Current Exhibitions	U.S. Presidents	Updike Farm
Upcoming Exhibitions	From Towpath to Bikepath	Moved Buildings
The Rose Family Studio	Rolf W. Bauhan	African-American Life
Albert Einstein	Landscapes by Brett Weaver	Princeton During the Civil War
	Princeton Recollects

Contents

Introduction Acknowledgements The Rose Family The Rose Photography Business The Photographic Studio From the Rose Studio Glass Plate Negatives The People of Princeton A Diverse Community

Children & Families School Life Street Scenes Community Organizations "Practical" Work Local Commerce Sports Architecture Community Events Changing Princeton

---

The Photographic Studio

Virginia Rose Hinson recalls the studio at 34 Nassau Street clearly. She writes, “The room for taking photos had much glass in the wall facing north and skylights overhead.” The room also included a few props such as chairs, a love seat, and benches for group pictures. Painted canvas backdrops were kept on rollers for easy storage and accessibility. “As you came into this room... you could see large, squarish cameras...” other rooms featured display cases of photographs taken at the studio or in town, sample frames of all sizes and styles, and a counter where orders were taken.”

Having your picture taken in the early days of photography was no simple matter. The studio was usually located on the top floor of a building with one large room having a slanted glass wall/ceiling to provide light for the exposure. Standing or seated in a chair with arms, a head grip would be placed behind you to hold your head still. Props such as a fence or rocks were also used for customers to use for support. Exposures were from 30 seconds to 2 minutes depending on the amount of light available. Any movement would be seen as a blur on the final print.

---

From the Rose Studio

In addition to glass plate negatives, the Historical Society's archive also includes many vintage photographs produced by the Rose Studio over the course of many years. These prints track changes in business logos and names as Rose family members joined or left the business. They are displayed here and thoughout the exhibition.

The original prints also illustrate the various formats in which photographs could be printed and purchased. Among these were: tintypes, which used a metal base; stereoscopic photographs, taken with a double lens camera, usually of scenic views; carte-de-visites, small photographs (2 1/2 by 4 inches) used as “calling cards” when visiting friends; and the larger cabinet cards (4 1/2 by 6 1/2 inches) for display in cabinets and other shelves in the home.

Josephine Perry Morgan (right) with friends Nellie and Mary Cabinet card, late 1890s

Josephine Perry married Junius S. Morgan, nephew of J.P. Morgan.

---

Glass Plate Negatives

Glass plate negatives predate the film negatives used today. Like today’s negatives, glass plate negatives could be used to produce many copies of the same image. Unlike today’s negatives, glass plates were easily broken and the prints made from them were not enlarged. All images were printed directly from the negative. To produce a large photograph, a large glass plate was used. Studios could produce negatives in many different sizes. The glass plate negatives in the Rose Collection range from 4 x 5 inches to 14 x 17 inches.

Wet glass plates or collodion negatives (generally used from 1851 to 1870) consisted of a sheet of clear glass, covered with a sticky, light sensitive liquid called collodion. The photographer had to apply the liquid to the glass, then take the photograph and develop it before the liquid dried.

Dry glass plate negatives used an emulsion containing silver bromide in a gelatin binder and came into popular use in the 1870s. These “ready to use” plates were coated, dried, and packaged beforehand. Consequently, the photographer did not have to carry the darkroom with him as was necessary with the wet plate method. Dry glass plates were soon made commercially and were available to professional photographers as well as the growing number of amateurs. The majority of the Rose Collection’s glass plate negatives are dry glass plate negatives.

---

The People of Princeton

Although they were practical business men, the Roses unknowingly created a rich portrait of Princeton. Their images document all aspects of life in the area including: individuals and families, local commerce, sports, community organizations, architecture, the natural and built environment, community events, life events, street life, and school life. The Rose Studio’s images will be explored–first, in this room’s portrait gallery and, next, in a community gallery. All photographs are made from Rose Studio glass plate negatives unless otherwise indicated.

Philip Diggs c. 1920 Philip Diggs was the first African-American policeman in Princeton Borough.

Mark Twain Copied from a print, c. 1890s Courtesy of Jake Lutz Mark Twain frequently visited his friend, writer Laurence Huttan, in Princeton.

Mark Twain was a famous writer. Do you know what books he wrote?

Twins in Military Uniform 1940s

Jimmy Johnson From a collodian plate, c.1880s Mr. Johnson, an early entrepreneur, sold apples and lemonade to Princeton University students.

Two Cyclists c. 1885

Have you ever ridden on a bicycle? Do these bicycles look similar?

---

A Diverse Community

Princeton has traditionally been a town rich in diversity. Both slaves and free African Americans lived in Princeton since the eighteenth century. By the 1900s, Princeton’s African-American citizenry had developed strong social and religious institutions. Beginning in the late nineteenth century, Italian immigrants started arriving in Princeton in large numbers. Attracted initially by economic opportunities, they developed strong local ties. Princeton University and the Princeton Theological Seminary also attracted a small number of Asian students. Some Chinese immigrants established local businesses as well. Photography was the first relatively affordable method of portraiture, and we are fortunate that some of the diversity of the Princeton community is reflected in the Rose Collection.

Man with Umbrella c. 1895

Student? c. 1890s

---

• Go to the next page of the Rose exhibit
• Return to the first page of the Exhibit

The exhibition text and all photographs are not for reproduction or publication. Permission to use excerpts may be obtained from Gail F. Stern, Director, the Historical Society of Princeton