Moses Billings
With the development of the daguerreotype in the 1840s, the role of the portrait painter declined in general, because it was now much easier and much cheaper to have one's likeness presented in a visual format. While many portrait painters lost business in competition with the daguerreotype, Billings instead began to produce daguerreotype prints himself. It is not known exactly which prints were made by Moses Billings, as daguerreotypes were usually signed, when signed at all, along the side of the plate. Due to the traditional storing methods of daguerreotype plates, even this signature usually quickly became illegible. However, it has been generally noted, or at least hypothesized, that his daguerreotype prints showed a level of talent and artistry above that of amateur daguerreotypists. Though it is not known exactly which prints were his, it is known that he had largely abandoned the process by the 1850s. Even after he stopped making daguerreotypes, he did continue to paint people's portraits on canvas.
James Ambrose Cutting
When dry, the glass plate was then backed either with black paint, metal, cloth, or paper; this black backing made light areas of the negative appear darker, turning the negative image into a positive. Some ambrotypes were made with ruby or dark green glass to simulate the effect of a backing without using one. Ambrotypes often were hand-colored, most commonly with dabs of red paint on the cheeks of the sitter. They were housed in wood or thermoplastic cases (also called 'Union cases'), like the daguerreotype photographs with which they are often confused; an ambrotype is easily distinguished from a daguerreotype because its surface is not reflective, as daguerreotype surfaces are. Ambrotypes were most popular during the mid- to late-1850s but continued to be available through the 1890s.