Light energy alone, usually from the sun, reacted with the light sensitive chemicals on the paper’s surface to produce an image.They only needed to be fixed to preserve the exposed image.And of course any image that contain a regularly patterned series of dots is not a photograph at all but a ink printed image.
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At least 450 different real photo postcard backs can be found but as of this time there is a lack of accurate information regarding all their dates of use, or they were used in very limited quantities.
Kodak controlled 80% of the paper market with their brands Artura, Azo, Aristo, EKC. Cyko by Ansco, Argo by Defender, and Kruxo by Kilborn comprised most of the remaining market.
If the name appears on the photo itself, it is because the negative was scratched into or written upon but it could have been printed at any time.
Some companies were still printing real photo postcards in the 1970’s from negatives taken in the 1890’s.
The printing of the photographer’s or manufacturer’s name on the back of real photos was an expensive proposition.
This practice was only cost effective on cards printed in large numbers; individuals and small photo studios could rarely afford to do so. While many amateur photographers numbered their cards this was most often done by larger studios.The simplicity of the process made it very attractive to amateur photographers.Printing out papers fall into two categories, those coated with metallic salts, and those with coated with an emulsion.A studio sometimes grew to the point where additional photographers were hired but all the photographs produced were published with the original photographers name.At other times a studio might buy out the negative inventory of older photographers and reprinted their images under the current studio name.But even here the effect is more of a softening of detail than a observable texture.