Tintype and ambrotype photographs are produced using the historical wet plate collodion process. This process produces a positive image on blackened metal or glass that is inserted into a large format camera for exposure. The process requires images to be exposed and developed while they are still wet. This means that the images are seen minutes after the exposure has been made, and are on the actual exposed metal or glass plate. Tintypes were the original instant photo. Basically the photo booth and polaroid of the 1850's.

Because each photograph is individually hand-crafted, no two are exactly alike. Just like the original tintypes, these photographs will last for generations and become part of your own history. In an era where cell phone pictures and Instagram reigns, your images will last centuries.

It is the rejection of immediacy. It is a very intentional process. It forces me to take the time and focus on what I am taking a photograph of, why I am taking the photograph, and how I want to represent it. Rather than being reactionary and immediate with my actions. It makes me actually consider things, pause, take a look around, be in the moment of where I am.

Longevity - The fact that many images from the 1850's are still around proves that the process is durable.

Uniqueness - Each image is one of a kind, with a look that cannot be duplicated.

Tone - The range of tone available using this process is unmatched by digital or film.

Tangible - Each image is an object that you can hold and has a connection to the actual moment it was created.

In a world where everything is instant, tintype photography forces you to slow down. It’s unfiltered, imperfect, and real. The chemicals don’t lie. You see yourself as you are, and in a way, as you might have appeared 160 years ago.

Some people choose tintypes because of the visual character: the silvery tones, the ethereal contrast, the haunting sharpness in the eyes. Others are drawn to the experience itself. Sitting still, holding their breath, watching the plate transform in a tray of fixer just inches from their eyes.

I photograph for quality, not quantity.

The name "Black Japan" originated in the West to describe a black, tar-based varnish that was known for its durability and glossy finish, and it was named after its perceived association with Japanese products. While Japan is famous for its traditional lacquerware (japanning), the Western "Black Japan" was a different, bitumen-rich product used on iron and steel in the late19th century for tintype photography.
Japanning is how we turn scrap metal into a deep, glossy black canvas. I hand coat and bake the plate so it can hold silver images with sharper contrast—that’s what gives a tintype its iconic look. 

The session fee includes one original tintype or ambrotype & a digital scan for sharing on-line. I will shoot as many plates as I need to best capture you. Typically 3-4 plates. You are not obligated to buy all the plates that are made, but can choose the best one for varnishing.

Come with ideas.  Wear something intriguing, or nothing at all!  Dress up.  Be formal.  Put on a hat.  Bring a prop. Go vintage. Go nude. Be you at your most wonderfully unique!! Everyone is welcome, and so are your ideas.  I encourage you to contact me ahead of time with your ideas so that we can flesh them out for success!   The chemistry involved in the process does not react to color the same way as traditional film, so avoid colors like all red, all black and all white. Good colors are blue, green purple, pink, and patterns are fine. The image is the reverse of the actual setting, so any lettering will be reversed, as will you!
Feel free to dress up, or down. Patterns and textures always look great. Feel free to bring small props, hats, jewelry etc. Tintypes can be very high contrast - so avoid solid white or solid black. Finally, if there is more than one person in the shot, try to wear different colors, patterns and textures.

Tintype photography handles color and contrast differently than modern cameras.

For example:

Blue appears very light or white

Red often looks nearly black

Yellows will look darker

Pure white can blow out and lose detail

Black tends to hold tone well

That said, what really matters is texture and personality.

Clothing with visible texture like denim, corduroy, wool, or lace all look fantastic on tintype. These materials catch light in a way that gives the image depth and character.

You will want to avoid logos or overly busy patterns, as they tend to distract and don’t always translate well in the final plate. But don’t feel boxed into a “look.” There are always exceptions. Know that black on a black background can tend to give a floating head look with some black clothing, especially if it has no sheen or texture to reflect light back at the camera.

Ask about bringing any props, accessories or other things you might want to have fun being photographed with. Usually I am open too it as long as the space considerations are small and set up time is minimal.

When you arrive, we’ll hang out and talk about the kind of portrait you’re hoping for. This could be quiet, strong, soft, funny, bold — anything. Bring examples of the look you are going for. Ask me anything about the process. Also, relax! I know people can be uncomfortable staring down the barrel of a massive camera and an antique brass lens that is about to steal their soul. There is nothing to be afraid of. We’ll figure it out together.

You’ll be seated and guided into a relaxed position. The time to focus and be still is longer than digital, so I’ll help you settle into a natural stillness.

The plate is prepared, exposed, and developed right away. You’ll get to watch your portrait appear in the developer and then the fixer tray within seconds — it’s a moment most people never forget.

Your tintype is then fixed, washed, and finished after drying and varnishing — ready to outlast both of us, and probably the furniture too.

Tintypes aren’t about megapixels or editing apps. It’s about craft, chemistry, and connection. Each image is:

Handmade — there’s no batch processing or auto-correct

Truly one-of-a-kind — there is no negative, no copy

Archival — properly stored, tintypes can last over 100 years

A tintype isn’t something you download, swipe through, or forget in your camera roll. It’s an original photograph made directly on metal. No copy, no negative, no Photoshop — just one-of-a-kind alchemy captured in silver.

Each one is made by hand and meant to last for generations. (seriously, your great-great-grandkids could still be rolling their eyes at it one day) It is the complete opposite of immediacy. Yes, tintype sessions typically cost more than digital portraits. But you're not just paying for a picture — you're commissioning a work of art created with metal, glass, light, and human hands.

Please note: If you are expecting a highly edited, digitally manipulated, or a perfect image, this type of photography is not for you.

Each sitting takes around 1-2 hours to complete, longer if you wish for additional poses or reshoots.  After the shoot, the plates will still need to be washed, and varnished. Plates can either be picked up from the studio a few days later, or mailed to your home for $10. 

Each plate takes about 15-20 minutes to produce, and involves pouring the collodion, sensitizing, making the exposure, developing, and rinsing. Subjects must remain completely still from 2 to 40 seconds during the exposure, but are free to watch the process in action. You will be able to see & choose the photos you want, but the final varnishing step in the process will have to be completed after the plate is completely dry hours later.

Remember, this is not digital or film.

Heavier matte makeup looks best. If you tend to get dark circles under your eyes, I suggest concealer, especially if the area is red as red tends to show up much darker. Darker lip colors read better than nudes. Red lipstick will show up darker than it is as reds tend to look darker in tintypes while blues tend to look lighter or white. Because the UV light spectrum of tintypes, freckles may show up more than expected and certain color tattoos may be almost invisible.

SPF Blocker/Sunscreen: We strongly recommend not to wear it as your skin will show up darker then it’s natural tone and will have a "smeared" look. Double check your face makeup if you are wearing any to make sure it doesn’t contain SPF blocker.

This is about capturing you. Don’t overthink it.

It depends.

There are a few issues with glasses -UV coatings, reflections from the sun and Transition lenses, or photochromic lenses. While I do my best to pose carefully, reflections from the sun can obscure your eyes and transition lenses WILL turn black. UV coated lenses can look smoky.

My suggestion? If possible, wear frames with no lenses, or skip the glasses altogether. Unless you want to look dark and mysterious, like Roy Orbison.

It depends.

We can only shoot 1 person on a 4x5 plate, 2 people on the 5x7 plate, and 4 people on the 8x10 plate. Because of the unique properties of the process it is hard to light more people than that in one image.

Please keep in mind that I shoot with a lens from the early 1900's and focusing is at its best if there are one- two people per plate. If there are more than two people, focusing gets trickier on my part and an image may start to fall out of focus due to the shorter depth of field.

For those that know about photography, each image must be shot with the aperture wide open as the ISO is about a 0.5 - 1.0. (no, that is not a typo)

It depends.
Exposures can be anywhere from 1-40 seconds long depending if we are in the studio, or using natural light. If using natural light, it depends on the time of day, location, amount of shade, and cloud cover. However, you will need to be seated and not make large movements for up to 6 minutes while you are in focus and the plate is being prepared.

Once the plate is in the camera, I can’t refocus — so sudden movements are best avoided. (Unless you’re going for the rare and highly experimental “Victorian blur effect.”)

Pets, it depends. Babies, we don't. ¯\_(ツ)_/¯

The exposure times are long compared to modern photography, pets and babies often prove to be our most "creative collaborators" and tend to be quite "wriggly" during the process. When they move, it will blur whatever portion of the body they decided to re-locate. Even when it's done ever so slightly. They will turn out blurry, almost a like a tiny Victorian apparition.
For pets, contact me to discuss further.

However, there are other options that I can suggest to capture babies using this process.

Don't like the look on your face?
The first reshoot is included.

Don't like the look on your face in either?
Additional reshoots are $75 each to cover the cost of materials.

We are happy to reshoot for you if time allows. Reshoots will only be allowed during the same session. Once you leave the studio the session has ended, so please communicate with us before we wrap up!

 
Want to keep the reshoots? 
They are $75. 

It is common in tintype and ambrotype photographs to see imperfections/ artifacts such as particles of dust, fingerprints, small scratches, and other small “happy defects”. These are what give these portraits character and makes each one unique. We will not do reshoots for any of these common imperfections, unless it affects the overall plate (artifacts directly on the face etc.).

We will suggest a reshoot under the following circumstances: if someone in the portrait moves and are blurry. or if there is an obvious quality defect in the portrait. Quality defects are at the discretion of the photographer.

We strongly recommend that you take our direction on posing, what to do with your face & hands etc. Our goal is for you to be happy with your portrait - if you do not like the photo for personal reasons (facial expressions/posing) please speak up!

Because photography is a serious business. If a smile is attempted within the portrait studio, you will be politely asked to leave, never return, and your name will be banished from the record.
Just kidding.

People often appeared stoic or serious because this type of photography was still in it's infancy and required long exposure times, making it difficult to hold a smile. (Seriously, try keeping a big smile for 60 seconds without your face twitching, it’s practically an Olympic event)

Additionally, smiling in portraits was not the social norm yet, influenced by the conventions of painted portraits where subjects typically maintained a neutral expression. 

Bottom line: Smiles look great in tintype… if you’re into that kind of thing.
No smiles look great also.
Don't over think it.

What about different skin tones?
I take photos of all skin colors and will modify the amount of lighting as needed to best each subject. However a lot of times people will come out much darker or lighter depending on their underlying skin tones. If your skin tends to be reddish or have a reddish undertone, you will look darker than someone whose skin is in a bluer range. I often cannot tell this until after the photo has been taken.
If you have a sunburn, brace yourself. You will look like you just returned from a month on the surface of Mercury.

What is the best time of day to have my portrait taken?
Mid morning or early afternoon so the sun is not directly above you.
In the summer in Texas, anytime after 4 PM we will be working against the clock and the exposure times will change minute by minute.
1 star. Don't recommend.

What is the average turn around time to get my tintype plates and digital scans?
Plates and scans are typically ready for pick up or shipment within one week of the session.

So glad you asked.
Tintypes are varnished to protect the delicate silver image from damage, oxidation, and physical wear, which could include scratches, dents, and environmental corrosion. The varnish also helps to create a uniform, protective layer over the collodion binder and the underlying metal plate, improving the image's longevity and keeping it in good condition for longer.

This is done by first gently heating the finished plate over an oil lamp flame, then carefully pouring a natural resin varnish, such as Sandarac, onto the warm plate to completely cover it. The plate is tilted to spread the varnish and drain the excess into a separate bottle. Finally, the plate is gently heated over oil lamp flame to dry the varnish and cure the image, which provides protection from handling and tarnishing.

Display your tintype under a bright, specular light source for best viewing results.  I recommend propping them up under a lamp.

Let people pick up and hold your tintype. Tintypes are robust.  Baring any physical damage they will last hundreds of years.  ​

When fingerprints show, wash with cool water and wipe dry with a soft cloth. For the love of everything that is holy,  do not use Windex or other chemical cleaners. 

Tintypes are varnished with a natural substance called Lavender Sandarac.  Is it amazing stuff, but not as hardcore as a poly.  

If you choose to frame your tintype, make certain there is an air gap between the glass and the plate.  If the plate touches the glass, given changes in humidity and temperature, over time the varnish will adhere to the glass. 

I recommend shadowboxes or frames without glass. Mount it 1/4 inch away from the back of the shadowbox for a cool 3D effect.

Tintypes are glossy, so is glass, so you will get a double the glare with glass.

Got any other questions or concerns, holler at me!

Due to the nature of this process and the chemicals, equipment and time involved, I DON’T OFFER REFUNDS. You will not be given a refund for simply not showing up for your scheduled appointment.

If you need to reschedule, it REQUIRES 24 HOURS NOTICE. If you notify me less than 24 hours from your scheduled appointment to reschedule, the amount you paid will be credited to your next appointment however you WILL be charged a 25% set up fee. I understand things happen but it takes up my time and energy to put together a shoot for someone who isn’t going to show up and that spot could’ve gone to another client willing to… well… show up. If something happens don’t be afraid to notify me. The more I know the better it is for the both of us .

My services are provided with dignity, respect, and without discrimination. We welcome individuals of all sexual orientations, gender identities, races, ethnicities, nationalities, religions, and backgrounds. Everyone deserves fair and compassionate treatment, and we are dedicated to creating a safe environment for all.