*** photography print type : tintype chronology








Tin-type Chronology

tin-type chronology
Figure 1.--Tintypes are very difficult to date. Without frames, the principal clues are the fashions worn by the the subjects photographed. This American tin-type looks to have been taken in the 1890s. Tghere are some other chronological indicators. This would probably be classified as a brown or chocolate tin-type, although most were made earlier. Notice the park bench furniture--a low budget prop typical of a carnival tin-type. A reader writes, 'What a lovely picture. Two bright sparks in a well posed natural setting. There is a feeling of affection between the two brothers. Really nicely posed. The family must have liked this picture alot.'

The tintype was the first quick, inexpensive photographic process available in America on a large scale. The process was developed in 1856 and by 1860 was widely available in America. This was of course just in time for the Civil War. Tntypes 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 1920s, in the later period mostly at county fairs. Tintype photographers actually could still be found in remote areas of some countries even in the late 20th Century. The tintype thus covered a much wider range longer period than any of the early photographic processes. Unfortunately there was no place on the metalic surface to write any information about the portraits. This makes them especially difficult to date. Basically, all we have to go on with unframed tintypes are the fashions that the subjects are wearing.

The 1850s

The tintype was the first quick, inexpensive photographic process available in America on a large scale. The process was developed in 1856. Many of the early tin-types were done with cases as was the common approach with Daguerreotypes and Ambrotypes. They are thus relatively easy to date. The metal was also rather heavy gauge, presumably because the studios were used to a thick Dag plate and thiner guages may not have been available. Many early tin-types like Dags and Ambros commonly have no backround or a very simple background. With the development of the tintype, Americans began to accept photography as an inexpensive alternative to portraiture. A tin-type might be had for a little as a penny.

The 1860s

We note tin-types in the early 1860s with the protective cases, but this was not very common by the end of the decade. The case would cost more than the actual portrai so by the end of the War they began to disappear. They were replaced by paper folders about the size of the CDV. Instead of an expensive glass cover, the photographer would cover the tintype with a quick varnish. A tint was often added to the cheeks, lips, jewelry, and or buttons. Tin-types and other photographic processes (Daguerreotyoes, Ambrotypes, and albumen prints) were widely availble in America by the 1860s. This was of course just in time for the Civil War. Tntypes gained widespread popularity as keepsakes for Civil War soldiers and their families. Civil War tin-types are commonly one-sixth and one-fourth plate sizes. They often came with Potter's Patent paper holders which were decorated with printed patriotic stars and emblems. The paper holders after 1863 were embossed rather than printed. Some uncased tintypes have been found with Revenue Stamp which would mean 1864-66 as provided by the Retail Tax Act. A factor here is that the stamps did not as permanely adhere to a metal surface. By the end of the decde, the albumen print (CDVs and cabinent cards) had emerged as the most popular photographic process. Tin-types unlike Dags and Ambros did not dissapear. In the 1960s, especially after the Civil War, we begin to see some of the same elaborate backgrounds that were used for CDVs and cabinent cards. A new type of tin-type appeared in the 1860s--the Gem portrait. These were very small portraits (7/8 by 1 inch), about the size of a postage stamp. They were made possible by invention of the Wing multiplying cameras (1863). They were marketed as Gem portraits. Gem Galleries appeared in the 1860s. A customer could obtain large numbers of portraits, albeit small, to send to family and friends at a very low cost. The tiny likenesses proved to be popular and at what proved to be the lowest prices in studio history. Gem Galleries flourished until about 1890, at which time the invention of roll film and family cameras made possible larger images at modest cost. It was no longer necessary to visit a studio that specialized in the tiny likeness. Gem portraits were commonly stored in special albums with provision for a single portrait per page. Slightly larger versions also existed. Some Gems were cut to fit lockets, cufflinks, tie pins, rings and even garter clasps.

The 1870s

We see browish tin-types in the 1870s. This is called the Brown Period (1870-85). The Phoenix Plate Co. in the United state began making plates with a chocolate-tinted surface (1870). They immediately became very popular, presumably because the browish color gave something of the look of skin tones. Thus these brown tin-types can not only help date the images, but substantiate that they were American. We also see the appearance of rustic backgrounds. Backgrounds during the 1860s conveyed the impression of well-apponted homes. These rustic backgrounds (painted rural scenes, fake rocks, fences and rural props like bushes and trees) were a nostalgic appeal. Americans were increasibgly moving to the city, but were mostly raised in rural areas. It was popular gto picture their children in rural scenes. This was not aparticularly tin-type phenomenon, but tin-types, CDVs, and cabinent cards were affected. Gem galleries florushed in the 1870s. The Carnival Period began in the mid-1870s. Here itinerant photographers would set up basic tintype studios at public gatherings, such as county fairs and carnivals. Some came with interesting painted backdrops or novelty props. Others had only a nondescriopt backdrop. of Niagara Falls, a beach, a boat, and other novelty props for comic portraits. They produced very inexpensive portraits. Established studios largely dropped Dags and Ambros in the late-60s and by the end of the 70s few established studios were offering tin-types.

The 1880s

The brown tin-types continued into the mid-80s. And we continue to see the rustic scenes in the 80s. Gem gallleries continued to florish in the 80s, but began to decline by the end of the decade. Most tin-types were taken at low budget carnival studios.

The 1890s

We still see large numbers of tin-types in thwe 1890s. They are muxh lower quality than almumen studio portraits. Carnivals abnd fairs cintunued to grow in popularity and tin types were perfect for low-cost, basic photigraphic booth at these events. As a result, tin-types were mostly taken at these events. Established studios set up much more refined opeations. You can tell how basic the tin-type operation was just by looking at the backdrops. Given the carnicals and fairs--the 1890s was the peak of for the the tin-type. And the expasnding industrial economy meant that more and more people had the money to buy such little niceties. Many boys in the 1890s wore very destinctive clothing as aesult of the Fauntleroy Craze. Thus it is relarively easy to date tin-types taken during the decade. This is the only of dating tin-types. Unlike CDVs ab Cabinets casrds, virtuuall none cone with dates. The younger boy here wearing a large ruffeled collar that was almost certainly photographed in the 1890s (figure 1). Gem galleries declined in the 90s as the the invention of roll film and family cameras made it possible to take more interesting and larger images at a limited cost. Of course it was the Kodak Browie that crossed the threashold of cost and simplicity, allowing almost everyone to take photographs (1900)

The 1900s

Tin-types became less common after the turn of the 20th century. We still have all kinfs of studios asnd gfairs, but Kodak canme outv with the Brinie. Which opned up the family snapshot to Americans. Now Americans coukd tak theie own photographs at virtually anyv event including the places where tuin-tyoe pgotigraphers operated. We do continue to see them at places like county fairs, but the number of tin-types began to decline nitably. Tintype photographers actually could still be found in remote areas of some countries even into late 20th Century. The tintype thus covered a much wider range longer period than any of the early photographic processes, lasting into the 1920s.







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Created: 9:53 PM 4/25/2009
Last updated: 11:38 PM 7/4/2023