Taking a Tintype

Do you ever look at old photos and wonder what it would be like to take the photo, or to be in the photo?  Would there be blinding lights?  A stiff pose held for uncomfortably long?  Was smiling allowed?

I recently sat for a modern tintype photo at Lumiere Tintype here in Austin.  Tintypes were a popular format from the 1860s through the early 20th century.  A tintype is made with light-sensitive silver media in a wet collodion binder on a plate of tin or another metal.  Tintypes were created formally in the studio or casually on the street.  Oftentimes, they were varnished to protect the image.

Tintypes are not created from a film negative; they are one-of-a-kind.  The camera must physically hold the photo plate during exposure, and that can mean a big camera!  Here’s the camera at Lumiere.  The back of the camera is where the photographer inserts the plate.

The camera, with a bellows for focusing.

A tintype does require a lot of light, either through a long exposure or a bright blast.  Here’s where I stood during my session, with a large reflector positioned just out of the frame.  The exposure time was short, but the flash rattled my brain a bit.

From the subject’s view – that’s a lot of light!

The idea that historical photo processes took a long time is overgeneralized and not always correct.  Photographer Adrian Whipp prepared my photo plate while I waited, and then moved quickly to shoot the photo in about five minutes.  Afterwards, he demonstrated rinsing the image with sodium thiosulfate fixer, which dissolves away unexposed silver salts.

Fixing the image with sodium thiosulfate.

Last, Whipp applies a shellac-based resin varnish.  High relative humidity can create streaks and bubbles in shellac, so he works in a closed space with a dehumidifier to apply this protective coating.

Finally, here is the result.  Smiles are, in fact, allowed.

The finished tintype. Note the shallow depth of field, typical of this format.

Varias Relaciones, Tomo 1: Conservation Treatment

In Fall 2021, I’m pleased to conduct conservation treatment on Varias Relaciones, Tomo 1, a bound volume from the Benson Latin American Collection here at the University of Texas. The book was created by Joaquin García Icazbalceta, a 19th-century historian and collector who published many significant, previously unpublished manuscripts related to colonial Spanish America and the Philippines. This volume contains a variety of print and manuscript relations of journeys and events involving the Americas.  Though the contents of the volume originate from the years 1610 – 1675, the binding materials and style are consistent with work of the 19th century.

Varias Relaciones
Varias Relaciones, Tomo 1, bound in tree calf. This calfskin leather was decorated by dripping dilute acid down its surface.

Chief among condition issues for this volume is that the boards have become loose and detached, and the spine covering has separated. The treatment plan is to reestablish connection with the text block with an adhered spine tube made of Japanese tissue. While this volume was not originally bound with a tube, tubes are consistent with other 19th-century bindings. The tube will also enable reattachment with thin, strong Japanese tissue. Minimizing bulk in repair materials is important in this volume, since the boards sit very close to the spine. Excessive bulk would make it so the original covering would no longer fit around the text block.

Varias Relaciones
The volume’s front board and spine covering are detached, as are several leaves.

I’m so pleased to be working with the Benson this semester, and looking forward to the treatment.