The cabinet card was a style of photograph which was widely used for photographic portraiture after 1870. It consisted of a thin photograph mounted on a card typically measuring 108 by 165 mm. In earlier times only the wealthiest could afford portrait painters to commission to visualise themselves and their families for future generations and while photography was still not cheap and not in the realm of a casual amateur it did bring that image capture to the rising middle classes across the world including the Levant. The carte de visite was displaced by the larger cabinet card in the 1880s. Both were most often albumen prints, the primary difference being the cabinet card was larger and usually included extensive logos and information on the reverse side of the card to advertise the photographer’s services. However, later into its popularity, other types of papers began to replace the albumen process. The cabinet card was large enough to be easily viewed from across the room when typically displayed on a cabinet, which is probably why they became known as such in the vernacular. Photographers began employing artists to retouch photographs by altering the negative before making the print to hide facial defects revealed by the new format. Small stands and photograph frames for the tabletop replaced the heavy photograph album. For nearly three decades after the 1860s, the commercial portraiture industry was dominated by the carte de visite and cabinet card formats. Owing in part to the immense popularity of the affordable Kodak Box Brownie camera, first introduced in 1900, the public increasingly began taking their own photographs, and thus the popularity of the cabinet card declined, though in the Levant this process was probably less pronounced as is shown by the great number photographers from diverse nations operating till the 1920s.
Namings and writings on the back were done occasionally, usually when a photo was then given to a friend or relative for their reference or by subsequent generations to record a memory about to be lost. More often photos and their identities were never noted and today they mostly are purely decorative objects, sometimes even when still retained by the same family. This gallery concentrates on the very few who have been noted down so faces have names and therefore relevance in the overall Levant families story.