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| William Henry McCarty Billy the Kid, Outlaw |
| Early 'DugerroType' of Joseph Nicéphore Niépce Invented First Hierograph Neipce's First Hierograph An Image Out His Window |
| This is a Roof-Top, and an Alley, in a Faint Picture as an Accidental Image, Patented Hierograph in 1822. Louis Jacques Mante Daguerre was First with the Word: "Photograph" in 1839. |
| Louis Jacques Mante Daguerre |
Tintype Photograph History:
Our tintypes are restored by a tintype specialist .
(We are not a tintype Collector)
Timeless antiques, family treasures, relics.
Tintype Photographs recorded our history from 1839 to 1917.
Here's we'll tell you their origin and how they evolved.
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.
In 1827, Niepce registered his image as a "Hierography" which was rejected at first by the
Royal Society of England, which was the Patent Office in 1827.
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.
Meanwhile, Daguerre upheld Niepce's image in Niepce's place. Daguerre mixed the same
image recipe onto a Tin as "Art on Metal" in 1839 as his first imagery. Knowing that Niepce's
image was described as a Hierograph, Daguerre set out to re-name the invention, thereby
determined to re-register his image recipe with the Royal Society of England. Daguerre had
heard of the word Photograph from Niepce who had read the word in a newspaper but didn't
correlate the word with his invention nor its registration.
It was Sir John Herschel, in a lecture before the Royal Society of London on March 14, 1839,
who declared that credit for the word "photography" to be known to the entire world, but that he
had previously turned down Niepce's offering of his Image which was the First Photograph as
Niepce coined the name Heliography and Sir Herschel uttered the word, Photograph but that
was after Niepce appeared before the Royal Society board, using the same description, and
after Niepce had passed away. Herschel never declared Niepce as the first photographer.
Instead, Herchel gave credit of the word to an article published February 25 1839, in a German
newspaper called the Vossische Zeitung, specifically written by Johann von Maedler, a Berlin
astronomer, had used the word "photography" in his article as picked up by Niepce's invention
as he had heard of the arguments in the Royal Society of England, after it happened in 1827.
Niepce had used the word Photograph but had wrongfully registered his image as Hierography
after long arguements that his image was too faint to be called a real vision.
The word "photography" 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 photography project before the Royal Society of London in
1827, calling his invention, "Hierography". He Meant to Call it "Photograph", had he
remembered the word during his heated arguements and addresses.
It wasn't until 1852 that historian, Helmut Gernsheim, did trace and verify the first photographic
image authenticity, returning fame to Joseph Nicéphore Niépce as the first successful
photographer to create an image on a plate with his own mixture.
DaguerroType - the first type of three:
As Niepce's partner, Louise Jaques Mande Daguerre Patented Niepce's Imagery coining the
word "Photograph" as he separated himself from Joseph Niepce with the same a Imagery.
Daguerre became Known as the Inventor of the "Photograph" as a word, (as Sir John Herschel
entitled his work as a "Photograph"). Daguerre used His Name for His Invention, calling it the
Daguerre-Type - which Evolved into the Daguerro-Type (in America). Daguerre's Recipe Mixture
Image could be Produced onto Polished Metal, and Tin was the Easiest Metal to Polish for its
Flexibility and Softness. As the First Image's Mixture was Produced onto Polished Metal, Most
were Very Good, and were Sealed in Glass to Seal the Image, and Became Known as the
DaguerroType as Daguerro was still taking Fame as the Inventor. The DaguerroTypes as they
were known Traveled through Europe from France and Spain to Scotland and Finally to
NovaScotia, and then Passively to the USA, where they were Reinvented again - as Americans
will Always "Reinvent the Wheel" and the Tintype was Reinvented Again. The DuagerreoType
can be Described as Mounted on a Wood-Block (usually), Covered by a Glass Plate to Preserve
it as it was usually still Wet in its Mixture Composition. It did not have a Book-Llike Feature like
the FerroType or AmbroType. On the Face of the DaguerroType was Glass Placed Over the
Picture as the Glass Served as an Extension to the Picture by a Painting Beyond the Glass and
Picture to Extended its Image Outward. The Extended Ornate Painted Glass Extension
Enlarged the Already Tiny Daguerrotype Image as Photographers were Talented to Paint the
Glass into a Much Larger Picture.
AmbroType:
In 1841, John Ambrose Reinvented the DaguerroType renaming it "AmbroType" and producing
the image onto glass so that the image was actually a reversed negative and
Ambrose is credited with producing the first Black & White Photograph with his own recipe.
By Sealing a Photograph inside glass, the Black & White Photograph would keep its Chemical
Content Intact, like the DaguerroType, it was wet for years to come but was seal behind glass
so as not to disturb the image. But if the Sealed Chemical Leaked air from its Casing the
Photograph Became a Negative Image, rendering the photo as ruined.
If the casing did not leak, it's Chemicals could take More than 45 Minutes to dry.
Subjects in the picture were Accustomed to the Long Wait until the process finished.
Since these photographs are behind glass, we rarely need to recover AmbroTypes.
IF the seal is broken, the image will tarnish, grow mold, and decomposition takes place.
Our clients usually want the images preserved by copying them to a print and a CD.
The Ferro-Type and AmbroType 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 Powder the Nose and Look at their Man's Photograph at one
Time. For those who could afford it, the Binding was Leather. Otherwise the Binding was
Plastic. Whether Plastic or Leather, there was an Ornate Design Carved into the Cover. The
Photograph itself had a Brass Frame around the Photo with Gold-Gilding on tin to make them
look "Golden" which was also in an Ornate Design and the Gilded Frame was Fitted into the
Casing to Surround the Picture in a Frame. Opposite of the Picture was a Mirror for the
Woman's Make-up or a tiny pillow-like tuft fitted inside the box. The AmbroType last until the end
of the War, 1861 then the Tintype was Reinvented again.
FerroType:
1863-1917, Ferro-Types were also in an antibellum case looking like a Book-Like Box and
made the same way as an AmbroType but with Faster-Drying Chemicals as their Subject didn't
have the Long Wait for the portrait to be done. It was made an a shined tin.
FerroTypes were Never Sealed, as they were Treated with Pin-Dabs of Chemicals which would
Mixed and Blended with the Bitumen which was still being used, and Before the Main
Chemicals Dried, the Pin-Dabs would form a Color as they are Seen Today.
PixSavers has a Digital Program which will Bring out the Original Colors of a Tintype.
And Originally, the Tintype was a photograph, then a engraved plate for prints, then was a
photograph, digitized by PixSavers to show a real photograph once again.
Tintypes in General:
The tintype camera was actually a recording machine. The soldiers who came back from the
War needed to identify themselves with the color of their coat and they made certain that their
photograph on tin was also colored with colorizing chemicals which blended with the
chemicals of the original tintype chemicals. But, there was another reason for the tintype
photograph in the 1800s. They needed to record the diseased. They needed to take the
photographs of their loved ones while they were in morning but they also needed to show that
their relative had lived - before he or she was diseased. They took photographs of the dead.
Yes they did! Most people in the 1800s would forget about going to the mortician for a coffin,
because they could make one themselves. Besides,
the mortician was an evil salesman who didn't care how he buried the dead. Most people did it
themselves from their homes. They would turn the mirrors backward and they would stop the
clocks, then they would have a "morning period" as they would sit next to their diseased relative
and pray, talk, and sit in silence. This was the early-day funeral.
Their "funeral homes" were non-existent. So they did it themselves - their way.
PixSavers Tintype Recovery:
We restore tintypes because they were an important kind of imagery in our history.
In their time, tintypes were used as a toy for the kids since it was metal which could be why they
were so scratched. We can repair a tintype even if it's faded to black, as we can usually
preserve original colors. Although we may decide to use a digital method, we would be using
almost the same tools that would normally be used with a manual photo restoration project.
We will continue to amaze people with our tintype photo restoration work.
Are you ready to get your tintype photographs restored? Well, get your tintype photos to us!
Our tintypes are restored by a tintype specialist .
(We are not a tintype Collector)
Timeless antiques, family treasures, relics.
Tintype Photographs recorded our history from 1839 to 1917.
Here's we'll tell you their origin and how they evolved.
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.
In 1827, Niepce registered his image as a "Hierography" which was rejected at first by the
Royal Society of England, which was the Patent Office in 1827.
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.
Meanwhile, Daguerre upheld Niepce's image in Niepce's place. Daguerre mixed the same
image recipe onto a Tin as "Art on Metal" in 1839 as his first imagery. Knowing that Niepce's
image was described as a Hierograph, Daguerre set out to re-name the invention, thereby
determined to re-register his image recipe with the Royal Society of England. Daguerre had
heard of the word Photograph from Niepce who had read the word in a newspaper but didn't
correlate the word with his invention nor its registration.
It was Sir John Herschel, in a lecture before the Royal Society of London on March 14, 1839,
who declared that credit for the word "photography" to be known to the entire world, but that he
had previously turned down Niepce's offering of his Image which was the First Photograph as
Niepce coined the name Heliography and Sir Herschel uttered the word, Photograph but that
was after Niepce appeared before the Royal Society board, using the same description, and
after Niepce had passed away. Herschel never declared Niepce as the first photographer.
Instead, Herchel gave credit of the word to an article published February 25 1839, in a German
newspaper called the Vossische Zeitung, specifically written by Johann von Maedler, a Berlin
astronomer, had used the word "photography" in his article as picked up by Niepce's invention
as he had heard of the arguments in the Royal Society of England, after it happened in 1827.
Niepce had used the word Photograph but had wrongfully registered his image as Hierography
after long arguements that his image was too faint to be called a real vision.
The word "photography" 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 photography project before the Royal Society of London in
1827, calling his invention, "Hierography". He Meant to Call it "Photograph", had he
remembered the word during his heated arguements and addresses.
It wasn't until 1852 that historian, Helmut Gernsheim, did trace and verify the first photographic
image authenticity, returning fame to Joseph Nicéphore Niépce as the first successful
photographer to create an image on a plate with his own mixture.
DaguerroType - the first type of three:
As Niepce's partner, Louise Jaques Mande Daguerre Patented Niepce's Imagery coining the
word "Photograph" as he separated himself from Joseph Niepce with the same a Imagery.
Daguerre became Known as the Inventor of the "Photograph" as a word, (as Sir John Herschel
entitled his work as a "Photograph"). Daguerre used His Name for His Invention, calling it the
Daguerre-Type - which Evolved into the Daguerro-Type (in America). Daguerre's Recipe Mixture
Image could be Produced onto Polished Metal, and Tin was the Easiest Metal to Polish for its
Flexibility and Softness. As the First Image's Mixture was Produced onto Polished Metal, Most
were Very Good, and were Sealed in Glass to Seal the Image, and Became Known as the
DaguerroType as Daguerro was still taking Fame as the Inventor. The DaguerroTypes as they
were known Traveled through Europe from France and Spain to Scotland and Finally to
NovaScotia, and then Passively to the USA, where they were Reinvented again - as Americans
will Always "Reinvent the Wheel" and the Tintype was Reinvented Again. The DuagerreoType
can be Described as Mounted on a Wood-Block (usually), Covered by a Glass Plate to Preserve
it as it was usually still Wet in its Mixture Composition. It did not have a Book-Llike Feature like
the FerroType or AmbroType. On the Face of the DaguerroType was Glass Placed Over the
Picture as the Glass Served as an Extension to the Picture by a Painting Beyond the Glass and
Picture to Extended its Image Outward. The Extended Ornate Painted Glass Extension
Enlarged the Already Tiny Daguerrotype Image as Photographers were Talented to Paint the
Glass into a Much Larger Picture.
AmbroType:
In 1841, John Ambrose Reinvented the DaguerroType renaming it "AmbroType" and producing
the image onto glass so that the image was actually a reversed negative and
Ambrose is credited with producing the first Black & White Photograph with his own recipe.
By Sealing a Photograph inside glass, the Black & White Photograph would keep its Chemical
Content Intact, like the DaguerroType, it was wet for years to come but was seal behind glass
so as not to disturb the image. But if the Sealed Chemical Leaked air from its Casing the
Photograph Became a Negative Image, rendering the photo as ruined.
If the casing did not leak, it's Chemicals could take More than 45 Minutes to dry.
Subjects in the picture were Accustomed to the Long Wait until the process finished.
Since these photographs are behind glass, we rarely need to recover AmbroTypes.
IF the seal is broken, the image will tarnish, grow mold, and decomposition takes place.
Our clients usually want the images preserved by copying them to a print and a CD.
The Ferro-Type and AmbroType 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 Powder the Nose and Look at their Man's Photograph at one
Time. For those who could afford it, the Binding was Leather. Otherwise the Binding was
Plastic. Whether Plastic or Leather, there was an Ornate Design Carved into the Cover. The
Photograph itself had a Brass Frame around the Photo with Gold-Gilding on tin to make them
look "Golden" which was also in an Ornate Design and the Gilded Frame was Fitted into the
Casing to Surround the Picture in a Frame. Opposite of the Picture was a Mirror for the
Woman's Make-up or a tiny pillow-like tuft fitted inside the box. The AmbroType last until the end
of the War, 1861 then the Tintype was Reinvented again.
FerroType:
1863-1917, Ferro-Types were also in an antibellum case looking like a Book-Like Box and
made the same way as an AmbroType but with Faster-Drying Chemicals as their Subject didn't
have the Long Wait for the portrait to be done. It was made an a shined tin.
FerroTypes were Never Sealed, as they were Treated with Pin-Dabs of Chemicals which would
Mixed and Blended with the Bitumen which was still being used, and Before the Main
Chemicals Dried, the Pin-Dabs would form a Color as they are Seen Today.
PixSavers has a Digital Program which will Bring out the Original Colors of a Tintype.
And Originally, the Tintype was a photograph, then a engraved plate for prints, then was a
photograph, digitized by PixSavers to show a real photograph once again.
Tintypes in General:
The tintype camera was actually a recording machine. The soldiers who came back from the
War needed to identify themselves with the color of their coat and they made certain that their
photograph on tin was also colored with colorizing chemicals which blended with the
chemicals of the original tintype chemicals. But, there was another reason for the tintype
photograph in the 1800s. They needed to record the diseased. They needed to take the
photographs of their loved ones while they were in morning but they also needed to show that
their relative had lived - before he or she was diseased. They took photographs of the dead.
Yes they did! Most people in the 1800s would forget about going to the mortician for a coffin,
because they could make one themselves. Besides,
the mortician was an evil salesman who didn't care how he buried the dead. Most people did it
themselves from their homes. They would turn the mirrors backward and they would stop the
clocks, then they would have a "morning period" as they would sit next to their diseased relative
and pray, talk, and sit in silence. This was the early-day funeral.
Their "funeral homes" were non-existent. So they did it themselves - their way.
PixSavers Tintype Recovery:
We restore tintypes because they were an important kind of imagery in our history.
In their time, tintypes were used as a toy for the kids since it was metal which could be why they
were so scratched. We can repair a tintype even if it's faded to black, as we can usually
preserve original colors. Although we may decide to use a digital method, we would be using
almost the same tools that would normally be used with a manual photo restoration project.
We will continue to amaze people with our tintype photo restoration work.
Are you ready to get your tintype photographs restored? Well, get your tintype photos to us!
PixSavers ©2005-2012. All rights reserved. Restoring photographs Since 1999. Words, photos and logos are property of PixSavers! and Seattle Photo Restoration. Our Microsoft Certified Software Engineer (MCSE) is our Webmaster & Tech Support. . |
