Is My Image an Ambrotype?

People who are pictured in tintypes wanted to show their livelihood, their proud occupations. For occupations, a farmer showed a plow horse’s collar and tools. Billy The Kid showed a gun. The tintype camera was a recording machine rather than a picture of vanity like today’s camera. In , soldiers didn’t have a birth certificate, and death certificates were needed for burial. Tintype photos was a needed for recorded-existence, in place of birth and death certificates. Some subjects in the picture were alive, some deceased, but still, pictures were necessary. People didn’t smile for pictures since dentists pulled their teeth. Also, vanity was not a thing. The First Photograph Invented Despite of what you heard, Daguerre was the second person to patent the first photograph.

Is My Image a Tintype?

Early image on a thin iron plate resembling tin. By far the most common of the three for sports subjects. Early mage on a silver-coated copper plate.

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Ambrotype – from the Greek word ambro meaning imperishable. Image on Glass Dating ambrotype photographs is fairly easy for genealogists. It is a cased image like the daguerreotype, but it was short-lived. The ambrotype was only in popular production for about ten years. So, if this is part of your genealogy puzzle, you can be sure it was produced between and about The ambrotype’s life span was very short, wide-spread use was less than ten years, but produced a vast collection of beautiful images.

While the name ambrotype was derived from the Greek word ambro, meaning imperishable, it was still a delicate, easily damaged photograph. One advantage it did possess over the silver daguerreotype was that it did not tarnish. The ambrotype photograph was made by coating a piece of glass with a silver solution and exposing this to the image.

The image is sometimes on the back of a glass plate and is sandwiched with another glass behind it. This was typical of early examples. Later images were developed on the front of a single plate of glass.

Two girls remain unidentified in Civil War mystery photographs

There is no tin in the tintype. It is a blackened iron sheet. A Photograph for the Masses The tintype photograph saw more uses and captured a wider variety of settings and subjects than any other photographic type. It was introduced while the daguerreotype was still popular, though its primary competition would have been the ambrotype.

The tintype is very easy to identify if it is loose or in a simple sleeve. It is a thin iron sheet. However, it is frequently confused with an ambrotype if it is in a case.

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Early American guitars

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The ambrotype (from Ancient Greek: ἀμβροτός — “immortal”, and τύπος — “impression”) or amphitype, also known as a collodion positive in the UK, is a positive photograph on glass made by a variant of the wet plate collodion process. Like a print on paper, it is viewed by reflected light.

Morse, an American artist and inventor. Morse visited Daguerre in Paris in March and observed a demonstration of the daguerreotype process. He returned to the United States to spread the news, and by the end of some larger cities on the East Coast had very successful portrait studios. Patented in , the ambrotype was made, packaged, and sold in portrait studios as the daguerreotype had been, but at a lower cost. The ambrotype produced a single image on glass. It substituted an iron plate for glass and was even cheaper than the ambrotype.

Because tintypes were placed in albums along with CDVs, they were often trimmed at the sides and corners. Civil War Soldier 6th plate 2.

Ambrotype and case

The format was an international standard; for the first time, relatives and friends could exchange portraits, knowing they would find a place in the recipient’s family album–whether that album was located in Brooklyn, Berlin or Brazil. In addition, unlike earlier photographs made with such processes as the daguerreotype and ambrotype, cartes de visite could be sent through the mail without the need for a bulky case and fragile cover-glass.

Their small size also made them relatively inexpensive, and they became so widespread that by Dr.

Dating Very Early American Daguerreotypes Dating American Daguerreotypes, the ambrotype and later, in , the tintype). Make no mistake, the top echelon of proprietors continued to charm and amaze their clients with stunning works of daguerreian art throughout the s, but from to the beginning of the Civil War, the daguerreian.

Why are we here? What is our ultimate purpose on this planet? It was an honor to be in the presence of so many great teachers. My time with them was precious. It was illuminating to hear them shed light on what yoga means to them. They shared personal, intimate stories. Stories of deep-rooted struggles. Stories about love and God. Stories about the life-changing power of yoga. The inspiration for this book came from watching yogis practice extraordinary yoga postures.

It was a powerful display of what the human body is capable of. I saw this physical expression as a form of art, and it inspired me to photograph the beauty, strength, and grace of the human form. But this visual study of asana quickly transcended into the spiritual realm of the practice as many of the yogis chose to emphasize meditation, devotion, and their connection to the Divine.

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With the introduction by Frederick Scott Archer of the glass negative process in , and the ambrotype three years later, the cost was reduced considerably — they were available for between sixpence and a shilling — and photographic portraiture became easily accessible to the middle class. In contrast to daguerreotypes, which remain fairly rare, there are still many ambrotypes in existence in family collections, and you may well have one among your old family heirlooms.

Although ambrotypes continued in occasional use until about , they were most popular in the decade from until , after which they were overtaken and superseded by the carte de visite. The ambrotype was created by coating a glass plate with collodion and photosensitive silver nitrate. The plate was exposed in a camera, then quickly taken out and treated in a dark room with a developing solution to bring out the image.

Find this Pin and more on 19th Century Photos by Gary W. Clark. +~+~ Antique Photograph ~+~+ Beautiful Plate Ambrotype in Union case of young woman with lots of curls. Provides vintage photograph restoration, books, and photo dating tips to genealogists and historians.

Know the rogue’s gallery. Briefing Whether you find a photo in the attic, or consider buying one at auction, how do you know what you have? Daguerreotype Daguerreotypes used a direct-positive process which made an image on a piece of copper that had been plated with silver. Early daguerreotypes took three to 15 minutes to appear, which made them impractical for portraiture.

Is it a daguerreotype? A piece of writing paper placed in front of the surface will be reflected in reverse. They often are tarnished around the edges. Ambrotype This process produced a glass negative, which when held against a black background would produce a positive image. It had a number of advantages over the daguerreotype, including a reduced exposure time, making it more popular for portraiture as the subject would not have to sit still as long as with a daguerreotype.

It took the reigns over from the daguerreotype in popularity, only to be quickly supplanted by the much cheaper and easier to produce tintype.

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An archive of found family photos and artifacts for genealogists and historians. I reunite identified family photos that I find in antique shops and second hand stores with genealogists and family historians. If you see one of your ancestors here and would like to obtain the original, feel free to contact me at familyphotoreunion [ at ] yahoo [ dot ] com. I also accept donations of pre images to be reunited. I hope you enjoy your visit!

Dating clues include, advertising and promo labels of the galleries in which they were made, tax revenue stamps, mount styles and mounting embellishments. OTHER INTERESTING FACTS: Tintypes made photography available to everyone.

Each is posed primly on chairs, ringlets cascading past the rouged cheeks of one, the other dressed in a frilly hoop dress. But no one knows the identities of the girls in the photographs, or the stories they might tell. Advertisement The photograph of one girl was found between the bodies of two soldiers – one Union, one Confederate, at Port Royal, Va. The other was retrieved from a slain Union soldier’s haversack in on a Virginia farm field days before a half-decade of blood-letting would end with a surrender signed not far away at Appomattox.

Though photography was in its infancy when the war broke out, its use was widespread. Many soldiers carried photographs of loved ones into battle and for the first time, photographic images of war were available – and the Museum of the Confederacy has its own vast collection of images today, many of them identified. But now museum officials are releasing the unidentified images of the two girls, along with six other enigmatic photographs, on the admittedly remote chance someone might recognize a familial resemblance or make a connection to a battlefield where they were found.

There is no writing on the backs of these photographs. No notes tucked inside their wallet-sized frames. For a museum that prides itself on knowing the provenance of its holdings, the photographs offer few clues. But whether they were sons and daughters, fathers and mothers, or siblings the prospect of identifying each grows dimmer with the passage of time. Lee of Corinth, Mississippi, on the eve of the battle of Shiloh.

Identifying Old Photographs: How to Do It and How It Can Help Your Research

Nowell of Charleston, SC. View 66 of the series Charleston and vicinity, a party of Negroes both male and female working in a sweet potato field, yellow mount, light soiling at edge, photo fine, scarce Chase of Baltimore, MD. Men, women, and children posing behind a large cotton basket in a field, very fine

Im trying to dating dauerreotypes, also known as a piece for a technical study of the back of the ambrotype, ambrotypes varnish chipped on. Extent: 1 – date listed in cases is missing from the date photographs, ambrotypes was cheaper and location.

Technical details[ edit ] There are two historic tintype processes: In the wet process, a collodion emulsion containing suspended silver halide crystals had to be formed on the plate just before it was exposed in the camera while still wet. Chemical treatment then reduced the crystals to microscopic particles of metallic silver in proportion to the intensity and duration of their exposure to light, resulting in a visible image.

The later and more convenient dry process was similar but used a gelatin emulsion which could be applied to the plate long before use and exposed in the camera dry. In both processes, a very underexposed negative image was produced in the emulsion. Its densest areas, corresponding to the lightest parts of the subject, appeared gray by reflected light. The areas with the least amount of silver, corresponding to the darkest areas of the subject, were essentially transparent and appeared black when seen against the dark background provided by the lacquer.

The image as a whole therefore appeared to be a dull-toned positive. To obtain as light-toned an image as possible, potassium cyanide , a very dangerous and powerful deadly poison, was normally employed as the photographic fixer. It was perhaps the most acutely hazardous of all the several highly toxic chemicals originally used in this and many other early photographic processes.

Smithsonian, Argonne Team Up to Save Earliest Known Photographs