Date of use : 1945, Germany

Postcard to Alois Krauss Wood Products Company

This small commercial correspondence card offers an interesting glimpse into the networks of photographic supply and small-scale manufacturing in Germany during the immediate postwar period. The sender is identified as Gebr. Dietrich – Handel mit photographischen Artikeln, Munich 22, Herzog-Rudolf-Straße 9. The abbreviation "Gebr." stands for Gebrüder, meaning "brothers," a designation commonly used by family-run businesses. It is therefore likely that this firm operated as a family enterprise managed by two brothers. The business description printed on the card clearly states its field of activity: the trade in photographic materials. Companies of this type typically functioned as intermediaries supplying cameras, photographic paper, chemicals, and darkroom equipment to photographers and laboratories.

The addressee is Alois Kraus – Holzwarenfabrik, Schwabmünchen. The term Holzwarenfabrik refers to a factory producing wooden goods. Schwabmünchen, located near Augsburg in Bavaria, historically supported a number of small manufacturing workshops. In this context, the enterprise operated by Alois Kraus was most likely involved in producing wooden accessories or small utilitarian objects for commercial use.

The message on the reverse side is dated Munich, 30 November 1945, placing the document in the difficult months following the end of the Second World War. At that time Germany was undergoing a profound economic and administrative reconstruction. Industrial infrastructure had been severely damaged, supply chains were disrupted, and the availability of raw materials was extremely limited. Under such conditions even relatively simple components could become difficult to obtain.

The text indicates that the firm Gebr. Dietrich had previously obtained wooden spring clips (Holzklammern mit Federn) from the factory of Alois Kraus. These clips were practical tools widely used in photographic darkrooms. During the drying process, photographic prints or negatives were often hung on wires or lines, and small clips were needed to secure them in place. Made of wood with a metal spring mechanism, these simple devices formed an essential part of everyday photographic laboratory work.

In the letter the sender asks whether such clips could once again be supplied and mentions a potential order of approximately two to three thousand pieces. This request suggests that the trade in photographic materials was beginning to recover after the disruptions caused by the war. Although the photographic industry had faced severe restrictions during the conflict, the late 1940s saw the gradual re-establishment of production and commercial activity.

The postal marking Munich 22 – 30 November 1945 confirms the time and place of dispatch. Its simple and utilitarian design reflects the practical postal operations of the immediate postwar period. Postal services in Germany were only gradually being restored at that time, yet they quickly became essential for rebuilding commercial communication.

From a collecting perspective this card represents an example of commercial photographic ephemera documenting supply relationships within the photographic industry. Beyond its immediate function as a business inquiry, the document also reveals part of the technical supply chain supporting photographic production. Discussions of photographic history often focus on cameras, film technology, or large manufacturers. However, modest documents such as this illustrate the everyday infrastructure that made photographic practice possible.

Record Information

Title: Gebr. Dietrich Business Postcard (Munich to Schwabmünchen)

Category: Photographic Industry History / Commercial Correspondence

Subcategory: Post-War German Supply Chains / Darkroom Equipment

Country: Germany (Sender: Munich) → Germany (Recipient: Schwabmünchen)

City: Munich (Sender: Gebr. Dietrich) → Schwabmünchen, Bavaria (Recipient: Alois Kraus)

Date of use: 30 November 1945

Company (Sender): Gebr. Dietrich (Dietrich Brothers), Handel mit photographischen Artikeln, Herzog-Rudolf-Straße 9, Munich 22, Germany. A family-run photographic materials dealer supplying cameras, photographic paper, chemicals, and darkroom equipment.

Company (Recipient): Alois Kraus, Holzwarenfabrik (Wood Products Factory), Schwabmünchen, Bavaria, Germany. A manufacturer of wooden goods, including wooden spring clips (Holzklammern mit Federn) used in photographic darkrooms.

Object Type: Commercial postcard (business correspondence)

Postal Features: German postal cancellation; Munich 22 postal marking (30 November 1945).

Language: German

Material: Paper (postcard stock)

Dimensions: Standard postcard format

Collection Theme: Gebr. Dietrich, Munich photographic trade, post-war Germany, Alois Kraus, Schwabmünchen wood products, Holzklammern mit Federn, darkroom equipment, photographic supplies, supply chain reconstruction, 1945 German postal history, photographic laboratory accessories.

Archival Significance: This 1945 postcard documents post-war commercial correspondence between a Munich photographic materials dealer (Gebr. Dietrich) and a Bavarian wood products manufacturer (Alois Kraus), illustrating the rebuilding of supply chains for essential darkroom equipment (wooden spring clips) in Germany following World War II.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : 1963, Germany

Dacora Kamerawerk Business Postcard from Germany

This document represents a camera repair intake card issued in 1963 by DACORA Kamerawerk, a camera manufacturer located in Reutlingen, Germany. The printed text confirms that a photographic camera had been received by the factory for technical inspection and possible repair. Such documents illustrate the practical relationship between camera manufacturers and retail photographic dealers within the service infrastructure of the photographic industry.

The upper section of the card contains the red printed slogan "In jeder Hand zu jeder Zeit ist die Dacora schussbereit." Translated into English, the phrase means "In every hand, at any time, a Dacora is ready to shoot." This statement functioned as an advertising slogan emphasizing the reliability and accessibility of the company's cameras. Marketing expressions of this kind were commonly used during the 1950s and 1960s, a period when consumer photography was expanding rapidly.

The sender identified on the card is DACORA Kamerawerk, a company established by Dangelmaier & Co. in Reutlingen, located in the German region of Baden-Württemberg. The DACORA brand became widely known in Europe during the 1950s and 1960s for producing affordable cameras designed primarily for amateur photographers. The company's products were generally characterized by straightforward mechanical construction and ease of use.

The camera model referenced in the document appears to be the "Dacora Dignette grau." The Dignette series formed part of DACORA's line of mid-range amateur cameras. These cameras typically used 35 mm film and represented a widely accessible format within the consumer photographic market of the period. The card also records the date of receipt and a service reference number assigned to the device upon arrival at the factory.

The recipient of the document is listed as "Foto Oehling," a photographic retail business located in the German city of Mainz. During the mid-twentieth century, photographic shops served multiple functions within the industry. In addition to selling cameras and photographic materials, they provided film processing services and acted as intermediaries between customers and manufacturers for repair and maintenance work.

The printed message confirms that the camera had been received for inspection or repair. It also states that if the cost of the repair exceeded a specified amount, the customer would receive a preliminary estimate before the work was carried out. This procedure reflects the service policies used by many camera manufacturers to ensure transparency in repair transactions.

The postal marking and printed postage indicate that the document was processed through the West German postal system operated by Deutsche Bundespost. The term "Drucksache" printed on the card refers to a category of postal mail used for printed matter. This classification allowed businesses to send commercial printed documents at reduced postal rates, making it a common method for routine correspondence.

The 1960s represent a period in which photography became increasingly widespread among amateur users. The popularity of portable 35 mm cameras expanded the consumer market and encouraged manufacturers to develop extensive service networks. Photographic retailers played a central role in this system by connecting camera owners with factory repair facilities.

From a collecting perspective, documents of this kind belong to the category of photographic industry ephemera. Factory repair records, service confirmations, and technical correspondence provide valuable insights into the everyday functioning of the photographic equipment industry. When such documents include specific camera models and service details, they become particularly significant as historical sources.

Record Information

Title: Dacora Kamerawerk Business Postcard from Germany

Category: Photographic Industry History / Camera Manufacturing

Subcategory: Equipment Servicing / Retail Intermediaries

Country: West Germany

City: Reutlingen (Sender) → Mainz (Recipient)

Date of use: 1963

Company (Sender): DACORA Kamerawerk, Dangelmaier & Co., Reutlingen, West Germany. A German camera manufacturer active in the 1950s and 1960s, known for producing affordable cameras for amateur photographers, including the Dignette series.

Company (Recipient): Foto Oehling, Mainz, West Germany. A photographic retail business serving as an intermediary between customers and manufacturers for camera sales, film processing, and repair services.

Object Type: Domestic commercial service receipt postcard with printed advertising

Postal Features: Deutsche Bundespost postal marking; "Drucksache" printed matter classification; Reutlingen postal cancellation.

Language: German

Material: Paper postcard

Dimensions: Standard postcard format

Notable Feature: Red advertising slogan "In jeder Hand zu jeder Zeit ist die Dacora schussbereit"; camera model "Dacora Dignette grau"; service receipt format with repair intake confirmation; "Drucksache" postal classification.

Collection Theme: DACORA Kamerawerk, Reutlingen camera industry, Dignette camera, German camera manufacturing, Foto Oehling, Mainz, camera repair, service infrastructure, amateur photography, Deutsche Bundespost, Drucksache.

Archival Significance: This 1963 repair intake card documents the service infrastructure of the German camera industry, illustrating the relationship between manufacturers and retail dealers in supporting amateur photographers.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.

Date of use : 2001, India

Postcard Cancel: Group Photograph of India Census

This document represents an interesting example of a modern Indian postcard used for everyday communication. The front side of the card displays the printed format commonly used for postal stationery issued by the Indian postal administration. The design includes the standard "Post Card" heading and the divided address section typical of Indian postcards. In addition, the card contains a printed photographic area with the caption "Group Photograph of the Action Centre," indicating that the card may have originally been produced for the distribution of a group photograph associated with an institution, organization, or training program.

A postage stamp of the Indian postal system appears in the upper right corner. The stamp features the Ashoka Lion Capital, the official emblem of the Republic of India. This symbol has been widely used on Indian postage stamps since the period following independence. Its presence indicates that the postcard belongs to the post-independence era.

The postal cancellation mark is partially legible and appears to refer to Muzaffarpur, a city located in the state of Bihar in northern India. Muzaffarpur is known as an important regional center for commerce and education. Although the exact date of the cancellation is not fully readable, the postcard was most likely processed within the Indian postal system during the late twentieth century or the early twenty-first century.

The reverse side of the card contains a lengthy handwritten message written in the Devanagari script, primarily in Hindi. The tone of the message appears personal and informal, resembling family correspondence. The text seems to include references to everyday matters, personal well-being, and news related to family life. Such messages demonstrate that postcards continued to serve as practical tools for everyday communication in many parts of India well into the modern period.

Additional markings made in blue ink appear on the address side of the postcard. These markings may have been added by postal staff during the handling and routing of the item. Corrections or crossed-out sections visible on the card may indicate adjustments to address details or delivery instructions.

From a collecting perspective this postcard can be associated with several thematic categories. It may be classified within modern Indian postal history while also offering insight into social communication practices. The printed photographic section on the front further suggests a connection to educational or organizational activities in which group photographs were distributed through postal means.

Record Information

Title: Postcard Cancel: Group Photograph of India Census

Category: Photographic History / Social Communication

Subcategory: Modern Indian Postal History / Group Photography

Country: India

City: Muzaffarpur

Date of use: 2001

Organization: Action Centre (likely associated with census or educational activities), Muzaffarpur, Bihar, India.

Object Type: Domestic postal card with printed photograph area

Postal Features: Indian postage stamp with Ashoka Lion Capital emblem; Muzaffarpur postal cancellation (2001).

Language: Hindi (handwritten message), English (printed text)

Material: Paper postcard

Dimensions: Standard postcard format

Notable Feature: Printed group photograph with caption "Group Photograph of the Action Centre"; handwritten personal message in Hindi (Devanagari script); Ashoka Lion Capital stamp.

Collection Theme: Indian postal history, modern postcards, group photography, census documentation, Muzaffarpur, Bihar, Hindi correspondence, Ashoka stamp, institutional photography.

Archival Significance: This 2001 postcard documents the use of group photographs in institutional communication and the continued role of postal correspondence in modern India, combining photographic documentation with personal communication.

Research Note:

This article is based on historical research and independent analysis of the material in the author's collection. The text has been prepared as an original interpretative study and does not reproduce copyrighted material.

Photographic Postcards and the Circulation of Group Photography (1900–2000)

Throughout the twentieth century photographic postcards played a significant role in the circulation of photographic images within society. As photographic technology became more affordable and accessible, photography gradually expanded beyond the professional studio environment and entered many aspects of everyday life. One of the mechanisms that accelerated this transformation was the reproduction and distribution of photographs in postcard format.

Photographic postcards generally appeared in two main forms. The first consisted of photographic prints produced directly in postcard size. In this format the photographic paper print itself functioned as a postcard. The second form involved attaching or printing a photograph onto a pre-printed postcard layout. Both approaches allowed photographs to circulate not only as visual images but also as objects of communication.

Group photographs were particularly well suited to this format. Educational institutions, military units, sports clubs, and various social organizations frequently produced group photographs to commemorate shared events or collective experiences. By reproducing these photographs as postcards, organizers could easily distribute them among participants or send them through the postal system.

During the first half of the twentieth century many photographic studios specialized in producing such materials. Studios often organized group portrait sessions, processed the photographs, and reproduced them in postcard form for distribution. These photographic postcards became common souvenirs associated with school graduations, institutional gatherings, and formal ceremonies.

After the Second World War advances in printing technology further expanded the production of photographic postcards. More efficient and less expensive reproduction techniques allowed photographs to be produced in larger quantities. In addition to group photographs, tourist postcards and city views also became widely distributed during this period.

By the late twentieth century photographic postcards began to serve an additional function. Educational institutions, training centers, and community organizations started producing specially designed cards intended to accompany group photographs. These cards often included a designated area where the photograph could be inserted or printed. As a result, the card functioned both as a commemorative object and as a medium for communication.

Photographic postcards should therefore be understood not merely as visual records but also as elements of social interaction. The circulation of group photographs through postal networks allowed individuals to share collective memories and maintain social connections. In this sense photographic postcards occupy an important position at the intersection of photography, communication, and social life.

This item is documented as part of the Photography in Postal History research project.
For research context, see the Research Methodology.
For academic reference, please refer to How to Cite This Archive.