top of page
Frequently asked questions.
A little about the process, and what to expect.
Why wet-plate? Why work this way?
Because the process slows me down. Because I find the emulsions endlessly beautiful. Because it allows me to think in the elemental terms of light and shadow and time.
What am I actually getting?
A one-of-a-kind image in pure silver, and a digital scan of that image.
I pour, expose, and develop each plate with you during our session, and you receive that object once it's varnished. It's a final object, not a print: a tintype is made on blackened aluminum, an ambrotype on glass. They're called direct-positives because there is no negative intermediate stage: the object is the object And because they're made by hand, every one carries the marks of its making.
How does it work?
You can think of it as your image being projected into the space of the camera (the view cameras I use, the ones with bellows, are just empty space between the lens and the back of the camera where the plate goes) and that image of you being held fast in silver. I can go into more detail with you when you're here, on the day.
Why does each plate look a little different?
It's a wet-chemistry process, so it's far less predictable than film. Small marks, sweeps, and surprises appear and shift from plate to plate. That's not a flaw, it's the fingerprint of the medium, and part of why no two plates are alike.
What's the difference between a studio session and an event session?
Mostly time, and how much we refine.
A pop-up or single-plate day at my studio is quick for both of us—a simple set-up, one-and-done: we meet, I pour a plate, we arrange the shot, expose it, and watch it come up in the fixer, and that's it! This is the fastest way to get one tintype.
Studio sessions, on the other hand, are private sessions which unfold without the time constraint, and are aimed at as many setups (final images) as you'd like. We'll have room to adjust and make multiple takes as we go, time for outfit changes. These sessions are great for making sets for couples or families, creating more experimental/editorial portraits or images, or for those who want the freedom to choose from multiple takes.
How long does a session take?
A studio session usually runs between one and several hours, depending on what we're doing, and how many plates we make. The process is slow and attentive by nature, and that rhythm is part of the experience.
A single-plate day is quick: about 20 minutes together, enough to walk you through it and shape the light and framing to suit you, for one plate.
Will I have to hold still for a long time?
In general, exposure times are around 3 to 5 seconds, 15 at the longest. And you'll be holding still in the moments leading up to the exposure while we're focusing and loading the camera.
While long exposures and stillness are technically required, they're also the essence of the aesthetic and central to my love of this medium. As I mentioned above, it slows us down, asks for presence, and held/embodied postures. I often compare sitting for wet-plate portraits to sitting for a painted portrait.
And the wet-plate process (like all early photography) is light-painting. We gather light onto the plate across seconds, across time, so you're looking at a portrait that is a compounding of seconds, not a snapshot.
What should I wear?
Bring a few options: it's the single best thing you can do, and it gives us room to adjust on the day, especially for more than one person. A few things that help:
-
Think in shapes, textures, and layers. Necklines and collars matter, and how much skin shows at the neck, shoulders, and arms.
-
Colors render differently than you'd expect: reds, oranges, and yellows tend to go darker, while blues go lighter. A deep red shirt can read nearly black; a pale blue can glow.
-
With someone else, avoid matching. Pick colors that won't render the same, or the contrast between you is lost and the image goes flat.
-
Unsure about a specific piece? Ask before the day.
Can I wear glasses?
Yes, with one catch. Modern lenses often have UV or blue-light coatings that photograph tinted or fully opaque, so you can end up looking like you're wearing sunglasses. If that's a concern, bring an older or non-coated pair, or a pair you can take the lenses out of. If glasses are part of how you see yourself, we'll find a solution together.
Can my kid or dog sit still enough?
Yes, with a little patience. A plate needs the subject to hold still for at least a couple of seconds, so with kids and pets I keep it gentle and leave room for movement, curiosity, or rest. The goal isn't perfect stillness but a kind of shared attention. Often the smallest gestures make the most memorable plate.
Can you make a copy of my tintype?
The simple answer is no. Each plate is a singular object and can't be duplicated. But every plate you take home includes a high-resolution scan, so you'll always have a digital version to share. The tintype itself is the true image: a piece of light and metal that exists only once. Prints can be made from the scan, but that's a conversation we can have if you're interested.
What if something goes wrong?
First, the practical answer: if a plate fails chemically, I reshoot it, no question. And in the rare case someone's really unhappy with an image, I'll sometimes offer a discounted reshoot, at my discretion.
That said, not everything that looks 'wrong' is. A chemical streak, a soft blur, a shift in exposure: these are the conversation between chance and intention, and often where the beauty lives. I don't discard those moments, I let them speak. Sometimes the so-called flaw is the whole heart of the image.
How do I care for my tintype?
Handle it gently, by the edges, and keep it out of direct sunlight. A dry, stable spot is best. You can dust it with a soft cotton cloth. Each plate is varnished, so it's more durable than it looks (tintypes are some of the longest lasting photographic mediums, surviving almost 200 years) but I'd still treat it as delicate. Like any photographic object or piece of metal, it may change over time, which I see as part of its life, not a loss.
Have a question about something that these questions haven't covered? Reach out here.
bottom of page