The first practical photographic process, the Daguerreotype, arrived in the United States from France in late 1839. J. M. F. Daguerre, an artist, invented a process which formed an image on a silvered copper plate sensitized by iodine vapor. After exposure to light in a camera, the action of mercury vapor developed the plate's latent image. A rinse in a salt compound removed any remaining light sensitive elements. After a wash in pure water, the plate was ready for viewing. The daguerreotype was a direct, positive image on the plate. This image appeared reversed left to right. A mirror or prism was often placed on the front of the lens to correct the image. Starting in 1840, daguerreian galleries were opened in the larger cities of the nation offering likenesses. Once the daguerreotype artists became skilled in the process and confident in their abilities, they began to move through the interior sections of the country. They traveled from village to village bringing their craft to anyone who could afford the price of an image.
Information on daguerreotypists during these early years is difficult to find. City and village directories and the newspapers of the era are the best sources of information on the comings and goings of these itinerant artists. Occasionally other sources of early photographic history are discovered. In the case of Montrose, Pennsylvania, Rhamanthus M. Stocker's history of Susquehanna County is one of the few county histories from the late nineteenth-century that includes a section describing early photographers.1 Stocker's comments on the early photographers of Montrose are amazingly accurate when verified by a review of the local newspapers from this era.
Stocker began his comments on Montrose's photographic history by noting:
Soon after the renowned Frenchman, M. Daguerre, made his important discovery, by which the human face could be pictured on the silver plate, an artist appeared in Montrose and succeeded in capturing the "exact resemblance" of a number of our prominent citizens. This was about the year 1842 and it is believed by some that Edwin Foot, from New Milford, was the first, while others are of the impression that O. P. Reeves, a traveling man, preceded Foot. As this is not material, both being here in the same or following year,…
Regardless of what Stocker felt was material to local history, it is important to establish who took the first photographic image in Montrose.
The Susquehanna Register of late March, 1842 carried the following notice:
Daguerreotype.—We invite the attention of our citizens to the notice of Mr. Foot, whose apparatus for taking miniature portraits by this curious modern way may be seen in the room over the Post office. Many of our readers may have read or heard something of this astonishing discovery which, with various recent improvements has been introduced into this country; and a visit to his room may well repay the trouble of calling. Several specimens of the art may be seen, which are pronounced excellent likenesses; and as Mr. F. is a native citizen of our county, and withal a gentleman of respectable character, we hope he may meet with due encouragement and patronage. 2
This notice and the following advertisement were the first to mention the "New Art" of the daguerreotype in Montrose:
MR. EDWIN FOOT, would respectfully announce to the Gentlemen and Ladies of Montrose and vicinity that he is prepared to take Daguerreotype miniatures in good style. Persons desirous of obtaining an exact likeness of their features, indelibly set on silver, put into elegant morocco cases, and for a trifle too, hardly worth mentioning, will do well to call on the subscriber who may be found for a few days in the corner room over Wm. L. Post & Co.'s Store. Hours of attendance from ten A. M. till half past four P. M. N. B. He will also give instructions to a limited number of young men in this beautiful and highly interesting art.
Edwin Foot was a native of New Milford, Susquehanna County, Pennsylvania. Emily Blackman's book mentions Edwin Foot and his family, "John Foot, a shoemaker was 'a new-comer' on the tax-list, December, 1801. He lived next west of Mr. Doolittle. He came from Vermont with his wife and three children—Timothy, Belus, and Amanda. Belus died in New Milford in 1841. His son, Edwin, was the first (1842) Daguerrean artist in Montrose." 3
After the death of his father, Edwin Foot may have needed a good paying occupation to support the family. Due to the lack of significant competition in the earliest days, the new business of photography could be financially rewarding. Where did Edwin Foot learn the intricate chemical processing steps required to produce a daguerreotype image? Did he travel to a large city like New York City or Philadelphia where established galleries existed or did he stay closer to home? There were very few itinerant daguerreotypists operating in Northeastern Pennsylvania and the Southern Tier of New York during the fall and winter of 1841-42. The closest daguerreotypist to Montrose was to be found in Binghamton, New York—twenty-five miles to the north. Charles E. Johnson operated as a daguerreian artist from September to November, 1841 and from January to March, 1842 in Binghamton. C. E. Johnson was a former resident of Binghamton, but came to Binghamton from New York City, where he had learned the "Daguerreian Art." Edwin Foot started working in Montrose about the time Johnson left Binghamton to return to New York City. Edwin Foot may have traveled to that village to learn the complicated process from Johnson, but with the lack of definite information this possibility can be considered purely speculative.
Stocker was correct that Edwin Foot and O. P. Reeves were the first two daguerreian artists in Montrose. O. P. Reeves, however, did not make his appearance until 1846—over four years later. In his discussion, Stocker commented on the quality of these early images:
…we will pass on to observe that all who can remember the daguerreotype of that early day will know that we speak truthfully when we say that they were very imperfect. They could not well be otherwise, for they were taken by a small side-window, which had the effect of overdoing one side of the picture while the other side was left in the deep shadow of indefinite darkness.
The early daguerreotypists eventually learned to balance the lighting on their subject's faces by using a sheet or white panel on the opposite side to reflect light into the shaded areas. Eventually, rooms were specifically constructed with large side windows and skylights to improve the lighting. The daguerreotype process was complex and demanding. An individual required several years of practical experience to produce images of consistent and pleasing quality.
In May, 1846, O. P. Reeves arrived in Montrose and opened his rooms in Searle's Hotel:
PRICE—In Neat Morocco Cases, $2. O. P. REEVE. Daguerreotypist, desires to inform the Ladies and Gentlemen of Montrose and vicinity, that he will remain in town a few days, and will take Likenesses by the Daguerreotype process, in a style of finish unsurpassed. His miniatures possess all the colors of life, and are warranted durable as well as being perfect copies from nature. Please call at his rooms at Searle's Hotel, and examine specimens of this truly wonderful art. Operations from 8 o'clock A. M., until 5 P. M., in all kinds of weather. Instructions given in the art. Plates, Chemicals Apparatus, &c., for sale. 4
By this time, colored images were being offered by most daguerreotypists. Daguerreotypes, generally, were not produced in natural colors as photographs are commonly done today. The monochrome images were hand tinted to produce a semblance of color. After treating the surface of the image with gold chloride, most daguerreotypist applied dry colored pigments to the surface with a fine-pointed brush using stencils to limit the area being tinted. The daguerreotypist heated the plate to fuse the colors to the surface.
Stocker's narrative continued with Ambrose Hickcox:
These gentlemen were followed by Ambrose Hickcox, who was afterwards a quite prominent artist in Binghamton. The work which he produced was a decided improvement upon that of his predecessors.
Ambrose Hickcox arrived in July, 1846 shortly after the departure of O. P. Reeves. His advertisement read:
A. HICKCOX, Daguerrean Artist, will remain in town a few days, and be happy to wait upon all who may favor him with a call. Those out of town are respectfully invited to call at his rooms and examine specimens of this wonderful art. His portraits possess all colors of life, are perfectly accurate, neatly executed, and afforded extremely low. Room over R. Searle & Co's Store, East side of Public Avenue. For particulars see large bill. 5
Ambrose Hickcox was a traveling daguerreotypist, who moved extensively through central New York state and northeastern Pennsylvania. In 1850, he was operating a gallery in Delaware County, New York. Between 1852 and 1862, he was the primary photographer in Corning, New York. Hickcox and his family moved to Binghamton in 1862 and remained there until about 1880.
A year after Ambrose Hickcox's visit to Montrose, C. M. Noble set up his gallery on Turnpike Street:
C. M. NOBLE would respectfully inform the citizens of Montrose and Susquehanna Co. generally, that he has taken rooms on Turnpike St., nearly opposite the store of I. L. Post & Co., where he is taking portraits daily in a style hitherto unsurpassed. Ladies and Gentlemen are respectfully invited to call and examine specimens for themselves. Prices for finished Portraits, from $1.50 to $2.50. 6
C. M. Noble remained in Montrose for two weeks before moving on. This gentleman was not mentioned in Stocker's narrative.
Stocker's commentary continued with Willis Gibbs:
But Willis Gibbs, a traveling artist, was the first whose pictures gave our people a fair degree of satisfaction. During his stay of a number of weeks, in the basement of Searle's Hotel, he was liberally patronized, and a number of families were taken in groups. One of these groups was of three noted characters, who, if not distinguished for their useful lives, or classed as our highest and most worthy men, were well known as leaders in everything that was sensational. These were Lee Dudley, Bob Merrill and Zeke Card.
Willis Gibbs ran advertisements in the Susquehanna Register from 17 October to 7 December 1848 offering a possible explanation for the noticeable improvements in the finished images—a better camera:
WILLIS GIBBS would inform the Ladies and Gentlemen of Montrose and vicinity that he has taken rooms at Searle's Hotel, and is prepared to take Miniatures by this wonderful process, daily, without regard to weather. He has at length succeeded in obtaining an apparatus by which he is enabled to produce Life-like Likenesses in any weather and consequently without using the direct rays of the sun. Hitherto it has been generally supposed that sunshine was indispensable to the production of daguerreotype Miniatures, but the important improvements just perfected prove that this is a mistake.... 7
By 1850, Willis Gibbs, age 22, and his wife, Margaret, age 19, were living in Syracuse, New York, where Gibbs continued his work as a daguerreotypist. 8
Stocker continued by mentioning a local resident, W. B. Deans, who learned the daguerreian art from Willis Gibbs and others:
W. B. Deans, a native of this section, received his first instructions in the "art divine" with Mr. Gibbs, and afterwards took additional lessons with the Livermore Brothers, who occupied rooms over Mulford's store, and who left behind them some very pleasing evidence of their skill in the art.
The Livermore Brothers began to advertise during the spring of 1849:
Beg leave to inform the Ladies and Gentlemen of Montrose and vicinity that they have taken rooms over Mulford & Son's Store, where they are prepared to take Daguerreotype Likenesses in all the various styles with the most beautiful tone of color and put them up in an excellent manner.—These Likenesses are warranted not to fade or change by age... They trust that having had a long experience in the art, to receive a share of patronage. 9
The two gentlemen continued to advertise through the month of May, 1849.
The earliest advertisement for W. B. Deans appeared in mid-May, 1849. Both the Livermore Brothers and Deans had rooms located over the store of Mulford & Son. Apparently, they shared the same facilities for a time. As mentioned by Stocker, Deans had taken lessons from the two gentlemen.
W. B. DEANS desires to state that he has taken rooms over the Store of S. S. Mulford & Son, where he is prepared to furnish Daguerreotypes to those who will favor him with a call. Having availed himself of the latest and most important improvements in the art, he trusts that his Pictures will not fail to please. He will remain but a short time, therefore call at your earliest convenience. 10
W. B. Deans continued to advertise to the end of August. Stocker supplied additional information on W. B. Deans' travels after this time:
Mr. Deans followed the business during the following winter at Dimock and Springville, and the next summer at several points in New York State, after which he returned to Montrose and established himself in the Odd Fellows' building, where he remained the only artist in the county, for four or five years, being familiarly known in his advertisements as "The fellow who paints by the aid of the sun, And copies men's faces as though it were fun."
W. B. Deans was the primary photographic artist in Montrose during the 1850s. His story is representative of the problems faced by most small town photographers during this period of American history. Although he was the only established photographer in town, he was still required to defend his business from traveling artists passing through for short periods. Being within twenty-five miles of a larger population center—Binghamton, New York, Deans had to respond to local advertisements from photographers in that village. The cycles of good and bad times created periods where bartering for his services was a necessity, when hard cash was difficult to come by.
W. B. Deans returned to Montrose at the beginning of 1851 and set up his rooms in the Odd Fellows' Building, corner of Turnpike and Chestnut streets:
The Artist's compliments to the Ladies and Gentlemen of Montrose and the adjoining country, soliciting their attendance at his Rooms, whenever convenience and inclination may dictate; where, by a diligent observance of the required regalations, all may be sure of producing a "favorable impression." Truly yours, W. B. DEANS.
P.S. Being under the necessity of changing my occupation soon, on account of my eyes, I am anxious to instruct a pupil in the art, and dispose of my apparatus; which I will do on very reasonable terms. 11
Even though he was anxious, at this time, to find someone to take over his business, it was almost ten years before he finally changed careers because of his continuing eye problem. Although the source of Deans' eye problems were not disclosed. His chosen profession did have health dangers that were unappreciated at the time. Many daguerreotypists suffered temporary and permanent health problems because of the nature of the daguerreotype process. The action of mercury, iodine, bromine and chlorine vapors formed the image on the silvered copper plate. The processing of the image required subdued lighting. The work was done in small, poorly ventilated enclosures. Although the chemical processing was done in closed containers, leaking vapors affected many daguerreotypists. Mercury poisoning was common. We know now that exposure to mercury can cause damage to the nervous system. Many daguerreotypists suffered injury to their eyes from the fumes. Considering the dangers inherent in the business, a significant number of individuals survived to live long and eventful lives.
Deans' first encounter with serious competition occurred the following July. Two gentlemen, Reynolds and Ryder (Rider?), opened a daguerreian gallery at the Odd Fellows' Hall, on the second floor, directly over Deans' rooms:
Messrs. Reynolds & Ryder of N. Y. have taken rooms at the Odd Fellows' Hall, upstairs, where they are prepared to take likenesses after the latest improved process, and give to beauty her glowing color which is the best tint of perfection. They have over 200 specimens, among which is a large Daguerreotype, from life of Jenny Lind—the identical one from which her best lithograph was taken—Henry Clay and his residence at Ashland, Niagara Falls in three views. Powers' Greek Slave, and many others from various parts of the world... 12
The sample images of well known celebrities of the time gave the gentlemen a competitive advantage over Deans. Many townspeople may have visited their rooms just to see what the celebrities of the era looked like. As a final gibe at Deans, the two gentlemen pointed out that "they have taken their rooms in the second story, as the light is preferable to the first (floor)". Deans responded by informing potential customers that his rooms on the first floor of the Odd Fellows Hall were still open. He pleaded at the end of his advertisement, "P.S.—Don't blunder up stairs."
Reynolds and Rider remained in Montrose a short time and then moved on. Reynolds and Rider appeared earlier in Ithaca, New York after arriving from Canada. During their stay there in August, 1848, they also mentioned their views of Niagara Falls and vicinity.
One unique aspect of Deans' advertisements was his use of "poetry" to promote his business:
Ladies and gentlemen Give me a call!
Room No. 1 at the Odd Fellow's Hall.
Come and examine my pictures and cases.
And then, if you please, I will copy your faces.13
Besides the itinerant artists who set up in town for short periods, Deans' competition consisted of out-of-town artists who advertised in the Montrose newspapers. In April, 1852, Thompson & Loomis of the Union Daguerrean Gallery in Binghamton, New York began advertising in the Montrose Democrat. Their notice stated, "They have the advantage of a well arranged sky-light, which will enable them to produce as fine likenesses as any in the country."14 The gentlemen were also offering melodeons and organs "at the manufacturer's prices" at their Daguerrean Gallery. Although this competition was twenty-five miles away, Deans felt compelled to respond to it:
(The Necessity Of Going To Binghamton Obviated!)
What hath magic power to trace Beauty's lovely form and grace,
Or the plainest, homeliest face?
Daguerreotype!
What can infant smiles engage—
Duplicates life's middle stage,
Or the hoary hairs of age?
Daguerreotype!
What attracts the lover's eye;
Calling forth a telltale sigh,
Though the loved one be not nigh?
Daguerreotype!
What gives comfort to the heart
When our dearest friends depart?
'Tis this
wonder-working art— Daguerreotype!15
Later in 1852, Deans added a sideline business to his gallery. He became a book and magazine agent receiving "subscriptions for the Parlor Annual, Ladies' Keepsake, New York Organ, and Daughters of Zion, a very fine book, just published. Persons wishing choice reading will do well to call and subscribe." 16
W. B. Deans continued his gallery in the Odd Fellows Building through the next few years with no apparent competition. Stocker commented on this period as follows:
Notwithstanding the fact that he held the ground so exclusively during this period, there were soon after this some fifteen traveling artists within the county borders at one time, who moved their galleries from place to place on wheels.
In May, 1855, Deans took a short leave of absence to travel to the "West." He never specified his exact destination or the reason for the trip. He informed the public that his Daguerreotype Rooms would be closed for a few weeks. In mid-July, he returned and submitted this notice to the newspaper:
My wanderings are over—my journeyings, for the present, have an end. I like the West—It is a charming country—and I purpose, ere long, to dwell there; but, being desirous of leaving "favorable impressions" behind me, I shall remain a few months; at Odd Fellows Hall; where I hope to see a great many old friends, and a great many new ones— 17
Deans' wanderlust was only temporary. He decided to remain in Montrose. According to the files of the Susquehanna County Historical Society, W. B. Deans married Anna Reynolds of Montrose on 18 September 1855.
Stocker's narrative continued with the following local news:
After the great fire of 1854 the brick block (then called Phoenix Block) was built, and Mr. Deans removed to the first skylight gallery erected here, over the store of Bentley & Read. Soon after this ambrotypes were introduced, and daguerreotypes were, in a great measure, superseded by the new process.
W. B. Deans moved into his new "Sky Light Rooms" in May, 1856. He noted "His increased facilities (and added expenses) demand an increase of patronage, and he trusts that the response will be hearty and liberal."18 Near the end of 1856, Deans was offering the new, improved ambrotype process mentioned by Stocker and an image on paper called an atrephograph. He noted "These Ambrotypes, or glass pictures, are durable, soft and brilliant in their tone and finish. and free from that dark leaden hue which has been the objection to pictures of this description." The atrephograph was described as "an unreversed likeness on paper, (entirely different from the Photographs,) very susceptible of colors, and much resembles a fine painting on ivory." 19
The following spring, serious competition for W. B. Deans arrived in the form of a traveling photographic studio on wheels operated by F. D. Wood. As Stocker had pointed out, many of these traveling “cars” traversed the rural areas of the country bringing the “Likeness Man” to the smaller villages. Setting up his wagon on the Green in Montrose, Wood offered lower prices as an inducement:
KNOWING as I do that the high prices which have prevailed here for some time past, have deterred many from getting their Pictures, I propose to reduce the price so that all may obtain them after this date. I will give Ambrotypes with Cases for 50 cents, and large Morocco Cases for 75 cents to all who choose to favor me with a call. 20
Deans responded to the competition by stressing the superior quality of his images available at his "Sky Parlor." He, apparently, did not want to get into a price war with his competitor. He noted, "He wishes it distinctly understood that he keeps no such trash as '50 cent cases,' with pictures to match. The fact is being more and more appreciated that a good likeness, at a fair price, is cheaper, and far more satisfactory, than a hideous caricature at no price at all!" 21
Frank D. Wood had come from the village of Greene (Chenango County), New York. He had operated a daguerreian gallery in Greene from May, 1855 through April, 1856. F. D. Wood remained in Montrose until August, 1857, when he hitched up his horses and moved on. During this time, both gentlemen began to offer the melainotype. The melainotype was a photographic image obtained by applying an photographic emulsion to an enameled iron plate. These images came to be known as tintypes. They were cheaper to produce and were durable. With the arrival of the tintype, ambrotype, and paper photographs, the daguerreotype faded from the scene very quickly.
During the last part of 1857 and through 1858, an economic recession gripped the United States. W. B. Deans was forced to reduce his prices and to offer incentives to survive:
This "Financial Crisis"
Has cut short the dimes
So here are low prices,
To suit the hard times.
FROM now until the first of January I will sell all styles of Pictures full 20 per cent below former prices. Or, to those who prefer, I will give a present with every likeness—its value in proportion to the style of case purchased. Or, to families or clubs of five or more at one time, I will deduct 25 per cent from regular prices. "CHEAP PICTURES" furnished to such as desire them; as good and as cheap as any in town. Every likeness sold will be numbered, and those who are so fortunate as to secure Nos. 33, 66, 99, &c., on the list, will receive their pictures free—whatever the style or price selected! Under any circumstances, I would not and could not hold out such inducements, but the depression of the "pressure" is pressing oppressively upon me, so that at some rate, the "impressions" must be sold. 22
F. D. Wood returned with his 50 cent ambrotypes and 25 cent tintypes to the Green in Montrose in April, 1859. He continued to work in Montrose through the summer and fall. From mid-October to mid-November, 1859, F. D. Wood traveled to Springville Hollow. He claimed, "1500 PICTURES Here in Montrose the past summer, is flattering evidence that my efforts to please a generous public are duly appreciated." 23 After his short stay in Springville Hollow, F. D. Wood, once again, located his car on the Green, opposite the Court House, in Montrose. He remained here from the end of November, 1859 through the following summer.
During this time, W. B. Deans did not respond to any of Wood's advertisements with any of his own. The reason may have had to do with Deans' health. In September, 1859, E. Stuart announced that he had temporarily taken over Deans' gallery:
THE subscriber has made arrangements with W. B. Deans (who has not recovered from his sickness so as to be able to resume his artistic labors) to occupy his Sky-Light Gallery during the present month of September. To those who have seen my life-like pictures no recommendation is necessary. To those who have not, I would say that I have a full sized camera for taking large pictures, also that I have many years experience with superior advantages, have worked with the celebrated Root in N. Y. city… 24
Stocker continued the story of W. B. Deans:
In 1861, after a successful business of about fourteen years, Mr. Deans sold his business here to John B. Hazleton, and purchased a gallery in Scranton. But he did not choose to remain there, and after one year returned to Montrose and went into partnership with Mr. Hazleton. Photographs had now come to the front, so that the old styles were but little in demand. The following year was the "year of the draft, "when prices were high and money plenty, and it proved to be a very profitable season, for during that year the firm of Hazleton & Deans took a much larger number of pictures than ever taken in Montrose in the same period of time, either before or since. Impaired eye-sight made it imperative that Mr. Deans should relinquish the business; consequently, in the fall of 1865, he purchased a half-interest, with Alphonso H. Smith, in the book and stationery business. After one year he bought Mr. Smith's interest, and continued the general book and wall-paper trade, on the same spot, near the corner of Church and South Main Streets, until the fire of August 27, 1886, when like a good many others at the time, he "stood not upon the order of going, but went at once."
Stocker continued his narrative with Hazleton's successor:
A year or so after Mr. Deans retired from the picture business, J. B. Hazleton sold out to George N. Cobb (now a prominent Binghamton photographer); and a little later on, Cobb removed to a gallery which B. R. Lyons had fitted up over his store on the east side of Public Avenue.
George N. Cobb was born 5 May 1847, the sixth of ten children of Zipron Cobb, III and Sarah (Crane) Cobb. The Cobb family originally lived in either Sullivan or Orange County, New York. In 1850, the family moved to New Milford Township, Susquehanna County, Pennsylvania. Zipron Cobb, later, became a farmer and merchant in the village of Montrose, Pennsylvania. 25
George N. Cobb was about 19 years old when he took over Hazleton's gallery. He probably learned the art from Hazleton and worked at the gallery as an apprentice. Cobb must have been a good student. At the 1866 Susquehanna County Fair, G. N. Cobb was awarded the top prize ($2) for "Best Specimen of Ambrotypes." The following year, he won the award for "Best Photographs." 26
By the summer of 1870, George N. Cobb was still living in Montrose. He and his wife, Augusta, had a daughter, Nina, born December, 1869. G. N. Cobb relocated to Binghamton in the fall of 1870 and purchased the established gallery of Ambrose Hickcox at 75–77 Court Street. Boarding with the Cobb family in Montrose was Asa W. Warner, a 23 year old native of Pennsylvania, working as an assistant in Cobb's photographic gallery. Mr. Warner followed the Cobb family to Binghamton and later opened his own studio in Greene (Chenango County), New York in the late 1870s. George N. Cobb continued to work at the same location in Binghamton until 1903.27 Before arriving in Binghamton, George Cobb may have worked in Susquehanna Depot, Pennsylvania. The name of "Cobb & Hempstead" appears on photographs from that village.
Stocker finished his commentary with George N. Cobb's successor:
The business soon changed hands again, and this time it came into the possession of our popular artist of to-day (1887), George W. Doolittle. Here he remained until January, 1883, when the Lyons store was burned. He then took up his quarters in a gallery in the M. S. Wilson building, where he continued the practice of his chosen profession until the fire of 1886, when he was again burned out, and this time his loss was a severe one, including his complete fixtures and a large number of valuable plates and negatives. I. M. Tyrrell having erected a fine building on the ground formerly occupied by the Lyons store, Mr. Doolittle decided once more to locate there, and now he occupies one of the best appointed galleries in Northern Pennsylvania; and his patrons are among the best people of Susquehanna and adjoining counties.
The late 1880s marked the end of the reign of the local professional photographic artist as the sole source of images in America. Within a few years, George Eastman and his Eastman Kodak Company would bring photography to everyone through their inexpensive cameras and easy to use roll film. The role of the professional photographer changed to recording images of people for special occasions and for situations where a higher quality image was desired. Today, the professional photographer does not have the same level of respect that his counterparts of the last century enjoyed when a trip to the Picture Man was an important event in a person's life. We need to remember that our view of the last century is based almost entirely on the images produced by these dedicated individuals. The early photographic processes were complicated and dangerous. Yet these artists produced thousands of images of our ancestors, their customs, and their environment.
Notes
1. Rhamanthus M. Stocker, Centennial History of Susquehanna County, Pennsylvania,(Philadelphia: R. T. Peck & Co., 1887) pp. 296–298.
2. Susquehanna Register, 24 March 1842.
3. Emily C. Blackman, History of Susquehanna County, Pennsylvania (Philadelphia: Claxton, Remsen & Haffelfinger, 1873) [Reprint, Baltimore: Regional Publishing Co., 1970] pp. 147, 148.
4. Susquehanna Register and Northern Farmer, 20 May 1846.
5. The People's Advocate, 9 July 1846.
6. Susquehanna Register, 19 August 1847.
7. Susquehanna Register, 16 November 1848.
8. 1850 U. S. Census, New York, Onondaga Co., Syracuse, p. 132.
9. Susquehanna Register, 19 April 1849.
10. Susquehanna Register, 17 May 1849.
11. Montrose Democrat, 21 January 1851.
12. Susquehanna Register, 10 July 1851.
13. Susquehanna Register, 20 November 1851.
14. Montrose Democrat, 15 April 1852.
15. Montrose Democrat, 15 July 1852.
16. Montrose Democrat, 18 November 1852.
17. Montrose Democrat, 18 July 1855.
18. Independent Republican, 22 May 1856.
19. Montrose Democrat, 18 December 1856.
20. Montrose Democrat, 13 May 1857.
21. Montrose Democrat, 18 June 1857.
22. Independent Republican, 18 November 1857.
23. Montrose Democrat, 13 October 1859.
24. Montrose Democrat, 8 September 1859.
25. 1850 U. S. Census, Pennsylvania, Susquehanna Co., New Milford Township, p. 209. Additional information from the Cobb Family file. Courtesy of the Susquehanna County Historical Society, Montrose, Pennsylvania.
26. Montrose Democrat, 13 November 1866, 8 October 1867.
27. George N. Cobb died in Binghamton on 27 May 1920.