At the very end of the March 15, 1890, issue of Wilson’s Photographic Magazine, the editor threw in a photo-engraving [below] produced by the Moss Engraving Company after a negative by William P. Rhoades of Hot Springs, Arkansas, with a challenge to his thousands of readers to explain how the double exposure was made. With the next issue due out in only two weeks, Wilson emphasized, “Guesses are requested early.”

Not only did he receive a number of answers from around the United States but also examples of work produced in several different methods. In the April 5 issue, Wilson reprinted the photo-engraving and quickly reminded everyone this was not the first time anyone had created a double exposure. He credited Edward Z. Webster with making a daguerreotype in 1850 that included two self-portraits opposite each other at a table. Unfortunately, no reproduction was included and the daguerreotype is not known to have survived. Wilson called this “Freak” photography.

“The interest which has followed our article on the subject of “Freak” photographs, on page 207 of our magazine of April [5]th, has proven to be a great deal more widespread than we at first thought might be the case,” writes Wilson. “As one instance we may [state] (showing at the same time how quick our foreign co-workers are to follow the innovations and inventions of their American cousins), that we have already received a book from a German publisher which faces us with a reproduction of our own engraving of the “Double Subscriber,” accompanied by the instructions we gave for making “Freak” photographs…”.

One of the subscribers who answered Wilson’s challenge was Michigan photographer Abel J. Whalen, who not only described his camera-back apparatus but sent a group of photographs created using his patented process. Wilson published several and with all the publicity Whalen received, he went on to make “Freak” photographs a speciality.

Whalen, however, refused to allow Wilson to published the complete description of how his photographs were made. Instead, with Wilson’s approval, he offered readers the chance to purchase specimens, a vignetting box he would build, and instructions for creating their own pictures. In return, “I will expect $5 with each order.”

F. Gutekunst, Gentlemen of the Jury, Phototype print after a negative by Abel J. Whalen, 1890, published in Wilson’s Photographic Magazine, June 21, 1890. Whalen’s portrait is repeated 14 times against a black background.

“From time to time, since the publication of our issue of April 5th, we have presented articles upon what appear to be “the latest thing out” in photography, namely, “freak” photographs, or photographs which present the same subject in one or more attitudes upon the same plate. Several such pictures have been engraved for our pages, but we have been unable, until now, to present one of a style which, t us, seems to open up a fine lot of possibilities  for the genius of the enterprising photographers who are going to be the first to “get the business” there surely is in it form their patrons. We allude to the “Gentlemen of the Jury” of Mr. A.J. Whalen (formerly of Waldron), Pittsford, Mich. The old time “double” picture, already fully described on page 207 of our issue of April 5th, will, doubtless, have a “big run” too; but we think Mr. Whalen’s method of vignetting in the camera, by means of his “adjuster” and kit, such mysteries as his “Gentlemen of the Jury” gives results which are far more unique, and which, so readily produced, are sure to become popular.”

Wilson went on to highlight Whalen’s photographs several time in his many publications, including Wilson’s Photographic Magazine, Photographic Mosaics, and The Photographic Journal of America, while also running Whalen’s full-page advertisements. One can’t help but imagine it was a winning arrangement for both men, giving Wilson popular copy for the magazine and Whalen a good income.

William Notman (1826-1891), “Victoria Skating Rink, Carnival Shrove Tuesday, March 1, 1870.” Albumen silver print published in The Philadelphia Photographer (Philadelphia, Pa.: Benerman & Wilson, December 1870). Graphic Arts Collection GAX 2007 0008M

In May of 1870 the Canadian photographer William Notman sent the publisher Edward Wilson a copy of a composite photograph entitled “Victoria Skating Rink,” with an offer to edition the print for Wilson’s magazine The Philadelphia Photographer. The offer was immediately accepted and later that fall Wilson received several thousand albumen silver prints that were pasted into the December issue as a special end-of-year treat for his subscribers. Wilson wrote,

“Our picture this month is another example, on a more extended scale, of composition photography; and an example of a class of work which is perfectly legitimate in photography and to which in the future our best artists must reach. The subject is the “Skating Carnival,” which was given in Montreal last winter, during the visit of Prince Arthur [the Duke of Connaught, Queen Victoria’s youngest son], who may be seen in his fur cap, face front, on the left of the picture. It is the work of Mr. Wm. Notman, in Montreal, and as an example of this class, is admirable indeed.”

The fancy dress skating carnival had taken place on March 1, 1870, at the Victoria Rink in Montreal but Notman did not begin work until the following day, when he posted an invitation to anyone who skated at the carnival. Those men and women who attended were asked to come to his studio in costume, to be photographed individually. Approximately 150 portraits were shot, printed, trimmed, and then arranged into a group composition. The background was painted in and the whole scene rephotographed for an inter-negative from which an edition of albumen silver prints could be made.

The first composite prints were completed by April 25, barely two months after the carnival and one was immediately shipped to Wilson in Philadelphia, hoping it would be one of the monthly ‘embellishments’ to his popular journal. Wilson noted:

“The rules of composition are preserved throughout and the photography is excellent. …This is no easy performance, yet those acquainted with the rules of composition and grouping may attempt it and soon succeed. In this the harmony, the ease and naturalness of all the figures, together with the variety, the correct perspective, the perfect light and shade, and admirable definition, make it the most charming thing of the kind we have seen. Many nice studies for positions may be taken from this picture. It is full of matter for study, which fact we hope will be taken advantage of.”

Several large scale versions were also made by projecting the scene onto a light sensitive canvas using a solar enlarger. The photograph was over-painted in oil by Henry Sandham and Edward Sharpe, further obscuring the separate portraits. One such painted photograph is held at the McCord Museum, McGill University, measuring 37 1/2 x 53 1/2 inches, a gift of Charles Frederick Notman [N-0000.116.21.1 seen below]

A key to the picture was also prepared, so some of the 150 individuals photographed could find themselves within the scene and want to buy a copy of the picture.

Although the use of collodion as a binder for photographic paper prints goes back to the 1860s, the commercialization of ready-to-use papers took longer to develop and to be accepted by American photographers. In 1884, the Germany manufacturer Paul Eduard Liesegang began selling a collodion emulsion printing out paper (POP) he called Aristotype. The name comes from the Greek aristos and rupos, that is, best type (read more: “Differences In Image Tonality Produced By Different Toning Protocols For Matte Collodion Photographs” by Sylvie Penichon –https://cool.culturalheritage.org/jaic/articles/jaic38-02-002_3.html).

By the end of the 1880s, most photographers abandoned albumen papers for Aristotype papers, with Americans preferring collodion-chloride POP and Europeans using gelatin-chloride POP. This led to the formation of dozens of companies battling for dominance in the Aristotype paper market. Largest was the American Aristotype Company, formed in 1889 with E. & H. T. Anthony as their New York agent, along with the New York (later the New Jersey) Aristotype Company, the Nepera Chemical Company, the PhotoMaterials Company of Rochester, and of course the Eastman Kodak Company, among many others.

Eventually they were all bought out or merged or went bankrupt leaving Kodak as the single American producer. A lawsuit was filed claiming the company used criminal tactics to corner the market but by then, Kodak was too big to fail (see: United States v. Eastman Kodak Co., 226 F. 62, 71 (W.D.N.Y. 1915). Decided August 24 1915).

Wilson’s Photographic Magazine printed dozens of articles and recipes for differing paper chemistry, giving the American public a chance to see for themselves which brand or producer was preferred. In 1893, in particular, Wilson had multiple negatives printed on different papers and inserted them into each copy of the magazine, which had an edition close to 6,000 at that time. Princeton is fortunate to have issues with the photographs still intact, as many were removed by collectors.

In addition to the prints, during the 1890s Wilson’s magazine included advertising by the various companies battling for the photographers’ attention. As seen above, American Aristotype Company used dry detailed listings of their prices, while the New York Aristotype Company hired the firm of Terwilliger & Peck to design humorous advertisements that changed frequently. One in particular shows the company man physically crushing his competitors, the uncomplicated drawing of the ad reflecting the uncomplicated use of their papers.

In 1925, the American Aristotype Company, by then a wholly owned subsidiary of Eastman Kodak, closed its plant for good and the heyday of Aristotypes ended.