Photo Studio Visiting Card Design Cdr File Free Download

The carte de visite (.mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}French: [kat() d vizit()], English: 'visiting card', abbr. 'CdV', pl. cartes de visite) was a format of small photograph which was patented in Paris by photographer Andr Adolphe Eugne Disdri in 1854, although first used by Louis Dodero.

Each photograph was the size of a visiting card, and such photograph cards, in an early form of social media,[1] were commonly traded among friends and visitors in the 1860s. Albums for the collection and display of cards became a common fixture in Victorian parlors. The popularity of the format and its rapid uptake worldwide were due to their relative cheapness, which made portrait photographs accessible to a broader demographic,[2] and prior to the advent of mechanical reproduction of photographs, led to the publication and collection of portraits of prominent persons. It was the success of the carte de visite that led to photography's institutionalisation.[3]

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The carte de visite was usually an albumen print from a collodion negative on thin paper glued onto a thicker paper card. The size of a carte de visite is 54.0 mm (2.125 in) 89 mm (3.5 in) mounted on a card sized 64 mm (2.5 in) 100 mm (4 in). The reverse was generally printed with the logo of the photographer or the photography studio from which it came, as protection of copyright, as advertising, and sometimes carried instructions for effective posing.[4]

The carte de visite was slow to gain widespread use until 1859, when Disdri published Emperor Napoleon III's photos in this format.[9] This made the format an overnight success; as Disdri was to boast; "Everyone knows how I suddenly became popular by inventing the carte de visite which I had patented in 1854."[12] He charged 20 francs for twelve photographs when previously a single print would cost 50 to 100 francs, so that portraits were suddenly available at a cost that the lower middle classes could afford.[2] The new invention was so popular that "cardomania"[13] spread quickly throughout Europe and then to the rest of the world.

...just received the Royal permission to publish a series of portraits which had been previously taken of the Royal family and of several other illustrious personages who have the honour of being intimate friends of her Majesty. These charming portraits are of miniature size; some of them are mounted on cards, and opposite to that of the Queen in the catalogue we find it described as a carte de visite. A complete series is placed upon a screen, in the centre ot which are large portraits of his Royal Highness the Prince of Wales in military uniform, and his Royal Highness Prince Alfred in the dress of a midshipman in the Royal navy. Besides the single.figure portraits of the Royal family, there are several most delightful groups of them variously arranged [...] These portraits having been entirely divested of all appearance of Royal state, possess an air of novelty, and the illustrious personages being represented as if perfectly unconscious of the photographer's presence, and engaged in their ordinary occupations, seem to afford the public a legitimate peep into the privacy of the Royal apartments, and give a decided charm to this publication [...] purchasers may, while they have the satisfaction of displaying their loyalty, also have the pleasure of selecting those arrangements of the portraits to which they may give a preference. The whole series, including the personal friends of her Majesty, amounts to 32 portraits, and are very beautiful specimens of the photographic art.[14]

In Germany, Emperor Wilhelm I encouraged this pictorial culture by investing approximately 120 studios with the imprimatur of Hofphotograph (court photographer), based on the cartes that each had made of the kaiser, flatteringly posed with his gloved right fist planted powerfully on a table bearing his plumed helmet, and of his family. Millions of his photographs were collected in German family albums.[15]

The carte de visite was introduced in New York, probably by Charles DeForest Fredricks, late in the summer of 1859 and proved immediately popular in the era of the Civil War. During the war years, photography studios across the country generated hundreds of thousands of carte-de-visite portraits in decorative pressed-paper and tooled-leather albums prized by the soldiers, and their families, thousands of which artefacts survive intact today.[23] As The Times of London reported on August 30, 1862:

In Australia Manchester-born William Davies began his photographic career with Walter Woodbury (inventor of the Woodburytype) and established several studios in Melbourne from 1858.[35] William Davies and Co at 98 Bourke St., being opposite the Theatre Royal, sold cartes de visite of famous actors, actresses and opera singers. The company also specialised in carte de visite portraits of Protestant clergymen posed as if writing their sermons.[36] The Albury Banner and Wodonga Express of May 1863 finds it noteworthy that "a gentleman had occasion to advertise for a cook. Amongst other applications in answer to his advertisement was one from a "young lady" of the profession, enclosing her carte de visite and stating her salary."[37]

By the early 1870s, cartes de visite began to be supplanted by the cheaper tintypes franchised as the "American Gem," and by "cabinet cards" (the term established in Cabinet painting), which were also usually albumen prints, but larger, and mounted on cardboard backs measuring 110 mm (4.5 in) by 170 mm (6.5 in). Nevertheless, while larger framed prints became available at photography studios, the two smaller formats were the main trade of professional portrait photographers even between 1888, when George Eastman introduced the mass produced and pre-loaded Kodak which industrialised the processing and printing of amateurs' photographs,[45] and 1900, when the Brownie camera simplified the technology and so reduced the cost of the medium that snapshot photography became a mass phenomenon.

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