several met tragic deaths in various parts of the world,
including being found purposefully severed in two on
railroad tracks.
To promote their trade most itinerant photographers
made repeated use of advertisement. The purchase in
advance of a spot in newspapers or on broadsheets
from towns and hamlets along their travelling route
notifi ed prospective patrons of the opportunity to be
photographed at set dates and locations. Some adver-
tisements were brief or generic; others touted in great
details the photographer’s talent and resourcefulness.
It was not uncommon to see boastful advertisements
such as: “Now is your chance to get good work—bet-
ter than ever turned out in this town before.” Some ads
were even purloined from other unsuspecting itinerants.
Newspaper publishers printed submitted ads rather
indiscriminately under “Business Card,” “Artistry,”
“Photographs,” “Photography,” “Town,” “Local” and
“General” or “Miscellaneous” news. Few photographers
were moved to advertise with impending seasonal holi-
days or visiting dignitaries—possibly a function of how
slow news traveled. Retractions, “pending” notices, or
apologies for changed schedules were common and
regrettably often posted after the fact.
Advertisements signaled trends; such as procuring
images of sick and, in particular, deceased family mem-
bers. Since the advent of daguerreotypy and continuing
much until the early years of the twentieth century,
people brought their deceased to photographers. Itiner-
ants could be counted on to make a keepsake of patrons’
dearly deceased—often children. Europeans favoured
very much an image transferred to ceramic and then
secured onto the tomb of their loved one. Itinerants were
adept at producing or transposing, images onto leather,
ferrotyped metal, milk glass, silk, porcelain and assorted
other materials. However in some cases (most notably
the glazed ceramic) work would be carried out later inITINERANT PHOTOGRAPHY
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