| -- |
206-337-2020 in Seattle
888-546-2384 Toll-Free
888-546-2384 Toll-Free
| Abe Lincoln tintype |
| William Henry McCarty a. k. a. "Billy the Kid" |
| In 1822, First Photo -- Joseph Niepce focused his lens out the window to a courtyard outside -- patented his original image: "hierograph". |
| Louis Jacques Mante' Daguerreo patented Niepce's same first image: "photograph" to re-describe their work. |
206-337-2020 in Seattle
888-546-2384 Toll-Free
888-546-2384 Toll-Free
206-337-2020 in Seattle
888-546-2384 Toll-Free
888-546-2384 Toll-Free
206-337-2020 in Seattle
888-546-2384 Toll-Free
888-546-2384 Toll-Free
206-337-2020 in Seattle
888-546-2384 Toll-Free
888-546-2384 Toll-Free
Tintype Restoration Explained:
Owner, Chief Restorer, Steve is a Photo Artist and Software Engineer, does our tintype restores.
As a restorer, he was first to restore tintypes in 1999 while others did not have any interest.
As a software engineer, Steve has his own software, not utilized by other restoration services.
He developed his software specifically to produce images from tintypes or metal photographs.
Microsoft and Adobe do not have an interest in photo editors for antique photos.
This is a highly sensitive area of expertise where restorers work very carefully, and
a tintype has so many facets, especially color information to utilize, converted to a pallet.
Steve can pull colors out of tintypes, even if it is badly faded, ash-colored and/or totally black.
Tintype photographs take patience with hands-on digital tools and an unblinking eye on detail.
Even working with digital tools, it's the same tools as the tiny manual photo refinishing tools.
These digital tiny tools takes hand-eye coordination to work with color pallets and face details.
Even though you may think it takes longer than usual, our restorer is fast with daily practices.
When it comes to the faces, work slows a bit as the photo becomes an intricate work of art.
Redrawing parts with free-hand mouse-drawing is only achieved by an expert photo restorer,
as eyes, legs, fingers, noses, ears - almost all parts can be free-hand mouse-drawn.
If you have missing parts or if your photo warrants a drawing, phone us to discuss it.
Kinds of Tintypes:
Daguerro-type: 1839 - 1840 First photograph invented by Louis Jacques Mandé Daguerro
Ambro-type: 1841 - 1863 John Ambrose's recipe never dried, was sealed in glass forever.
Ferro-type: 1863 - 1917 Calvary requested, dried completely, chemically induced colors.
How Photographs Began - Photography History, Complete:
Near Chalon-sur-Saône, France, Joseph Nicéphore Niépce, a Frenchman and a
scientifically-minded gentleman, began experimenting with Lithography in 1813 but Began his
Experiments in 1816. Unable to draw well, Niépce first placed Transparent Engravings on
Glass Plates Coated with Light-Sensitive Varnish Mix. These Experiments, together with his
Application of the then popular Optical Instrument, the "Camera-Obscura", (France) lead him to
the First Photograph.
In 1824 Niépce had Some Success in Copying Engravings, but had no Success until
two Years Later Before he found Pewter Plates as the Support Media for the Process.
By the Summer of 1826, Niépce was ready. In the upper-story Window Workroom, in
Le Gras, he set up his Camera-Obscura, placing within it a Polished Pewter Plate Coated with
Bitumen of Judea, a Petroleum Asphalt Derivative, as his Chemical of Choice.
After at least One Day of a Long Exposure and Washing his Plate with a mixture of Oil of
Lavender and White Petroleum, his Mixture Dissolved some of the Bitumen which had not been
Hardened by Light. The Picture he Received was from his upstairs Window, of the Next
Building and a Court Yard Below which was Faint, as it hardened on a Glass Plate. Not
knowing what he had, Niepce collected his chemicals and art form but called it a Hierograph,
describing a negative looking image and to his knowledge he still did not know the image.
After examining the image he found that the image was that of a court yard below as it appears
to have buildings in the image.
Skipping to 1827, Niepce registered his image as a "hierograph" which was rejected at first by
the Royal Society of England - the only Patent Office in 1827. Photograph, as the word itself,
was based upon the Greek language meaning light and in Greek is interpreted as "graphé"
which means Light, or Drawing, together meaning "drawing with light" which Niepce used to
describe his photograph project before the Royal Society of London. But that drew an argument
as the Society called his invention, "hierograph". Niepce agreed with that as his registered
patent. But he meant to call it "Photograph", had he remembered the word during his heated
arguements and addresses.
Rejected, Niépce formed a Partnership with French Artist, Louis Jacques Mandé Daguerre in
1829. Neither of them Produced anymore work as Niepce passed away soon after. However
for safety sake, Niepce left his artifact with his British host in England, Francis Bauer, who
recorded Niepce's image and information on the frame which held the glass plate invention.
Meanwhile, Daguerre upheld Niepce's image in Niepce's place. Daguerre used the same
image as Niepce's 1839 as his first imagery, but registered his invention as "Photograph".
Knowing that Niepce's image was described as a Hierograph, Daguerre set out to re-name the
invention thereby determined to re-register his own image with the Royal Society of England.
Daguerre use the word 'Photograph' describing his invention for a separate registered patent.
Sir John Herschel, in a lecture before the Royal Society of England on March 14, 1839,
accredited Daguerre for his registered offering of a patented photograph, as his lecture
mentioned that it will be known as a "Daguerre" to the entire world. But, he also accredited
Niepce's offering for his patent of a hierograph as the first actual image recorded. In the end,
Herschel never separated the two inventors, as both were actual registered inventors of the
same image known as photograph and hierograph. As Niepce passed away early in life,
Herschel never offically declared in the official registrar that Niepce was the first inventor of the
photograph, but was the inventor of the hierograph. Daguerre became known for his patent for
"photograph" which has been coined, the "Daguerro-type".
Finally, in 1852, historian Helmut Gernsheim, traced and verified the first authentic photograph
image, returning fame to Joseph Nicéphore Niépce as the first registered patent for his image.
After his investigation, he upheld Niepce's arguements before the Royal Society of England. It
was held that Joseph Nice'phore Nie'pce was the first inventor of an image which was patented
as the first photograph in 1839 at the Royal Society of England.
1865, Army Soldiers and the Role of the Ferro-type:
Skipping ahead to 1865, when soldiers were finished with their war, taking their photograph
was an ordeal. First, in their army uniform, they wanted to show their coat-color, blue or gray.
This is the reason why Ferro-types were invented with colors mixed with chemicals (below).
Producing the correct colors of their coat and other colors in the photograph, it was artistry from
the photographer which produced the ferro-type photograph, as small dabs of dye would be
spread into areas, mixed with the photo chemicals, in the right places.
We have seen many photographs which didn't have a smile among them. The early cameras
and its photographs was seen as a recording machine of sorts. Their history, their lives, their
family, they wanted images which would show their livelihood. Most photographs seen, were
those who would also be holding a tool of their trade. Men would hold up their tools, as most
were a proud heavy worker. A farmer would hold up a horse collar or an accordion player would
hold up his accordion, but for the most part, early photographs were all about who they were.
Their photographs were to be passed on to their family and more so to tell their story. The
camera was a recording machine - as big as its inventor in their day would be in ours.
The Three Kinds of Tintypes:
Daguerro-Type:
As Niepce's and his partner, Louise Jaques Mande Daguerre are both accredited for its patent
for Niepce's first image, and for coining the word 'Photograph' as title of this patent, apart from
Niepce's patent for his 'hierograph'. We still call it a Daguerro-type as the first photograph.
Ambro-Type:
In 1841, John Ambrose reinvented the Daguerro-type renaming it "Ambro-type" and producing
the image onto glass so that the image was actually a reversed negative. Ambrose was
accredited with improving the Daguerro-type with his own recipe for the photograph. By Sealing
a Photograph inside glass, a black and white photograph would keep its chemical content
intact, like the Daguerro-type. Like the Daguerro-type, the Ambro-type recipe was still wet or
would not dry as it was seal behind glass, like the Daguerro-type, protecting its chemicals. But
if the sealed chemical leaked air from its casing the photograph became a negative image.
If the casing did not leak, it's chemicals would take 45 Minutes to dry while covered with glass.
Subjects in the picture were accustomed to the long wait until the photo process was finished.
Since these photographs are behind glass, Ambro-types are rarely damaged. If the seal is
broken, the image will tarnish, grow mold, and decomposition takes place and is totally ruined.
The Ferro-type and Ambro-type was placed into an antibellum casing made with a plastic
binding around a book style casing much like a woman's make-up compact. The casing was
convenient for woman who would open the case to powder their nose while looking at their
boyfriend of husband. Whether made in plastic or leather, there was an ornate design carved
into the cover. The Photograph itself had a brass frame around the photo with gilding on tin.
Ferro-Type:
1863-1917, Ferro-Types were also in an antibellum case looking like a small box and made the
same way as the Ambro-type but with faster-drying chemicals as their subject didn't have the
long wait for the portrait to be done. FerroTypes were never sealed like earlier tintypes. Colors
were dabbed into its chemicals still wet, then mixed and blended with the bitumen. Colors
faded into the mix and were never seen with the naked eye.
Owner, Chief Restorer, Steve is a Photo Artist and Software Engineer, does our tintype restores.
As a restorer, he was first to restore tintypes in 1999 while others did not have any interest.
As a software engineer, Steve has his own software, not utilized by other restoration services.
He developed his software specifically to produce images from tintypes or metal photographs.
Microsoft and Adobe do not have an interest in photo editors for antique photos.
This is a highly sensitive area of expertise where restorers work very carefully, and
a tintype has so many facets, especially color information to utilize, converted to a pallet.
Steve can pull colors out of tintypes, even if it is badly faded, ash-colored and/or totally black.
Tintype photographs take patience with hands-on digital tools and an unblinking eye on detail.
Even working with digital tools, it's the same tools as the tiny manual photo refinishing tools.
These digital tiny tools takes hand-eye coordination to work with color pallets and face details.
Even though you may think it takes longer than usual, our restorer is fast with daily practices.
When it comes to the faces, work slows a bit as the photo becomes an intricate work of art.
Redrawing parts with free-hand mouse-drawing is only achieved by an expert photo restorer,
as eyes, legs, fingers, noses, ears - almost all parts can be free-hand mouse-drawn.
If you have missing parts or if your photo warrants a drawing, phone us to discuss it.
Kinds of Tintypes:
Daguerro-type: 1839 - 1840 First photograph invented by Louis Jacques Mandé Daguerro
Ambro-type: 1841 - 1863 John Ambrose's recipe never dried, was sealed in glass forever.
Ferro-type: 1863 - 1917 Calvary requested, dried completely, chemically induced colors.
How Photographs Began - Photography History, Complete:
Near Chalon-sur-Saône, France, Joseph Nicéphore Niépce, a Frenchman and a
scientifically-minded gentleman, began experimenting with Lithography in 1813 but Began his
Experiments in 1816. Unable to draw well, Niépce first placed Transparent Engravings on
Glass Plates Coated with Light-Sensitive Varnish Mix. These Experiments, together with his
Application of the then popular Optical Instrument, the "Camera-Obscura", (France) lead him to
the First Photograph.
In 1824 Niépce had Some Success in Copying Engravings, but had no Success until
two Years Later Before he found Pewter Plates as the Support Media for the Process.
By the Summer of 1826, Niépce was ready. In the upper-story Window Workroom, in
Le Gras, he set up his Camera-Obscura, placing within it a Polished Pewter Plate Coated with
Bitumen of Judea, a Petroleum Asphalt Derivative, as his Chemical of Choice.
After at least One Day of a Long Exposure and Washing his Plate with a mixture of Oil of
Lavender and White Petroleum, his Mixture Dissolved some of the Bitumen which had not been
Hardened by Light. The Picture he Received was from his upstairs Window, of the Next
Building and a Court Yard Below which was Faint, as it hardened on a Glass Plate. Not
knowing what he had, Niepce collected his chemicals and art form but called it a Hierograph,
describing a negative looking image and to his knowledge he still did not know the image.
After examining the image he found that the image was that of a court yard below as it appears
to have buildings in the image.
Skipping to 1827, Niepce registered his image as a "hierograph" which was rejected at first by
the Royal Society of England - the only Patent Office in 1827. Photograph, as the word itself,
was based upon the Greek language meaning light and in Greek is interpreted as "graphé"
which means Light, or Drawing, together meaning "drawing with light" which Niepce used to
describe his photograph project before the Royal Society of London. But that drew an argument
as the Society called his invention, "hierograph". Niepce agreed with that as his registered
patent. But he meant to call it "Photograph", had he remembered the word during his heated
arguements and addresses.
Rejected, Niépce formed a Partnership with French Artist, Louis Jacques Mandé Daguerre in
1829. Neither of them Produced anymore work as Niepce passed away soon after. However
for safety sake, Niepce left his artifact with his British host in England, Francis Bauer, who
recorded Niepce's image and information on the frame which held the glass plate invention.
Meanwhile, Daguerre upheld Niepce's image in Niepce's place. Daguerre used the same
image as Niepce's 1839 as his first imagery, but registered his invention as "Photograph".
Knowing that Niepce's image was described as a Hierograph, Daguerre set out to re-name the
invention thereby determined to re-register his own image with the Royal Society of England.
Daguerre use the word 'Photograph' describing his invention for a separate registered patent.
Sir John Herschel, in a lecture before the Royal Society of England on March 14, 1839,
accredited Daguerre for his registered offering of a patented photograph, as his lecture
mentioned that it will be known as a "Daguerre" to the entire world. But, he also accredited
Niepce's offering for his patent of a hierograph as the first actual image recorded. In the end,
Herschel never separated the two inventors, as both were actual registered inventors of the
same image known as photograph and hierograph. As Niepce passed away early in life,
Herschel never offically declared in the official registrar that Niepce was the first inventor of the
photograph, but was the inventor of the hierograph. Daguerre became known for his patent for
"photograph" which has been coined, the "Daguerro-type".
Finally, in 1852, historian Helmut Gernsheim, traced and verified the first authentic photograph
image, returning fame to Joseph Nicéphore Niépce as the first registered patent for his image.
After his investigation, he upheld Niepce's arguements before the Royal Society of England. It
was held that Joseph Nice'phore Nie'pce was the first inventor of an image which was patented
as the first photograph in 1839 at the Royal Society of England.
1865, Army Soldiers and the Role of the Ferro-type:
Skipping ahead to 1865, when soldiers were finished with their war, taking their photograph
was an ordeal. First, in their army uniform, they wanted to show their coat-color, blue or gray.
This is the reason why Ferro-types were invented with colors mixed with chemicals (below).
Producing the correct colors of their coat and other colors in the photograph, it was artistry from
the photographer which produced the ferro-type photograph, as small dabs of dye would be
spread into areas, mixed with the photo chemicals, in the right places.
We have seen many photographs which didn't have a smile among them. The early cameras
and its photographs was seen as a recording machine of sorts. Their history, their lives, their
family, they wanted images which would show their livelihood. Most photographs seen, were
those who would also be holding a tool of their trade. Men would hold up their tools, as most
were a proud heavy worker. A farmer would hold up a horse collar or an accordion player would
hold up his accordion, but for the most part, early photographs were all about who they were.
Their photographs were to be passed on to their family and more so to tell their story. The
camera was a recording machine - as big as its inventor in their day would be in ours.
The Three Kinds of Tintypes:
Daguerro-Type:
As Niepce's and his partner, Louise Jaques Mande Daguerre are both accredited for its patent
for Niepce's first image, and for coining the word 'Photograph' as title of this patent, apart from
Niepce's patent for his 'hierograph'. We still call it a Daguerro-type as the first photograph.
Ambro-Type:
In 1841, John Ambrose reinvented the Daguerro-type renaming it "Ambro-type" and producing
the image onto glass so that the image was actually a reversed negative. Ambrose was
accredited with improving the Daguerro-type with his own recipe for the photograph. By Sealing
a Photograph inside glass, a black and white photograph would keep its chemical content
intact, like the Daguerro-type. Like the Daguerro-type, the Ambro-type recipe was still wet or
would not dry as it was seal behind glass, like the Daguerro-type, protecting its chemicals. But
if the sealed chemical leaked air from its casing the photograph became a negative image.
If the casing did not leak, it's chemicals would take 45 Minutes to dry while covered with glass.
Subjects in the picture were accustomed to the long wait until the photo process was finished.
Since these photographs are behind glass, Ambro-types are rarely damaged. If the seal is
broken, the image will tarnish, grow mold, and decomposition takes place and is totally ruined.
The Ferro-type and Ambro-type was placed into an antibellum casing made with a plastic
binding around a book style casing much like a woman's make-up compact. The casing was
convenient for woman who would open the case to powder their nose while looking at their
boyfriend of husband. Whether made in plastic or leather, there was an ornate design carved
into the cover. The Photograph itself had a brass frame around the photo with gilding on tin.
Ferro-Type:
1863-1917, Ferro-Types were also in an antibellum case looking like a small box and made the
same way as the Ambro-type but with faster-drying chemicals as their subject didn't have the
long wait for the portrait to be done. FerroTypes were never sealed like earlier tintypes. Colors
were dabbed into its chemicals still wet, then mixed and blended with the bitumen. Colors
faded into the mix and were never seen with the naked eye.
| (we do not collect, buy or sell tintype photographs) |
We ARE the Best . .
We Know!
We Know!
Tintype Restoration and How Photographs Began:
We urge you to see all three of our photo galleries: Gallery-1, Gallery-2 and Gallery-3.
If you haven't already seen them, they display before-after tintypes and other photo restores.
Owner, Steve Lehman offers lessons for digital photo restoration and graphic art and designing.
We urge you to see all three of our photo galleries: Gallery-1, Gallery-2 and Gallery-3.
If you haven't already seen them, they display before-after tintypes and other photo restores.
Owner, Steve Lehman offers lessons for digital photo restoration and graphic art and designing.
| We hope you have enjoyed our history lesson as our research was quite extensive. If questions, feel free to email to us: customerservice@pixsavers.com - we will reply. PixSavers ©1999. PixSavers is a USA registered Trademark. Words, graphics, photos are property of its respected author(s). |