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from the group: Carbro

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Pre-photographic

Intaglio
Planographic
Relief

Photomechanical

Collotype
Letterpress
Offset Lithography
Photogravure
Rotogravure
Woodburytype

Photographic

Albumen
Ambrotype
Bromoil
Bromoil Transfer
Carbon
Carbro
Chromogenic
Collodion POP
Cyanotype
Daguerreotype
Direct Carbon (Fresson)
Dye Imbibition
Gelatin Dry Plate
Gelatin POP
Gum Dichromate
Instant (Diffusion Transfer)
Instant (Dye Diffusion Transfer)
Instant (Internal Dye Diffusion Transfer)
Matte Collodion
Platinum
Salted Paper
Screen Plate
Silver Dye Bleach
Silver Gelatin DOP
Tintype
Wet Plate Collodion

Digital

Electrophotography
Inkjet
Thermal

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Notes on this view:

The carbro and carbon processes are almost indistinguishable from one another; in fact carbro is a variation of the carbon process. The image in each is composed of pigmented gelatin on a paper support. The main difference is in how the gelatin was exposed. Carbon prints are made placing a pigmented sheet of dichromated gelatin, called a tissue, in contact with a negative and exposing it to light; the gelatin hardens in proportion to the amount of light received. Carbro prints are made by placing the tissue in contact with a silver gelatin bromide print; the gelatin hardens in proportion to the amount of silver present in the print. The name “carbro” is derived from the combination of “carbon” and “bromide.”

Despite their similarities, there are ways to distinguish a cabro from a carbon print. While monochromatic carbro prints were made, the process was commonly used for producing full color images. One major advantage of carbro was the ability to make enlargements because the tissues were exposed in contact with a silver bromide enlargement rather than contact printed. Therefore, carbro prints tend to be larger than carbon prints. Finally, carbon printing began to decline with the introduction of carbro so prints made after 1930 are likely carbro.