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(Redirected from Ferrotype) Photographic process; direct positive image on metal
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Tintype of two girls in front of a painted background of the Cliff House and Seal Rocks in San Francisco, circa 1900
Studio tent of ferrotypist J. Q. Galusha, 12,7 × 17,7 cm, USA, c. 1880–1900

A tintype, also known as a melanotype or ferrotype, is a photograph made by creating a direct positive on a thin sheet of metal, colloquially called 'tin' (though not actually tin-coated), coated with a dark lacquer or enamel and used as the support for the photographic emulsion. It was introduced in 1853 by Adolphe Alexandre Martin in Paris. It competed with both the ambrotype process and the older and established daguerreotype, finding particular adoption in North America. Tintypes enjoyed their widest use during the 1860s and 1870s, but lesser use of the medium persisted into 1930s and it has been revived as a novelty and fine art form in the 21st century. It has been described as the first "truly democratic" medium for mass portraiture.

Tintypes were particularly used for portraits. They were at first usually made in a formal photographic studio, like daguerreotypes and other early types of photographs. At the time though the process like the professional were called specifically ferrotype and ferrotypist respectively (not photograph|er). Later on tintypes were most commonly made by ferrotypists working in booths, tents, or the open air at fairs and carnivals, as well as by itinerant sidewalk photographers (with carts or wagons). Because the lacquered iron support was resilient and later did not need drying, a tintype could be developed and fixed and handed to the customer only a few minutes after the picture had been taken.

The tintype saw the Civil War come and go, documenting the individual soldier and horrific battle scenes. It captured scenes from the Wild West as it was easy to produce by itinerant photographers working out of covered wagons. They captured farming families in front of their new home (house portraits), emerging towns as well as the frontier landscape, for which large plates were used.

It began losing artistic and commercial ground to higher quality albumen prints on paper in the mid-1860s, yet survived for well over another half century, living mostly as a carnival novelty. The tintype's immediate predecessor, the ambrotype, was done by the same process of using a sheet of glass as the support. The glass was either of a dark color or provided with a black backing so that, as with a tintype, the underexposed negative image in the emulsion appeared as a positive. Tintypes were sturdy and did not require mounting in a protective hard case like ambrotypes and daguerreotypes.

Technical details

Tintype portrait in a paper mat, taken at Pease's Nantasket Tintype Gallery, circa 1900

There are two historic tintype processes: wet and dry. In the wet process, a collodion emulsion containing suspended silver halide crystals had to be formed on the plate just before it was exposed in the camera while still wet. Chemical treatment then reduced the crystals to microscopic particles of metallic silver in proportion to the intensity and duration of their exposure to light, resulting in a visible positive image. The later prefabricated, hence more convenient dry process was similar but used a gelatin emulsion which could be exposed in the camera dry.

In both processes, a very underexposed negative image was produced in the emulsion. Its densest areas, corresponding to the lightest parts of the subject, appeared gray by reflected light. The areas with the least amount of silver, corresponding to the darkest areas of the subject, were essentially transparent and appeared black when seen against the dark background provided by the lacquer. The image as a whole therefore appeared to be a dull-toned positive. This ability to employ underexposed images allowed shorter exposure times to be used, a great advantage in portraiture.

To obtain as light-toned an image as possible, potassium cyanide was normally employed as the photographic fixer. It was perhaps the most acutely hazardous of all the several highly toxic chemicals originally used in this and many other early photographic processes.

Tintype portraits in an album, circa late 1800s-early 1900s

To overcome the uniqueness of each picture multi-lensed cameras and single-lens cameras with a movable back holding the plate were invented. Three men from Boston are to name here. John Roberts first made use of multiple lenses, mounting as many as 32 of them on one camera. A twelve-lensed camera for example, developed in 1858, made a dozen 3⁄4-by-1-inch (19 mm × 25 mm) so-called "gem" portraits with one exposure. A patent for a movable plate holder was registered by Albert S. Southworth in 1855. In 1860 both methods were combined in patents by Simon Wing, who promoted these cameras successfully and tried to enforce licensing, but failed with the Supreme Court ruling his patents invalid due to their use prior to his patents. Portrait sizes ranged from gem-size to 11 in × 14 in (280 mm × 360 mm). From about 1865 to 1910, the most popular size, called "Bon-ton", ranged from 2+3⁄8 in × 3+1⁄2 in (60 mm × 89 mm) to 4 in × 5+3⁄4 in (100 mm × 150 mm).

Each tintype is usually a camera original, so the image is usually a mirror image, reversed left to right from reality. Sometimes the camera was fitted with a mirror or right-angle prism so that the result would be right-reading.

History

The process was first described by Adolphe-Alexandre Martin in France in 1853. In 1856 it was patented by Hamilton Smith in the United States and by William Kloen in the United Kingdom. It was first called melainotype, then ferrotype by V. M. Griswold of Ohio, a rival manufacturer of the iron plates, then finally tintype.

Ambrotype as a precursor

The ambrotype was the first use of the wet-plate collodion process as a positive image. Such collodion glass positives had been invented by Frederick Scott Archer in 1851. Although it is a widely held belief James Ambrose Cutting might have named the process after himself, in actuality, "ambrotype" was first coined by Marcus Aurelius Root, a well known daguerreotypist, in his gallery as documented in the 1864 book The Camera and the Pencil.

The tintype was essentially a variant of the ambrotype, replacing the latter's glass plate with a thin sheet of japanned iron (hence ferro). Ambrotypes often exhibit some flaking of their black back coating, cracking or detachment of the image-bearing emulsion layer, or other deterioration, but the image layer on a tintype has proven to be typically very durable, although the iron support might oxidize at its corners.

Success of the tintype

The only surviving portrait of Billy the Kid, Fort Sumner, c. 1879–80

Compared to their most important predecessor, the daguerreotype, tintypes were not only very inexpensive, they were also relatively easy and quick to make. A photographer could prepare, expose, develop and varnish a tintype plate and have it ready for the customer in a few minutes. Although early tintypes were sometimes mounted in protective ornamental cases, like daguerreotypes and ambrotypes, uncased tintypes in simple paper mats were popular from the beginning. They were often transferred into the precut openings provided in book-like photograph albums like the later prints on cardboard.

One or more hardy, lightweight, thin tintypes could be carried conveniently in a jacket pocket. They became very popular in the United States during the American Civil War. Although prints on paper (see cartes de visite and cabinet cards) soon displaced them as the most common type of photograph, the tintype process continued to enjoy considerable use throughout the 19th century and beyond, especially for casual portraiture by novelty and street photographers. In contrast to the considerable amount of manuels, books and articles in journals on the different photographic processes, they were seldomly treating the ferrotype. Whereas Edward M. Estabrooke stated in his almost unique extensive monograph The Ferrotype and How to Make It, published in 1872, that the amount of ferrotypes taken would probably surmount the production of all other techniques combined. His book and the introduction of low cost variants known as "Gem ferrotypes" and the invention of the photo booth in 1888, helped to sustain the tintype's longevity.

Contemporary usage

John Coffer, as profiled in a 2006 New York Times article, travels by horse-drawn wagon creating tintypes.

In 2013, California Air National Guard member and artist Ed Drew took the first tintypes in a war zone since the Civil War, when he photographed Air Force pilots serving in the Afghan War.

The contemporary photographer Victoria Will created a series of tintypes of Hollywood stars at the 2014 and 2015 Sundance Film Festivals, including portraits of Anne Hathaway, Nick Cave, and Ewan McGregor. The portraits were later published as a book.

Organisations such as the penumbra foundation still continue to use this technique, offering tintype photography sessions. Their work has been featured in the New York Times.

Gallery

Different utilizations and genres of ferrotype and their settings, arranged chronologically.

  • Formal portrait of three African American women in formal dress with hands clasped together, tinted and with gilded jewelry, studio-ferrotype in typical casing, c. 1856 Formal portrait of three African American women in formal dress with hands clasped together, tinted and with gilded jewelry, studio-ferrotype in typical casing, c. 1856
  • Portrait of a young Norwegian woman in the US, partly tinted, c. 1856–1900 Portrait of a young Norwegian woman in the US, partly tinted, c. 1856–1900
  • Campaign button for Abraham Lincoln, 1860, on flip side his vice presidential running mate Hannibal Hamlin Campaign button for Abraham Lincoln, 1860, on flip side his vice presidential running mate Hannibal Hamlin
  • Girl in mourning dress holding framed photograph of her father, USA, encased, c. 1861–1870 Girl in mourning dress holding framed photograph of her father, USA, encased, c. 1861–1870
  • Painted tintype of Samuel Spencer Ives, a colonel of the 35th Alabama Infantry, C.S.A., 12 January 1862 (Alabama Department of Archives and History) Painted tintype of Samuel Spencer Ives, a colonel of the 35th Alabama Infantry, C.S.A., 12 January 1862 (Alabama Department of Archives and History)
  • Butcher with his tools, c. 1875 Butcher with his tools, c. 1875
  • A house portrait, 16 × 21 cm, 1860–1900 A house portrait, 16 × 21 cm, 1860–1900
  • Studio of a ferrotypist, 9,2 × 11 cm, USA, c. 1880–1900 Studio of a ferrotypist, 9,2 × 11 cm, USA, c. 1880–1900
  • Two men and two women on the Eiffel tower, Paris, France, Neurdein Frères, c. 1889–1914 Two men and two women on the Eiffel tower, Paris, France, Neurdein Frères, c. 1889–1914
  • Ferrotype from a Bosco photo booth, Hamburg, Germany, after 1890 Ferrotype from a Bosco photo booth, Hamburg, Germany, after 1890
  • Portrait of a group of sixteen men and women on a hiking trip under makeshift stilted cloths, USA, c. 1890–1915 Portrait of a group of sixteen men and women on a hiking trip under makeshift stilted cloths, USA, c. 1890–1915
  • Tintype in a paper mat as greeting card, USA, 1900–1920 Tintype in a paper mat as greeting card, USA, 1900–1920
  • Portrait of a man and two women holding a signboard reading "Huntington Fair 1905" Portrait of a man and two women holding a signboard reading "Huntington Fair 1905"
  • A snapshot-like tintype on the beach of Valkeveen in the Netherlands, c. 1915–1925 A snapshot-like tintype on the beach of Valkeveen in the Netherlands, c. 1915–1925
  • Brom Kellie Taken Oct 25 1877 Brom Kellie Taken Oct 25 1877

See also

References

  1. ^ Knodt, Robert; Pollmeier, Klaus (1999). Verfahren der Fotografie (2. expanded ed.). Essen: Museum Folkwang. p. 61.
  2. ^ Spira, S. Fred (2001). The History of Photography as Seen Through the Spira Collection. New York: Aperture.
  3. Kasher, Steven (2008). America and the Tintype. New York/Göttingen: ICP/Steidl. pp. 14, 35ff.
  4. Clark, Gary. "Tintype Photographs". PhotoTree.com.
  5. ^ Rinhart, Floyd; Rinhart, Marion (1990). The American Tintype. Ohio State University Press. ISBN 978-0-8142-0806-9.
  6. ^ Wood, L. (August 5, 2011). "What Do You Know About Tintypes?". Ohio Historical Society Collections Blog. Archived January 14, 2014, at the Wayback Machine
  7. Root, Marcus (1864). The Camera and the Pencil; or the Heliographic Art, its theory and practice in all its branches; e.g.-Daguerreotypy, photography, &c. Philadelphia: D. Appleton & Co., N.Y. p. 376.
  8. Peres, Michael R. (2017). The Focal Encyclopedia of Photography. FOCAL. p. 32. ISBN 978-1-138-29857-6.
  9. Root, Marcus (1864). The Camera and the Pencil; or the Heliographic Art, its theory and practice in all its branches; e.g.-Daguerreotypy, photography, &c. Philadelphia: D. Appleton & Co., N.Y. pp. 372–373.
  10. Estabrooke, Edward M. (1872). The Ferrotype and How to Make It. Ohio: Gatchell & Hyatt. p. 53. (Cited after authorized German translation, p. 66, of Beaumont Newhall, History of Photography , 1937, 5th rev. and expand. ed., 1982.)
  11. Safier, Marcel (2015). "The Gem and Carte de Visite Ferrotype". Retrieved May 21, 2019.
  12. Foster, Sheila J.; Heiting, Manfred; Stuhlman, Rachel (2007). Imagining Paradise. Rochester, NY/Göttingen, Germany: George Eastman House/Steidl. p. 167.
  13. Wadler, Joyce (August 3, 2006). "Born 150 Years Too Late". New York Times.
  14. Zhang, Michael (July 10, 2013). "These Are the First Combat Zone Tintype Photos Created Since the Civil War". PetaPixel.
  15. Griffin, Elizabeth (January 29, 2015). "49 Extraordinary Vintage Portraits of Hollywood's Most Famous Faces". Esquire.
  16. Coates, Tyler (December 18, 2017). "This Photographer's New Book Celebrates the Lost Art of Tintype Portraits". Esquire.
  17. Martinez, Alanna (September 23, 2014). "The Penumbra Foundation Proves Analog Isn't Dead With a Tintype Revival". Observer. Retrieved April 7, 2020.
  18. Otis, John (December 18, 2019). "Memorializing a New York Neighborhood With a 19th-Century Technique". The New York Times. ISSN 0362-4331. Retrieved April 7, 2020.
  19. Kilgannon, Corey (December 20, 2019). "Why the End Is Near for an Automotive Shantytown". The New York Times. ISSN 0362-4331. Retrieved April 7, 2020.

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