It could have been his father....Here is what I just found on TinTypes.... I'm going to keep a copy of this too...Interesting!
Portrait Types: Tintypes
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Figure 1.--This American tintype portrait was probably taken in the late 1860s or early 1870s--judging from the lack of background and the quality of the image. Click on the image for more information on the boy's outfit.
Tintypes became enormously popular in the United States during the Civil War and the 75 or so years following, they were used to depict every aspect of American life. The most typical 19th century tintype was of course still the studio portrait. Tintypes were easier to make than Daguerreotypes or Ambrotypes, and the customer did not have to return for prints as with negative/positive processes. It was not the first instant process, but it was certainly the one more people could afford. Being easier to make and less expensive opened the door for a new type of photographer.
Chronology
The tintype was the first quick, inexpensive photographic process available in America on a large scale. Introduced about 1856, tintypes gained widespread popularity as keepsakes for Civil War soldiers and their families. With the development of the tintype, Americans began to accept photography as an inexpensive alternative to portraiture. The tintype had one of the longest periods of popularity of any early photograph type, lasting from the mid 1850s to the 1930s mostly at county fairs.
Details
A tintype is made by coating an iron plate with a light sensistive collodion silver mixture. The tintype image has a similar appearance to the Ambrotype, which puts the collodion image on glass instead of a metal plate. The backs of tintype were lacquered to protect the exposed metal from rust and oxidation.
Terminology
The tintype was first known as the ferrotype in England, appearing in the late 1830s. It became known in America, however, as the tintype. The metal used to support the tintype image was actually iron, as the English term suggests, and not tin. The reason for calling them tintypes is not know with any certaintyu. One account suggests that they came to be popularly known as "tintypes" in America because of the tin shears used to separate the individual images.
Identification
Although the tintype exhibits the same whitish gray image as the ambrotype, it can be easily distinguished because the iron support of the tintype will attract a magnet. (This test is helpful if you have never seen a daguerreotype and are presented with a cased tintype. Copper does not attract a magnet.)
Production and Sizes
Tintypes were usually produced in multiples at a single sitting, like the carte de visite, for distribution to friends and family members. A multiple lens camera could be used to produce up to twelve images on a single plate (as with the carte de visite) for efficiency. As a result the tintype was inexpensive, opening photography to an even wider audience.
Tintypes are measured in fractions of a full plate as are daguerreotypes and ambrotypes. They came in full-plate, half-plate, quarter-plate, and one-sixth plate sizes. Tintypes frequently were carelessly trimmed when separating the individual images from the whole plate. This is partly because the case or envelope would cover the edges of the image.
Reputation
Tintypes were widely considered cheap and artless by many photographers. And though it is true that many are, beautiful and artistic painted tintypes were produced, some with equally well-crafted decorative frames.
Popularity
The tintype was very popular with Civil War soldiers because it was less likely to break than the fragile glass ambrotype or delicate copper daguerreotype. They could also be slipped into an envelope and sent through the mail.
Types
Several types of tintype were popular throughout the life of the tintype.
Neff's
The earliest American tintypes are stamped "Neff's Melainotype Pat 19 Feb 56" along one edge. The black iron support is of a heavier weight than later tintypes, about 0.017 of an inch. Tintypes of the Civil War period (1861-1865) are primarily sized one-sixth and one-fourth plate. Often, Civil War-era images are datable by the Potter's Patent paper holders, carte de visite sized paper folders adorned with patriotic stars and emblems, that were introduced during the period. After 1863 the paper holders were embossed rather than printed. A tax on all photographs sold in the United States from September 1, 1864 to August 1, 1866 required the application of a revenue stamp. Continuous photographers cancelled the stamp by writing their initials and the day's date on the face. The cancelled tax stamps may be adhered to the back of an image case or an uncased tintype. Neither the chocolate tint nor the rustic look are to be found in pre-1870 tintypes.
Brown/chocolate
Brown or chocolate tintype images had a brief period of popularity from 1870 to 1885. In 1870 the Phenix (sic.) Plate Co. began making plates with a chocolate-tinted surface. It was said in a period journal, "created a sensation among the photographers throughout the country, and the pictures made on the chocolate-tinted surface soon became the rage".
Rustic theme
In the 1870s the "rustic" theme made its debut in studio photography offering painted backgrounds, fake stones, wood fences and rural props.
Tiny portraits
Photographers introduced tiny portraits in 1863. The very small portraits 7/8 by 1 inch (about the size of a small postage stamp) debuted with the invention of the Wing multiplying camera. They were popularized under the trade name Gem. These tiny images were popular because they provie an inexpensive way of sending phitographs to large numbers of friends and families. They were also just the right sizes for lockets or similar jewelry items holding small photographs. The Gem Galleries flourished until about 1890, when the introduction of the family camera made it no longer necessary to visit a studio that specialized in the tiny likenesses or card photographs. The Gem image brought the price for a photograph to an all time low.
Often imprints found on carte de visite backs will indicate they were made in a Gem studio, but the carte de visite is not a Gem image. Most photographers were required to offer a versatile range of services and images types to stay in business. Gem portraits were stored in special albums that held one image per page. Also, larger albums were made that held several of the small images per page, perhaps holding as many as a hundred portraits. Gems were cut to fit lockets, cufflinks, tiepins, rings and even garter clasps.
Carnival period
Itinerant photographers from 1875 to 1930 continued the tintype business on into the 20th century in what is known as the carnival period. These itinerant tintypists set up studio tents at public gatherings, such as fairs and carnivals. They came equipped with painted backdrops of Niagara Falls, beach, boat and other novelty props for comic portraits. Other tintype galleries operated on the popular boardwalks at beach resorts.
Varnish
Many old tintypes appear dark. This is primarily because photographers commonly coated the surface of iron tintypes with varnish to protect the surface. As these tintype aged, this varnish has a tendency to darken. Scans of such tintypes can be corrected, but if the varnish has darkened sufficently, it ofren is not possible to bring out all the details.
Framing
Early tintypes were placed in the leather or plastic (thermomolded) cases used for ambrotypes. Some tintypes may be seen loose in their gilt frames (image packet) either to reduce cost or taken from cases. As the tintype customer demanded lower prices, the cases were dropped in favor paper folders the same size as the popular card photographs (carte de visite) because the case cost more than the finished photograph. Some were decorated with patriotic themes like Potter's Patent paper envelopes. Instead of a glass cover, the tintype image was given a quick coat of Japan Black lacquer (varnish) to protect the image and any applied tints.
Cost
Tintypes were a popular and inexpensive alternative to the carte de visite image. They mounted a regular tintype sandwiched in a stiff card mount with a window cut in the front for viewing the image. Tintypes were lighter and less costly to manufacture than daguerreotypes or ambrotypes. The average price from the inception of the process in 1856 until its fadeout was 10 cents to 25 cents for an image about the size of a playing card. Sometimes referred to as "The penny picture that elected a president". The tintype sold for a penny or less, making photography universally available.
Itinerant Photographers
Photography became a possibility for the isolated farmer as itinerant photographers spread out over the countryside. And in big cities working class people could afford a tintype image.
Tinting
Very often the tintype image was tinted, giving it a more lifelike quality than the monochrome image could offer. Tints were added to cheeks, lips, jewelry and buttons. People were not ready to accept a photograph for what it was, but wanted it to imitate painting. Many miniature painters left their dying trade to become colorists. It was easier to apply tints to a tintype than daguerreotype because of the difficulty of applying pigments. Some painted tintypes are elaborate examples of the decorative arts.
Restoration
Tin Types are damaged by chipping, flaking, bending and stains. Eventually Tin Types can turn solid black, making restoration impossible. |
