Frequently Asked Questions

Here you'll find answers to common questions about tintype sessions: what to wear, how to prepare, and how it all works. If you're looking to dive deeper into the history and process behind tintypes and wet plate collodion photography, you can read about what a tintype actually is right here.

What should I wear?

The process leans toward the UV end of the light spectrum, so it sees color differently than your eye does. Reds and yellows go dark, sometimes nearly black. Texture reads beautifully: knits, denim, leather, and lace all add depth to a plate. Solid colors beat busy patterns. See the full guide for examples and prep tips.

Is it appropriate to smile in my tintype photograph?

Smile if you want to. The somber faces in historical tintypes had more to do with long exposures and Victorian habit than any rule. Some people smile, some go contemplative. The goal is a plate that looks like you. Learn why smiles were rare but never forbidden in historic tintypes.

Are there facilities available for outfit changes and makeup application?

Yes. Our home studio has a full bathroom with a mirror, so you'll have a private space to change outfits or make final makeup touch-ups before your session.

Should I wear glasses for my tintype session?

You can, with one caveat. Most modern lenses are designed to block UV light, and UV is a big part of what this process sees, so glasses can come out looking like sunglasses in the finished plate. If glasses are part of how you look, frames without lenses solve it completely.

Will my tattoos show up in my tintype?

Yes, though usually not quite the way you expect. Tattoos often come out lighter than they look in person, and the ink color doesn't predict it as reliably as you'd think. Some bold tattoos go soft, some subtle ones hold on strong. It surprises people. If your tattoos are an important part of the portrait, mention it when you book and we'll pose and light with them in mind.

Can you offer guidance on posing for my tintype?

Absolutely. Come with ideas if you have them and we'll try things together, and I'll suggest poses that sit naturally with the process and the cameras. It's collaborative. You won't be left wondering what to do with your hands.

What's the history behind the cameras you use?

I primarily shoot two vintage large format cameras, one from 1907 and one from the 1950s. The essence of large format photography hasn't changed since the 1840s: light, a subject, and a plate. The cameras are part of the experience, and you're welcome to ask about them. Fair warning: I won't be brief.

I checked your schedule and didn't see any available sessions. Are you booked for the whole year?

No. I release dates about a month at a time, usually a few Saturdays and the occasional weeknight evening, and recent releases have filled within a day. New dates are announced to my email list before they're posted anywhere else, so joining the list is the reliable way in.

Do you offer gift certificates?

Not at the moment. If you'd like to give a session as a gift, email me and we'll work out the details together. One thing worth knowing: new dates go to my email list first and tend to fill fast, so gifting works best when the recipient has some flexibility on timing. Anniversary sessions are the most common gift, and there's a whole page about those.

How do I best frame and display my tintype?

I can show you options during your session; just ask. The one rule that matters: leave a small air gap between the tintype and the frame's glass. If the glass rests against the image, the emulsion can adhere to it over time. For the full walkthrough, including exactly how I frame my own plates, I've written a complete guide to framing and displaying tintypes.

What are the best practices for tintype care?

Tintypes are durable pieces of history, but they appreciate some care. Keep yours away from moisture and long stretches of direct sunlight, dust it gently with a microfiber cloth, and never use cleaners of any kind. Cared for like that, your tintype will outlast all of us. We know because plates from the 1850s are still here.

What is the duration of a typical photography session?

I set aside up to an hour and a half for each session, which is comfortable time for three or four tintypes. If you'd like to make more than that, reach out before you book and we'll make arrangements.

Can my images be replicated or printed?

The physical tintype is one of a kind; there's no negative and no way to make a second one. But every session includes a high-resolution scan of each plate at no extra charge, so you're free to make prints and share the image. If you post your scan somewhere, I'd love a tag.

What's the best way to display tintypes in my home?

Direct, angled light makes a tintype come alive. The image is silver held in the collodion layer, and it catches light with a depth prints don't have. Pick a well-lit spot near a lamp or a window, just out of direct sunlight, which can damage the plate over the years.

Can I bring my kids or pets to a tintype session?

Absolutely. I've photographed everyone from babies to teenagers, and plenty of dogs (even a cat or two). The only real challenge is getting them still long enough to nail the focus. Once that's set, the actual exposure in the studio is nearly instant, so they don't need to hold a pose for long. Outdoors it takes just a beat longer, but nothing dramatic. Kids and pets are always welcome, and I'm comfortable working with both.

Can I bring props or personal items to include in my tintype?

Please do. Instruments, heirlooms, hats, the dog. Objects with sentimental weight make better portraits, and the process loves texture and history. Some of my favorite plates started with whatever someone carried in under one arm.

Is the tintype photography process safe for all ages?

Yes, completely. I work with chemicals that demand respect, and handling them safely is my job; everything hazardous stays under my control, and you'll watch the process without ever touching it. The studio strobe is bright but harmless for everyone, including babies.

Want to go deeper?

Explore the Tintype Journal for behind-the-scenes stories, client portraits, and reflections on this 19th-century process in the modern world, or start with my essay on mono no aware, the beauty of impermanence, and the tintype.