The carte de visite was quickly replaced by the larger cabinet card.
Despite the similarity, the cabinet card format was initially used for landscape views before it was adopted for portraiture.
Some cabinet card images from the 1890s have the appearance of a black-and-white photograph in contrast to the distinctive sepia toning notable in the albumen print process.
These photographs have a neutral image tone and were most likely produced on a matte collodion, gelatin or gelatin bromide paper.
Sometimes images from this period can be identified by a greenish cast.
Gelatin papers were introduced in the 1870s and started gaining acceptance in the 1880s and 1890s as the gelatin bromide papers became popular. A true black-and-white image on a cabinet card is likely to have been produced in the 1890s or after 1900.
The last cabinet cards were produced in the 1920s, even as late as 1924.
Owing to the larger image size, the cabinet card steadily increased in popularity during the second half of the 1860s and into the 1870s, replacing the carte de visite as the most popular form of portraiture.
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.
However, when the renowned Civil War photographer Mathew Brady first started offering them to his clientele towards the end of 1865, he used the trademark "Imperial Carte-de-Visite." Ironically, early into its introduction, the cabinet card ushered in the temporary demise of the photographic album which had come into existence commercially with the carte de visite.