But along with the rise of cabinet photography, a new documentary genre will develop which, linked to the costumbrist and historicist movements of Romanticism, will capture the image of an industrial society in the process of change, evident in the alteration of its urban forms. ; transformations that, without a doubt, endanger a monumental heritage that is beginning to be valued from optics located beyond picturesqueness. Therefore, industries determined to revolutionize the publishing system would soon emerge, incorporating hitherto unknown reproduction techniques such as photogravure, heliotype or collotype, saturating the market with plates, some hand-colored, portfolios of views of cities, or with the popular postcard. Examples of those first moments were the Fotozincográfica Society of Madrid (1861) or the Spanish Heliographic Society of Barcelona (1879), although in Spain, the issuance of postcards by individuals was prohibited until 1886.

In Guadalajara, it would take until 1908 for the weekly Flores y Abejas to publish its first collection of 16 postcards, counting on the Hauser y Menet printing press. This print run was followed by others, printed in the workshops of Roisin from Barcelona and Antero Concha from Alcarria, who would later launch their own editions. To this editorial success we must add other initiatives, such as the Recuerdo de Guadalajara collection. 20 remarkable views of the capital, launched by Saturio Ramírez, owner of the Gutenberg printing press; or the foreign Photographic Portfolio of Spain, by A. Martín, and Joyas de España, by Almirall, whose respective numbers 16 and 43 were dedicated to images of Guadalajara and its monuments, especially the Palacio del Infantado. Not in vain, in 1917, several establishments in the capital were advertised in the press as postcard offices: Antero Concha, Tomás Camarillo, Enriqueta Martín, Purificación Navarro, Ligorio Ruiz and María Sorrosal.

This publishing phenomenon was not alien to the main towns of the province either; in Sigüenza, collections edited by Roisin were launched, with special attention to the cathedral, Hauser Menet, and Rodrigo; in Molina, by local businessmen Iturbe and Mielgo; in Jadraque, Roig; or the pleasant portfolio Recuerdo de Brihuega, printed by Cabañas with 15 views of Goñi, Trelles, M. Ximénez and F. Brihuega.